Phasma Got a Raw Deal
When promotional material came out for Star Wars: The Force Awakens (TFA), few things were as striking as that image of shiny chrome stormtrooper armor punctuated by a red-trimmed cape. “I must know who that is,” I thought to myself. As details came out, that image was revealed to belong to Captain Phasma of the First Order. Better still, the suit was being filled by none other than Gwendolyn Christie, of recent Game of Thrones fame. Sweet.
Now, I’m not a huge Game of Thrones fan, but I am a fan of Brienne of Tarth (Gwen Christie’s character on the show). I loved her character in the books, and what little I saw on the show, and thus I liked Gwen Christie and was freaking pumped for her in the role of Phasma. A badass woman leading the storm troopers? Sign me up! That armor is so cool, and Gwen is so cool. Can’t wait.
So I went ahead and bought myself some Phasma merch before the film even came out. What an awesome villain. What a cool suit. So Psyched.
Then the movie came out.
Don’t get me wrong, I loved TFA, and I still do. For all its flaws, it’s a rollicking fun adventure worthy of the Star Wars franchise. Unfortunately, one of my major complaints was Phasma. For such a cool looking character, she just doesn’t do much.
In all of TFA, Phasma has 1:45 of total screen time (I looked it up). That’s just a little bit more than Lor San Tekka (Max von Sydow) who dies in the first scene of the movie! In that time, what does she do? She looks awesome, of course, and she gives some orders. That’s about it. Toward the end of the film she gets humiliated by Finn and literally thrown in the garbage. Ugh, what a disappointment.
For being so excited by the concept of a character, this was a huge letdown. I was so interested to see what this character would bring to the movie, and what her deal was, and it was just so much nothing. Again, I loved TFA, but this one thing has stuck with me since it came out.
Now, finally, Phasma is getting some much-needed attention. Not only is she appearing in Episode VIII: The Last Jedi (hopefully for more than 1:45 minutes), but she has a new novel and a comic to boot. The Novel has me pretty stoked but I have not been able to read it yet. It’s from author Delilah S. Dawson, and if it’s anything like her novel Wake of Vultures (which you should totally read too) then it will be amazing. The comic I have read and it’s pretty freaking great—it takes Phasma getting thrown in the trash and builds on it to wonderful effect.
The comic is narrated by Phasma as she makes her officer log after the destruction of Starkiller base in TFA. As things play out though, the actual events are much different than what’s on Phasma’s official log.
If you don’t remember from the movie, Finn and Han capture Phasma and force her at gunpoint to lower the shields, letting the Resistance forces in to directly attack the base. As Phasma reports, however, it is unknown who lowered the shields and so she must go investigate. As she records these words she does indeed investigate. She investigates who else had access to the panel where she lowered the shields even as she erases her activity from the internal log. Then, she goes out to assassinate the only other person who could have lowered the shields so she can take credit for his capture.
Immediately, we get more insight into this character in only a few pages than the movie gave us in its two hours plus running-time. Phasma is devious and conniving. The first thing she does after getting out of the trash compactor is cover her own ass and find a way to pin it on someone else. That’s awesomely evil, and it almost makes me forgive them dumping her in the trash in the first place (but not quite).
The Hunt is On
Once she has a name and a face to go with it, the rest of the issue is devoted to Phasma trying to hunt her patsy down so she can kill him and claim justice for the one who betrayed the First Order. I’m starting to get an idea of how she got to be Captain in the first place, and it wasn’t through her leadership capabilities. She’s evil, cunning, and ambitious, all things that fit the Empire and First Order–as well as the Sith–so perfectly.
Phasma hunts her prey through the base itself and even out onto the moon’s surface where she glimpses. Kylo Ren and Rey fighting. She is unable to get to him before he makes it to a hangar and takes off aboard a tie fighter. Inside the hangar, she orders a tie pilot to take her out just in time to escape the Starkiller exploding (but not before ordering two other troops to stay at their posts. Sorry/Not sorry.) From there, we’ll have to wait until issue two to see if she can track down her scapegoat and make him pay for the crime she committed before the truth gets out.
