Tag Archives: superhero comics

Upheavals At DC Comic: My Concerns And Hopes

Let’s face it. Pretty much every industry not associated with health care, masks, streaming media, and Zoom calls has been hit hard this year. That’s especially true for certain segments of the entertainment industry. Basically, if you’re a movie studio, a movie theater, a comic shop, or a mall, this year has been like 100 punches to the gut, jaw, and genitals by a crack-fueled Ivan Drago.

That’s how bad global pandemics are. They pull no punches and will hit anything that attempts to prosper, both directly and indirectly.

Those blows extended to the comics industry, as well. As a lifelong comic book fan, I certainly felt it. I haven’t forgotten the weeks on end of having no new comics to enjoy for the first time in over a decade. It was not a pleasant experience. As elated as I was to see New Comic Book Day return, I didn’t doubt for a second that there would be some lasting scars.

Well, now it seems some of those scars are starting to fester and the first one to feel the pain is DC Comics. According to The Hollywood Reporter, the entire DC Comics operation has been hit with major layoffs and restructuring. It’s still intact, but make no mistake. This is the single biggest purging of personnel from a major comics publisher since the mid-1990s.

THR: DC Comics, DC Universe Hit By Major Layoffs

Monday’s WarnerMedia layoffs have affected a significant number of high-level figures at comic book powerhouse DC, multiple sources tell The Hollywood Reporter.

Among those said to be losing their positions are editor-in-chief Bob Harris, senior VP of publishing strategy and support services Hank Kanalz, VP of marketing and creative services Jonah Weiland, VP global publishing initiatives and digital strategy Bobbie Chase, senior story editor Brian Cunningham, and executive editor Mark Doyle, who oversaw the rollout of the Black Label graphic novels. Jim Lee remains the CCO.

Roughly one third of DC’s editorial ranks are being laid off, according to sources.

Insiders also say the majority of the staff of the streaming service DC Universe has been laid off, a move that had been widely expected as WarnerMedia shifts its focus to new streaming service HBO Max.

I can’t understate how big a deal this is to the larger world of comics, but I don’t want to overstate it, either. This situation is objectively bad. There’s no way around it. It’s also not the definitive end of DC Comics. That’s a narrative I don’t want to fuel.

That hasn’t stopped some of the whiniest, dumbest segments of the comics crowd from claiming otherwise. I won’t name names, but they are affiliated with a certain movement in comics that has only become less credible and more insufferable with time. The box office return of the “Captain Marvel” movie is proof enough of that.

Don’t be fooled by what some asshole voices on social media claim. This restructuring is not because DC Comics had too much diversity. It’s more a byproduct of DC Comics having lost its sense of vision, scale, and identity. This is something that happens from time to time in comics. After a while, the whole line loses its sense of self and needs some revitalization.

I can say, as a longtime comic fan, that DC has become somewhat stale in recent years. Even before the pandemic, I felt as though it had lost momentum outside its mainstays. It has primarily been relying on the strength of Batman, Wonder Woman, Superman, Green Lantern, and Flash. As iconic as those characters are, they just can’t sustain the entire line.

There are many reasons for that. I think DC Comics, as a whole, hasn’t had a consistent vision since the days of DC Rebirth. It just got bogged down too much with competing visions, like DCeased and Injustice: Gods Among Us. It also endured way too many delays with its last big crossover event, Doomsday Clock.

The onset of the pandemic just exacerbated a problem that was starting to grow. As bad as things are now, there’s also an opportunity to set things on a better path. That’s my greatest hope for whatever restructuring DC pursues next. It still has plenty to build on. The success of the Harley Quinn show is proof enough of that. It’s just a matter of what form that will take.

That said, I do have major concerns. Comic lines have gone through upheavals before, but never during a global pandemic. This is uncharted territory for the comics industry, as a whole. This is not the era of newsstands and comic shops where top books could easily sell hundreds of thousands of copies. Paperbacks alone are not going to make this industry succeed.

Comics, in the current system, work best as a garden from which new characters, stories, and ideas can blossom. The fruits of that system can later become the basis for TV shows, movies, merchandise, and so much more. DC Comics already has a major media partner in its owner, AT&T. The structure is there. They just have to carve their niche into it.

I understand that’s easier said than done. Right now, a lot of factors are working against DC and the comics industry, as a whole. When all is said and done, comic shops may become much more diminished and trade paperback sales may dwindle to just a handful of titles. I’m not looking forward to that kind of status quo.

The ultimate setup may one day involve DC Comics just abandoning its publishing system, as a whole, and shift to licensing its characters to other companies, such as IDW. That’s very much a last resort, but one that may be more likely if DC can’t get its comics in order.

I want to be hopeful, but I’m also going to brace for the worst. If 2020 has taught me anything, it’s that things can always get worse and the things we love are always capable of succumbing to forces beyond our control. It’s a sad, nihilistic mindset, but one that a global pandemic tends to affirm. Only time will tell and I’ll be waiting with baited breath.

