Whatever they touch turns to myth

On Tuesday, I went to the Houses of Parliament to see disgraced MP Phil Woolas give a talk which had nothing to do with his disgrace - he came across like a pretty nice bloke, in fact. Some tangents of the discussion related to that old, infuriating question - why do so many members of the working classes vote against their own interests? Why does the Right always do so well at getting traction for lies, from the Zinoviev letter to climate change denial? And at the heart of the answers, in that nagging way which you know is on the route to a much bigger answer nobody can quite find yet, was the suggestion that the Right has better imagery. Not in the SS uniforms sense; just that, particularly for working class women trying to run a household on a shoestring, the idea of national budgeting as being kin to household budgeting makes intuitive sense in a way the paradox of thrift never will.
And then afterwards, I came home and watched a documentary about bottled water, looking at how firms make billions selling people something that tastes the same as the stuff from the tap (more or less - I've known one or two areas where the tapwater does taste a bit iffy, but never one where it tastes worse than Volvic).
Both these things represented good work by smart people. But really, given neither of them had any suggestions on how to change the problems they were anatomising, I found a more satisfactory analysis in the past few weeks' Batman comics by My Chemical Romance* video star Grant Morrison. This is not unprecedented; when everybody was spaffing over No Logo, I was unimpressed because it was pretty much just the footnotes to one issue of Morrison's Marvel Boy miniseries, in which our alien hero fights Hexus, the Living Corporation. It's a truism to describe a writer as fascinated by ideas, but where Morrison is especially good is in seeing the connections between language, magic and branding. To briefly summarise what he's been doing with Batman, and anything which is a spoiler here has either been widely advertised or was bloody obvious anyhow: Bruce Wayne got thrown back in time by the evil New God Darkseid. He was presumed dead, so Dick Grayson, the first Robin, stood in as Gotham's Batman. In fact, Bruce was fighting his way back through time to the modern day as part of Darkseid's wider plot. So far, this is just a moderately diverting adventure story. But. Darkseid's wider plot is about the use of ideological weaponry, "hunter-killer metaphors", killer ideas. Twisting what Batman represents - the triumph of the human will - into a poisonous, negative force (easily done, when you consider what Triumph of the Will so often means). Turning all our efforts against ourselves. And having seen this, when he gets back to the present day Bruce Wayne does not do the obvious thing and simply become Batman again. He leaves Dick as Gotham's Batman, and decides to start a global Batman franchise; Morrison has ditched the rest of the comics to start a new one, Batman Incorporated, in which Bruce Wayne will tour the world** looking for these Batmen. Because Batman was always about branding, wasn't he? Bruce Wayne as a vigilante got a serious beating, but then that bat came through the window, he became Batman, and since then - in spite of having no superpowers - he's basically invincible. So when evil is everywhere, why not expand that brand?
Of course, how one applies any of this in the real world, I still don't know. I wish I did.

The other new comics of interest to crop up lately both involve work from Team Phonogram. Gillen's got a new X-Men spin-off, Generation Hope, which will hopefully last longer than his last X-Men spin-off, the delightful, tragically short-lived S.W.O.R.D.. And McKelvie - whom even Marvel editorial are now calling Kitten - illustrates Warren Ellis' back-up strip in imprisoned psycho supervillain miniseries Osborn. I read Freakangels online, but this is the first Ellis comic I've read on paper in a while, because he's a terminally unpunctual sod and both titles of his I read are more than a year overdue for another issue. And the main thing it made me think, especially with Jamie drawing, was that Warren Ellis now reads like a man trying to write like Kieron Gillen.

Beyond that, Peter Milligan's Extremist has finally been reprinted as part of Vertigo's anniversary celebrations. Whenever people misconstrue the name and assume that the Punisher is some kind of S/M superhero, I have to explain that no, that's the Extremist, except that's long out of print. Except now it's not! Hurrah.

In less happy news, the latest bunch of people complaining about a film getting a superhero wrong, are making themselves look even more like morons than usual because it isn't. Pity's sake, there was even a ginger Green Lantern before there was a black one. And as for 'the only black superhero', well, yes, if the cast of the Justice League cartoon in its early, less good seasons is the complete roster of superheroes you know, but in that case, shut up until you get 1 x Wikipedia. Hell, War Machine was in Iron Man 2, hardly an obscure production.
Oh yeah, and it turns out that even when, staggeringly, he manages not to fall out with the publisher - J Michael Stracynzski is incapable of finishing his promised run on a monthly comic! Anyone else remember when he used to be a genius? I'm starting to wonder if I dreamed it.

*If anybody lets me DJ anytime in the foreseeable future, I am totally going to open with 'Na Na Na' and its intro, because it is one of the year's best pop songs. However, thus far I am not loving its parent album. As with The Black Parade, MCR have become a fictional band to free themselves from perceived constraints, which is fair enough. But whereas the Black Parade were a goth Queen, which is to say bloody brilliant, the Fabulous Killjoys are a pop-punk band. Something of which the world is not short and, as a rule, they don't have that many great songs.
**Despite the timing, there seems to be no cross-marketing with the Batman Live World Arena Tour; I'm reading the damn comics, and I only learned of the tour from ads on the Tube.