This was a slam-bang first issue and I loved it all: from Phasma’s deviousness to the way the officer’s log was used to show how clever she is, to the amazing artwork. Her polished armor has never looked cooler, and the scenery matches the feel of the film perfectly. Writer Kelly Thompson is in top form here. Between this, the recent Generations: Hawkeyes issue, and the regular run of Hawkeye starring Kate Bishop, Thompson is really killing it this month. I cannot wait for the next issue.
For anyone else disappointed with Phasma from her briefest of brief appearances in TFA, this comic will give you some closure. It is full of great moments that give us a sense of who Phasma is and it builds on the unfortunate treatment she received in the movie in a fun and cool way that makes it almost forgivable. With each page turn, I couldn’t help but smile. This was the Phasma I was waiting for.
I love Star Wars, and I love villains, and Phasma is finally shaping up to be one of the better ones in the Star Wars universe thanks to Kelly Thompson. Here’s hoping that her appearance in The Last Jedi is as good as this comic.
Fanfinites rating – Perfect 10/10!
Journey to Star Wars: The Last Jedi – Captain Phasma #1
Writer: Kelly Thompson
Artist: Marco Checchetto
Colorist: Andres Mossa
Letterer: VC’s Clayton Cowles
Images courtesy of Lucasfilm and Marvel Comics
Saga: On the Nature of Tragedy
This comic doesn’t run short of terrible moments, which occur ripe for our enjoyment. This alone plays into the theatrical character of tragedy. That is, narratives surrounding the fall of the mighty and the despair of the innocent. Curiously, this issue begins with Gwen, Sophie and Lying Cat watching the news of Phang’s traversing the Timestuck, while knowing better on the true outcome to unfold. We’ve all watched news in a similar fashion, not necessarily knowing or suspecting a different dynamic at play. After all, real life also doesn’t run short of terrible moments, never to anybody’s enjoyment.
But what sets these characters apart is the fact they’ve had a hand in the writing of that narrative. One way or another, it’s a case of the author beholding their handiwork. Feeling horror at best, indifference at worst. This is how we’ll approach the climax to the darkest story arc in Saga so far. The Sophoclean dynamic is known to us already. Knowledge, however, doesn’t soften the impact, nor the horror.
“Of course hell is real.”
The Phang scheme has now been exposed as something of a manufactured catastrophe. A risky play in a game board where countless lives are at stake. Such is war. In spite of the religious zealotry, the introduction of Jebarah, Kurti, and their tribe has nuanced our impression of Phang. Suddenly, the comet is not just Sophie’s homeworld wherein she was sold to serve in Sextillion. It’s now a piece on the board, a pawn intended to serve the long game. But as Sophie is quick to observe as we open this issue, there is a great cost to pay in spite of the damage control via massive evacuations. Here she asks Gwen a more than pertinent question. At what point do the necessary casualties become too many to win a war?
Gwen, in her cool, analytical demeanour, can’t give an actual answer to that question. But no matter, the subject is put to rest for the night as Gwen’s wife, Velour, comes in…with cupcakes. Talk of cold pragmatism in war and cupcakes simply cannot co-exist under the same roof. Let nobody tell you otherwise.
Interestingly, we get a little of that Hazel-retrospective-narration during the transition from Wreath to Phang. She addresses the concept of evil as something arbitrary and depending on the perspective of the accuser. This may well be a caution against observing some questionable means as simple ‘evil’. Then again, mileage varies. A taboo coupling is nowhere in the vicinity of a potential genocide in the making.
Now, let’s hold on to that thought for a moment. Evil can also be construed as a misguided harmful action or intent against the innocent. Thus the definition of ‘evil’ may also apply to someone like Sir Robot, who had Alana and her baby at gunpoint last issue. Fadeaway influence and an ocean of guilt notwithstanding, such an action would put Sir Robot in a place beyond redemption. His intent no longer comes into consideration, because the character would have become a verb, encompassed only by his despicable deed. Marko is very aware of this, which is why he proceeds to execute Sir Robot. In turn, this would also affect Marko, if his apparent definite return to violence last issue is for real.
However, Petrichor interrupts him with a more important subject. She has found fuel in the The March’s ride, which should allow them to escape Phang before it hits the Timestuck. All of this is news to Sir Robot who asks why they haven’t left yet. The answer is no peaceful matter to Petrichor, as she tells them Alana has offered Jebarah and her tribe a ride. Petrichor addresses the potential smell problem of an overcrowded treehouse rocketship. But one has to take the tribe’s devotion for the Timestuck into consideration before giggling about the prospect. And indeed, Jebarah’s answer to Alana’s offer is just what we dread.