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Filed under DC Comics, media issues, superhero comics

New York Comic Con 2020 Is Cancelled (And Everything Is Worse)

In case I haven’t made it clear enough, this year fucking sucks. I want nothing more than to purge the year 2020 from my memory. Every week, it seems, a new brand of awful emerges to crush our collective spirits. Most of it stems from the global pandemic that has cancelled damn near everything we love.

Some of those cancellations hurt more than others. Personally, I can endure going a year without the NCAA basketball tournament. I can even endure NBA and NHL playoffs getting pushed back. Those are painful, but they’re bearable.

Then, there’s the New York Comic Con. Losing that is a different kind of pain. Losing that hurts me on a level that I cannot put into words. I’ve been bracing for it ever since the San Diego Comic Con got cancelled.

Finally, it became official and still, it hurts. As bad as this year has been, this just makes it utterly irredeemable.

Verge: New York Comic Con is Cancelled

New York Comic Con’s physical presence is canceled this year. The annual convention typically takes place in Manhattan’s Javits Center. Organizers announced today, however, that “it likely comes as no surprise that NYCC 2020’s physical event at the Javits will not be able to run as intended.”

Because of the pandemic, all major events this year — including Google I/O, E3, and SXSW — have come to a stop. Organizers canceled San Diego Comic-Con in April for the first time in 50 years in favor of an online event. NYCC will follow suit with an online-only event, taking place October 8th-11th, through an online portal dubbed New York Comic Con’s Metaverse. “We are partnering with YouTube to bring to life four days of incredible content from the biggest studios, publishers and creators in the business,” organizers said.

Although digital is the best effort any event can safely make, events like Comic Con are social affairs. The fun for many fans is dressing up, seeing favorite celebrities in person, and spending time with fellow geeks. Online events are also ripe for logistical problems; SDCC’s online event, which took place late last month, had streams taken down due to copyright claims or required fans to have access to several streaming platforms.

I’ll say it again and I’ll belabor it as much as I damn well please. This hurts me. This hurts me a lot. I don’t care for some live “virtual” event. That didn’t work for San Diego. It’s not going to work here, either. Having a virtual comic convention is like having a virtual massage. It’s just not physically possible.

I’ve been going to the New York Comic Con every year since 2012. I’ve documented some of those trips. What makes it worth going to has less to do with the news that often comes out of these conventions and everything to do with the experience. You cannot replicate that with a fucking livestream video that cuts out and gets interrupted by shitty insurance commercials ever 20 minutes. You just can’t.

You go to congregate with your fellow fans.

You go to share a colorful, engaging experience with people who share your interests.

You go to meet new people, bond over your hobbies, and enjoy the many activities that you can experience in New York City.

Now, I’m not the most socially capable person on the planet, but at the New York Comic Con, I feel like I can connect with anyone. I can make new friends, flirt with cute girls, and share memorable moments. It’s an experience surrounded by spectacle. There’s just so much to see and do. The idea of not being able to do it this year is just soul-crushing.

I get why it can’t go on. Given the crowds at the New York Comic Con, it’s not exactly easy to social distance. We’re in a pandemic. Thousands have died and thousands more are likely to die before all is said and done. It’s awful. It’s taking lives and destroying the things that make life worth living.

There’s no upside. There’s no hope, aside from waiting another year, assuming the world is still intact. I’m willing to be patient, but my spirit is now fully and utterly crushed. The New York Comic Con is cancelled this year and everything is worse. There’s nothing more to say.

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Filed under Current Events, superhero comics, superhero movies

Jack’s World: Why You Should Be Reading Boom Studios’ Power Rangers

The following is a video I made for my channel, Jack’s World. It was originally going to be one of my comic gems, but given the scope and scale of the Power Rangers comics in recent years, I felt it warranted something bigger and mightier. Enjoy!

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Filed under Jack's Comic Gems, Jack's World, superhero comics, television, YouTube

Jack’s World: X-Men Supreme Reflections Jean Grey (Featuring DC-MarvelGirl 1997)

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The following is a video for my YouTube channel, Jack’s World. It’s similar to a video I did a while back that brings to life an excerpt from an old fan fiction project of mine, X-Men Supreme. For this one, I’m doing it in collaboration with my good friend and fellow YouTuber, DC-MarvelGirl1997.

I can’t thank her enough for doing this for me. Unlike me, she has voice acting talent. She kindly lent it to this video and I’m very pleased with the results. Please check out her channel for more videos like this. I hope this is the first of other similar collaborations. Enjoy!

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Filed under Jack's World, superhero comics, X-men, YouTube

Jack’s Comic Gems: The Life Of Captain Marvel

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The following is a video I made for my YouTube channel, Jack’s World. It’s the first in what I hope to be a series about the special, often overlooked gems in the world of comics. I plan on making others like it. Let me know what you think. Enjoy!

 

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Jack’s World: X-Men Supreme Preview Trailer

The following is a new video from my YouTube Channel, Jack’s World. It’s a trailer for an old, but epic fan fiction project I worked on several years back. Enjoy!

