Stealing Resources From Indigenous People

Stealing Resources From Indigenous People

A review of The Champions: Northern Lights (Marvel Comics, 2018)

By Derek Newman-Stille

Although an American comic created by Marvel Comics, The Champions: Northern Lights is set in Nunavut and features some distinctly Canadian elements.

Firstly, the superhero team Champions comes into contact with Alpha Flight, another Marvel Comics creation – a superhero team set in Canada and created by Canadian John Byrne. It is extremely exciting seeing Alpha Flight continuing to appear in Marvel Comics since they haven’t had a series of their own in many years. The current Alpha Flight appears to be under the control of American Captain Marvel and features figures like Puck, Snowbird, Talisman, and Sasquatch.

Beyond just the Alpha flight connection, the comic features ideas of The North, setting the story in the winter and connecting the story to critical questions about global warming and the Arctic thaw, engaging questions about Canada’s relationship to the North and the idea of Canadian paternalism of Northern landscapes. The comic raises questions about the relationship between English and Inuktitut language, and explores the invasion of Inuit lands by a white man who believes he is doing the right thing and who steals resources from the landscape. As often happens, indigenous protestors mobilize to protect the landscape from continual colonial oppression and exploitation and from illegal resource extraction and attempts to assert white authority over indigenous land.

Champions raises critical issues for current Canadian issues around the attempts by the Canadian government to build a pipeline through unceded indigenous land. Currently, Wet’suwet’en protestors are seeking to protect their land from the Kinder Morgan natural gas pipeline that is being built through their territory and once again, a white, male, colonialist power is seeking to invade indigenous land for a nonrenewable resource.

In the Champions: Northern Lights comic, the colonialist, white person invading indigenous land calls himself The Master, highlighting ideas of power hegemonies and the exploitation of indigenous people. Moreover, the nonrenewable resource that he seeks to exploit in this case is the literal “Soul of the North”, a goddess named Sila. Indigenous protestors in the comic call out The Master, telling him: “face your crimes, corruptor!”.

Champions: Northern Lights brings up key critical questions about power structures, indigenous rights, exploitation of resources, and conflict over the landscape

To find out more about The Champions, go to https://www.marvel.com/comics/series/22552/champions_2016_-_2019

Magical Autobio

Magical Autobio

A review of Ronnie Ritchie’s “Star Kid” in We’re Still Here: An All Trans Comic Anthology (Stacked Deck Press, 2018)

By Derek Newman-Stille

In the comic “Star Kid”, Ronnie Ritchie intertwines autobiography and ideas of magic. They use ideas of astology to understand themself, sharing their early fascination with sun and moon symbolism and the relationship between these celestial symbols and gender (since the sun and moon are gendered in many European cultures).

Ritchie explores their love of stars from an early age as a symbol that is often seen alongside the sun and moon, but also the power of the star to separate them from the gendered characteristics of the sun and moon. Despite their love of astrology and stars, they describe the challenge of growing up in an Evangelical home where astrology was considered evil, and their subversive claiming of the star symbol. They use the artistic medium of the comic to illustrate their love of illustrations, showing the way they combined sun, moon, and star symbols together in their early art.

Stars, suns, and moons became metaphors for gender for them in their exploration of their own gendered identity and they frequently drew characteristics of gender and characteristics of the sun and moon together, realizing that these descriptions were too limited to capture the complexity of their identity. Being a nonbinary person, they discovered the potential of being outside the orbit of the gendered sun and moon in a space they created – The Star. They illustrate that the symbol of the star allowed them to find a symbol of joy, happiness, and cuteness (they make sure to distinguish the marshmellowy stars in their art from the actual huge balls of nuclear fire).

Ritchie cleverly combines autobiography with hints of the speculative and the magical, pointing out that we often explore complex ideas through symbols. People have been exploring their identities through astrology for a long period of time, and Ritchie’s use of astrological symbolism in understanding their gendered identity takes the astrological into a new sphere of contemplation. They illustrate that the symbolic is still an important realm for contemplating identity, particularly since so many of our social symbols are gendered.