The matron only sought Alana at this moment to return Marko’s blade. As for her family, however, they have no intention of ever leaving this comet. Her kind of faith is one that blinds her to imminent destruction. Under the circumstances, it’s more than frustrating to hear Jebarah’s assurance that the Creator will see them through this catastrophe. Alana attempts to threaten Jebarah into coming along by pointing her rifle at her, but the latter pays no heed. Her parting words are a name suggestion for Alana’s baby. ‘Kurti’, which means ‘sunshine’ in their tongue. Should Alana indeed name her child that, Hazel’s brother would be a living eulogy to the friend she’s about to lose. And she doesn’t even get to say goodbye to him.
Quoting Hazel’s narration, this farewell is as sudden as it is baffling.
Elsewhere, someone else is trying to cope with a different farewell. The Will, or Billy if you would, seems to have relapsed into heroine after the second parting with Lying Cat, Gwen and Sophie. As we’d expect, this features The Stalk’s return as his mental projection of choice. Such is the form his wish fulfillment takes. The one that tells him to get back on Marko’s pursuit to win his companions back. The opposing drive, the one to move on, then appears, taking the form of his sister. Of course, this makes for a very ‘peculiar’ twist of the ages-old debacle between the Angel and Devil on each shoulder. All the while, Sweet Boy keeps vigilance while his Master masturbates.
The black humour in this setting takes a wrong turn as an unknown presence shoots Sweet Boy, killing him. (Insert a several weeks-long NO here, thank you very much.) The strange-looking killer shows up from the shadows, shooting The Will as well, but only to incapacitate him. They claim to be exacting revenge on the former Freelancer for killing someone they loved. Billy seems to have gone from being accessory in a vendetta to being the recipient of another. Something of a snack in the middle of the main course indeed. Nothing to sneeze at in regards to disturbing and heartwrenching, though.
Back to Phang’s orbit, where we learn the purpose of that cube thing Agent Gale obtained from Gwen last issue. After blasting a friendly Robot Kingdom craft intended to secure Phang’s safe passage through the Timestuck, two Landfallian dudebros use the cube Gale obtained from Gwen. Obviously, this is what those shady orders led to, and the source of Sophie’s inner conflict. The cube is a device to awaken the Timestuck, turning it into a living bomb. Instant apocalypse right there. And here is where it all gets really dark, really quick.
A lot of detail went into facial expressions. But the faithful capturing of emotions onto paper may do the reader’s heart a disservice. Hazel’s narration also adds a good deal of pain. In just two pages, Saga becomes truly merciless.
The Timestuck’s destruction occurs on the background while Jebarah rapturously speaks to her people. Fat load of good that will do. An explosion inside the giant baby’s body violently shakes the family’s rocketship just as they’re about to take off. Hazel’s family manages to escape in the nick of time, thanks to Petrichor’s quick fuel recovery.
However, although they get away safely, the impact has cost Alana her unborn child. Through alternating panels, we see Alana and Marko mourning their child, as well as the doom befalling Phang’s population, in frightful detail. The final actual image we get is Kurti falling under the black tides of Phang and the Timestuck’s entrails, desperately pleading for his life.
… and the rest is silence.
Alana, Marko and Hazel have all left something of themselves behind in a world become synonymous with catastrophe. Innocence and hope lie both sunken in the Phang’s dark waters.
Alas, the story goes on. Stay tuned, my friends. The sunrise follows even after the longest, coldest of nights.
Saga Issue #42 Credits
Writer: Brian K. Vaughan
Artist: Fiona Staples
Images Courtesy of Image Comics
Air Capital Comic Con Sticks To Its Roots
The comic convention used to be exactly what it sounds like: a way for the “Marvel Zombies”, “Batmaniacs”, “Shellheads”, and “Wingnuts” who braved the comics shops of the world for their monthly dose of multi-colored, multi-panel heroism; to get together with their own people. They traded old comics and new ones, wore homemade costumes, and argued over nonsense. The guests were artists and writers of the comics themselves, and the con was a chance for them to meet the people who loved their work.