To find out more about We’re Still Here: An All Trans Comic Anthology, visit Stacked Deck Press at https://stackeddeckpress.com/product/were-still-here-an-all-trans-comics-anthology/

To find out more about Ronnie Ritchie, visit their website at https://www.rritchiearts.com

A Green Monster Who Isn’t Envy

A Green Monster Who Isn’t Envy

A review of Morgan Sea’s “Abominatrix” in We’re Still Here: An All-Trans Comic Anthology (Stacked Deck Press, 2018)

By Derek Newman-Stille

In “Abominatrix”, Morgan Sea plays with the notion of Marvel Comics’ She Hulk and produces another gamma powered superhero. Sea’s hero is a Trans woman who adores She Hulk, and decides to take a shot of gamma infused chemicals as part of her transition. Instead of ending up looking like She Hulk – a green-skinned, powerful, beautiful woman, she ends up looking more like the Hulk villain, the Abomination. Instead of becoming a villain as Marvel comics characters tend to do when they have lived a life of oppression and don’t become beautiful superheroines, Trixie tries to live her life as she always has. She reminds herself “They’ve always treated you like a monster. They’ve always wanted you to hide”, so she decides to practice radical self love instead. While out on the streets, she continues to be subject to social violence – insulted by passers by, having drinks thrown at her. While being subjected to violence, she has to constantly reassure other people that they are safe from her instead of being concerned about her own safety. Even when she wants to use the washroom, she is told that she would need to use the men’s toilets instead of women’s toilets.

When Trixie finally decides to act back against all of the social violence she experiences, she ends up fighting another gamma powered hulk and the two of them end up crashing through spaces of oppression like a pharmacy where a doctor is refusing a Trans person their meds, a bank where a Trans person is being denied a loan for their electrolysis machine, and a classroom where a teacher is trying to force children to believe only in binary genders and that gender is unchangeable. This is a comic about smashing heteropatriarchy and Morgan Sea reminds us that we can’t accept violence and sometimes we need to act back to prevent that oppression.

Sea plays with some meta fictional elements of her comic, writing Trixie’s inner dialogue with the awareness that she is a comic character. She uses language like “Just got to take it step by step, day by day, panel by panel” and “See you are almost off this page!” to remind readers that this is a self-aware comic, a comic that is purposely raising questions and critiques about the mainstream comic industry. “Abominatrix” invites us to ask questions about the absence of Trans characters in most superhero comics (where Trans characters often only appear as villains) and asks us to question the portrayal in comics of a character who is done being subjected to violence and decides to speak back. As I mentioned above, the characters who act back against social violence in comics are generally treated as villains and the role of heroes is often to reinforce the status quo. Sea’s comic is about challenging the simple narrative of mainstream superhero comics and inviting an awareness of the absences and vilifying of characters who stand up for social justice. She asks us to think about how we create our monsters and the ideologies that go into producing those monsters.

To find out more about Morgan Sea, visit her website at https://morgansea.wordpress.com

To find out more about We’re Still Here: An All Trans Comics Anthology, go to https://stackeddeckpress.com/product/were-still-here-an-all-trans-comics-anthology/

Mute Power

Mute Power

A review of Savannah Houston-McIntyre and Andrew Hewitt’s Amya Vol 1 (2014)

By Derek Newman-Stille

Amya Vol 1 is a fantasy tale of mystery and suspense, filled with secrets and magic. It is about two kingdoms on the brink of war and the possibility of the return of a divinity who may be able to save everything. This is a tale of a secret, sacred history that is revealed in pieces.

Houston-McIntyre and Hewitt tell a story of a mute noblewoman who has incredible magical potential, the power to create illusions… but there are hints of something more about her personality. Amya touches the lives of those around her, changing them through her contact, but she begins to draw together a group of adventurers who are interested in supporting her. Though Amya is mute, she is not portrayed as defenceless and she is not someone who is seeking a “cure” for her mutism. She is a complex and powerful character.

Amya vol 1 is a tale of political power plays in a world of change, where there is a fight for half-elf rights, where patsies are set up as regicides, where young noblemen escape from family lands, and where myth and reality intersect in forging a new future.

To discover more about Amya and the creators of the comic Savannah Houston-McIntyre and Andrew Hewitt, visit http://www.amyachronicles.com/about/the-amya-team

Coming of Age With Super Powers

Coming of Age With Super Powers

A review of Mariko Tamaki’s Supergirl: Being Super (DC Comics, 2018).

By Derek Newman-Stille

Canadian comic writer and artist Mariko Tamaki has frequently explored coming of age and that fascinating experience of being between childhood and adulthood in comics like Skim and This One Summer. She shows an incredible ability to draw her readers into those moments in our own past where we were in that awkward state of transition between childhood and adulthood and we sought out our own identities. in Supergirl: Being Super, Tamaki unites the awkward time of questioning identity in our teen years with the figure of the superhero… another figure for whom identity and transformation are a central issue.

We all remember what it was like to be a teenager and feel like we are in the wrong skin and like we don’t fit into our society… but that is magnified for Kara Danvers, a girl who just got her first pimple and exploded it all over her bathroom…. literally. Along with her friends, the young lesbian Dolly and track star Jen, Kara is seeking out what it means to be a teenager… but she is still holding back a secret from these friends. It turns out that her feeling of alienation comes from actually being an alien. Kara is from another planet.

Tamaki frequently explores the idea of being an outsider and what it feels like for a teen who is treated as though she doesn’t belong… as though her entire existence is at conflict with the world around her. In Kara Danvers, Tamaki is able to explore what it means to ‘pass’, keeping an identity secret from friends, teachers, and all of those around her, what it means to worry about being a danger to everyone around her, coping with post traumatic stress, exploitation, rejection from family, and the death of a classmate… along with the desire to do something to make this world a better place. Tamaki’s Supergirl is someone who holds onto the idea of hope that people will become better even when she is constantly faced with disappointment from a human race that is still shaped by bigotry, intolerance, exploitation, and hate.

To find out more about Supergirl: Being Super, visit https://www.dccomics.com/graphic-novels/supergirl-being-super-2016/supergirl-being-super

To discover more about Mariko Tamaki, visit http://marikotamaki.blogspot.com

Next Top Villain

Next Top Villain

A review of Jeff Lemire’s Thanos Vol 1: Thanos Returns (Marvel Comics, 2017).

By Derek Newman-Stille

Canadian comic book writer and artist Jeff Lemire has worked on independent comics, but has also worked with the comic company giants DC and Marvel. He tends to take his Canadian interest in grey areas and ambiguous endings into his comics for DC and Marvel, allowing for complex plots and characters.

In Thanos Vol 1: Thanos Returns, Lemire takes on one of the big villains in the Marvel universe, trying to add moral complexity to a character that has often appeared in comics as irreconcilably ‘bad’. Lemire is able to introduce some pathos for Thanos by portraying the villain in illness, creating a ‘god’ obsessed with Death… who is, himself, dying. Thanos is viewed as and views himself as a personification of strength, and Lemire explores what it means for someone who takes so much of his identity from his strength… to suddenly have to deal with vulnerability, with something that he would consider weak in others and would likely kill them for.

But what does the death of a powerful tyrant mean for others? This is a universal race to grab power in the perceived power vacuum that Thanos will leave, and Lemire uses this comic to comment on political power and the discourse of vulnerability on a universal scale. Revenge, the lust for power, and the desire to be significant are all wrapped together in the people who race to fill the perceived void that Thanos will leave. Lemire creates a race between villains to secure their place in a changing universe.

To find out more about Thanos Vol 1: Thanos Returns, visit http://marvel.com/comics/collection/62231/thanos_vol_1_thanos_returns_tpb_trade_paperback

To discover more about Jeff Lemire, go to http://jefflemire.blogspot.com

Who Said Unicorns Were Majestic?

Who Said Unicorns Were Majestic?

A review of Katie Shanahan and Steven Shanahan’s Silly Kingdom: A New Steed Indeed (www.sillykingdom.com , 2105)

People frequently portray unicorns as majestic, gentle, caring creatures… but not the Shanahans. In their comic Silly Kingdom: A New Steed Indeed, The Prince becomes obsessed with the fact that a neighbouring prince, Peatrid, manages to have a pet unicorn where The Prince only has the traditional steed of his kingdom… the llama. Obsessed with beating his rival, The Prince heads out with Markus The Kingdom Jester in search of a rare Nocturnal Black Unicorn.

He quickly discovers that his prey is far less gentle than he had assumed… and far more of a trickster herself. In a set of Wiley Coyote and the Roadrunner-like attempts to catch the unicorn, The Prince and Markus end up realizing that the unicorn they are searching for has a wicked sense of humour and a lot of attitude.

Like their first Silly Kingdom comic, Katie and Steven Shanahan combine the magical with the hilarious, bringing the reader on a ridiculous adventure into a world of mishaps and magic. In this second comic, the Shanahans focus even more on the visual than they had in their first comic, stepping away from the conversion from radio play to graphic medium and instead getting into the storytelling power of images. They allow the images on the page to tell their own stories, relying on the power of expressive faces to reveal their own internal narrative and set the tone for dialogue that is used.

To find out more about Silly Kingdom: A New Steed Indeed and the work of Katie and Steven Shanahan, visit http://sillykingdom.tumblr.com/about