But slowly but surely, the TV and movie conventions began to merge with the comic cons. With most of the con-goers belonging to multiple fandoms, for many, it was a no-brainer for them to consolidate. The nerds of the world rejoiced as they could at one stall meet the creator of Batman and in the next meet the Adam West who played him on TV. But, slowly but surely, the movie and film stars became the attractions at these cons. While no comic-con has truly shaken its comic book roots, it can be hard to find one today that still maintains that old school purism. But don’t fret true believers, there’s one in Wichita, and I attended it last weekend.
Air Capital Comic Con was co-founded in 2013 to help give the city of Wichita a yearly comic convention of its very own. Since then, it has only grown. The fans in Wichita that for years had to travel hours to Kansas City or Oklahoma City to scratch their nerd itch now only had to drive downtown. But Wichita is not a large city, and the convention itself reflects that.
Taking up a single exhibition hall iatWichita’s Convention Center, it’s easy to walk from one end of the con to the other. I felt strange walking by some of the same booths as I wandered around and took everything in. But size matters not, as they say, and the number of guests in attendance would no doubt be in line with a con twice the size of Air Capital.
The guest list, as I alluded to before, was almost entirely pulled from the halls of comics. Creators from Marvel, DC, Dark Horse, Image, Boom! and the indie scene made for a stacked roster for fans to mingle with. Big names included Greg Smallwood (Moon Knight, Dream Thief), David Gallaher (High Moon, Box 13), Steve Ellis (Skinwalker Studios), Alexis Zirrit (Space Riders) and Kevin Nowlan (Tomorrow Stories, Superman vs. Aliens). But it was not all old school, as the con also invited multiple high profile cosplayers as well, such as The Hive (Resident Evil Cosplay Collective), Children of Proteus (Aquatic Steampunks), Deadpool’s Chimichanga Shack., and the local chapter of the 501st Legion.
The vendors and artists in attendance ranged from toy shops and comic stores to cosplay gear and jewelry, to a “psychic cartoonist” named Lord Julius Pandhandle. The actually quite healthy Wichita writing scene (cough) was in attendance as well, with bestselling fantasy author Tamara Grantham, sci-fi scribe Tim Hunter, and master William Schlichter all meeting, greeting, and signing books alongside newer writers like AR Crebs and Dakota Caldwell (in character as his book’s main villain).
The attendance was a mix of the old, hardcore nerds who’d met Stan Lee when he wore gold medallions, parents bringing their kids for a day out in their best Spider-man costume, and teenagers dressed as anime characters hanging out with their people. And there was something for everyone. Local game shops and developers had a board gameplay area, and Wichita’s video game bar and e-sports org helper put together a huge array of consoles from the NES to the PS4 for people to play to their heart’s content. On the upper balcony, panels ran every few hours discussing things like villains and the comics industry. It even hosted a nerdy version of The Dating Game.
Overall, it really was a good con. I’m spoiled in that my home city of Indianapolis hosts multiple huge cons, including GenCon, every year. And Air Capital isn’t near that big or exciting. That is no slight, however. I loved the heart that Air Capital Comic Con had, and the real sense that it was part of a thriving community. There was no flash or glitz, just passion, and good old-fashioned nerdiness. They know there is nowhere to go but up, and they maximize everything they can. If you’re in the area next November or are wanting to add a stop for a promotional tour, you won’t find a better home than Air Capital Comic Con.
Images courtesy of Air Capital Comic Con
A Bride’s Story is the Women’s Story You Were Waiting For
A Bride’s Story is a manga by Kaoru Mori (also responsible for Emma). Started in 2008, the series is still running and counts 9 volumes. It takes place in 19th century central Asia and follows several characters in their daily lives. The story is mainly focused on women of the region, but there is also the point of view Henry Smith, an English researcher. Anything else notable? Oh, I just remembered: it is really good.
Talking about a really good manga series could be enough on its own. But you know what’s even better? It is focused on women and their lives. Different women, with different lives, their work, their achievements, their pains. And it is written in a total love of all women. A good manga series, written by a woman about women? What else could we be asking for?
The Story of A Bride’s Story:
I am starting to not like this choice of title very much. But anyway, the manga opens on Amir and Karluk’s wedding. Amir is twenty whereas her husband is twelve (don’t worry there is no weird sexual content between the two). It is not the only thing that separates them. Karluk comes from a mainly sedentary village. Amir’s tribe still has a pretty nomadic way of life. Both spouses are pretty different so the first chapters of the manga follow their adaptation to each other (and to her in-laws in the case of Amir). The presence of Smith also allows the point of view of an outsider into the family.
The story then expands to other members of the family, friends, and neighbors, as well as people Smith will meet during his travels. Yet the story isn’t all over the place. We follow their lives and emotional development. And when Kaoru Mori focuses on one character she takes the time to tell their story. Even if she has to leave aside other characters for some time. But this is not a problem, as it is crystal clear she loves all her characters and will do them justice in time.
A Bride’s Story is going to focus on every aspect of the characters’ lives. There is high drama(military attack of one family on another) but also daily life (learning how to sew, finding your vocation).
In short A Bride’s Story is a really good read. But it is not the only thing that draws you in the narrative.
Art so gorgeous it sucks you in the story:
Another strings to Kaoru Mori’s bow which help you being completely absorbed in her world is that…
Which, considering the time we spend speaking about craftsmanship, is important. Having a visual representation worthy of the script is only doing it justice. If you don’t want to travel to central Asia to discover their handicraft after reading A Bride’s Story you are a liar, and that’s all there is to it. The characters and the details are insanely comprehensive. But we are also given amazing and dynamic action scenes.
This incredible art and interesting story combine to give us a narrative uplifting women at every turn.
An Hymn to women’s lives:
A Bride’s Story focuses, as its name clearly spells out, on brides. Sometimes young brides, sometimes bride-to-be, sometimes widows, but always women facing married life. And no it is not reductive. During the 19th century, marriage was (and still is in some cultures) one of the main events of a woman’s life. It was a literal change of family, of environment, and the real beginning of her adult life. So focusing around this event is not reductive. Quite the contrary. It reminds us that, as long as she is a good person, every woman’s life is worth telling.
Kaoru Mori spends a lot of time on women’s daily activity. Sewing of course (if the manga doesn’t give you a mighty need to start sewing you are a liar), but also cooking, taking care of the herd etc. Everything is worth the author’s attention, and ours. Do you know why? Because it is important work done with care. And this ask for our interest and respect.
Another thing which is incredibly well done in A Bride’s Story is the relationship between this women. They are supportive of each other. There is a mother-in-law ready to sacrifice herself to save her daughter-in-law. When Amir learns that she should go back to her family to marry another man because all the brides they have sent are dead (killed by their husband) she is not only crying because she is terrified. She is crying because she knew both of this girls and is devastated by their death. And the person reassuring her and saying that she is « not going anywhere » is her husband’s grandmother.
There are as many positive women relationship in there as there is stars in the sky. And not always just filial relationship. But also mentorship, friendship and emh…
And the icing on the cake is that every single one of these women is different from the others.
No wrong way of being a woman:
Truly it is refreshing to read about women helping each other. It is even better when they are allowed to be different. Because let’s be real, often in fiction women are created to oppose each other. The “good” kind of woman opposing the “wrong” kind of women. Just look at The White Queen and The White Princess, in which motherhood is glorified and “good” women are rewarded with it whereas “bad” women, women having a “man’s” ambition, became sterile and loveless.
Well, in A Bride’s Story we have traditionally feminine women who are soft gentle and love sewing. We have unconventional women who like to hunt and ride but are still good at feminine tasks (but let’s be real Amir is an amazement in universe too) and others which are not. We also have what other media often depicts as “failing” women, but are just unsure of who they are.
In short, Kaoru Mori is standing on her mountain screaming “They are all my daughters and I love them all!”. And trust me ,it feels good to be, as a reader, welcomed into this story.
To the surprise of no one, I heartily recommend reading A Bride’s Story. As a first manga, if it is your first, it might be putting the bar a bit high for future dives into the medium. But there are worse problems to have. Just to add to all I’ve said above, we also have good and interesting siblings relationships (my passion), making this manga almost without fault. It is worth a try. It really is.
All images courtesy of Yen Press.