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Superman, All-Powerful Gods, And What Sets Them Apart

superman

Superheroes mean many things to many people, especially at a time when superhero movies routinely dominate the box office. For some, they’re just gimmicks, fads, and marketing tools by big media companies. For others, they are akin to modern day mythology. It’s an apt comparison. Even contemporary heroes have a lot in common with the mythological legends of the past.

Some take it even further than that. Some will go so far as to claim that superheroes are filling the same roles as gods and deities. It’s not just the ones based on Norse or Greek mythology, either. In many respects, many iconic heroes fit many of the common traits ascribed to gods.

Superman is all-good.

Thanos wielding the Infinity Gauntlet is all-powerful.

Lex Luthor, Dr. Doom, and even Mr. Fantastic are so smart that they might as well be all-knowing to most people.

Such divine, god-like feats make for iconic stories that offer lessons and insights on everything from morality to justice to society, at large. While superheroes aren’t worshiped within organized institutions or granted tax-exempt status by governments, they utilize a similar structure to that of other holy texts.

The narrative surrounding superheroes revolves around good, evil, and the struggles that occur in between. Both the good and the evil in these stories takes the form of some grand, larger-than-life character who embodies these traits and implements them on a level that’s impossible for ordinary people to comprehend. That’s what helps make the message so powerful.

However, it’s the qualities that set superheroes apart from deities that offers the most insights. I would even argue those insights are more critical now than they were before Superman, Batman, or Iron Man ever showed up on a movie screen. At a time when organized religion continues to exert immense influence on society, we should be scrutinizing these discrepancies.

I hope it goes without saying that modern superheroes can only do so much to compare with the deities of organized religion. No matter how much money “Avengers Endgamemade at the box office, it will never exert the same influence that the three main Abrahamic faiths have imparted over the two millennia. For better or for worse, history, politics, and the entire species has been influenced by these religions.

The most notable and obvious difference between them and superheroes is that the deities of religion aren’t presented as entertaining fiction. To the believers of Christianity, Judaism, Islam, and many other religions, the deities and the characters in their holy texts are real. They’re not myths or legends. They’re real people and real forces that have real effects.

Regardless of how true that is, and I know atheists will point out how none of those effects can be verified, this is the critical difference between superheroes and deities. Adherents don’t just believe that these characters are real. They place their trust and faith in them, believing that doing so will guide them in life and protect them in death.

I understood this difference as a kid. I was both a fan of superhero comics and surrounded by relatives who were devout believers. I knew they didn’t see their holy texts the same way I saw Superman comics. Superman was just another character. They knew who created him. They knew he was a licensed fictional character from DC Comics.

However, even back then, I found myself wondering whether those same relatives would see Superman differently if they didn’t know he was a comic book character. I imagine if there were old stories about him from centuries ago, written as though they actually happened, they might be less inclined to discount him as fiction. Some might actually be more inclined to place their faith in him over other deities.

It’s an interesting thought experiment, but it only scratches the surface of what sets superheroes apart from ancient lore. Aside from how real people think these characters are, and some take it much further than others, the standard superhero narrative reveals something striking about the standard religious narrative.

To illustrate, take a moment to contemplate how Superman goes about being a hero. As the gold standard of superheroes for the past 80 years, he sets the highest bar and embodies the highest ideals for a hero. On top of that, he has powers and abilities on par with many deities. At times, he has been shown as capable of destroying an entire solar system with a single sneeze.

Despite all this power, Superman seeks only to help humanity. He doesn’t ask for praise, worship, payment, or sacrifice. He simply does it because it’s the right thing to do. He’s the ultimate paragon, selfless and compassionate to the utmost. The people of Metropolis, and the world at large, don’t need to have faith in him. They just need to trust that he’ll keep doing the right thing.

Contrast that with the deities in holy texts. Many are every bit as powerful as Superman, but display qualities that aren’t exactly heroic. Certain versions of certain deities have been shown to be petty, jealous, and vindictive, sometimes to an extreme. A deity does often help or guide believers in a conflict like a superhero, but it’s rarely done out of pure altruism.

These deities, many of which are believed to have created humanity and the world, exercise a certain level of authority over people. It’s not always outright forced, but the nature of the story provides plenty of incentives and/or punishments to those who rebel or subvert that authority. Some become cautionary tales or outright villains.

Some villains are sexier than others.

In this context, the religious narrative builds an over-arching theme that has little room for heroics. These deities and super-powered beings aren’t necessarily there to save the day. They’re there to maintain the order that they helped create. They function as the glue that holds the universe and humanity together. Anyone or anything that goes against it requires recourse from both adherents and divine forces.

We often see this manifest in the real world when religious people argue that things like homosexuality, which is often condemned in holy books, are this bigger threat to the world. That’s why you’ll hear plenty of dogmatic preachers claim that homosexuality won’t just give people distressing thoughts. They’ll say it will destroy society.

Religious dogma, by its nature, depends on a strict adherence to what is the status quo for a particular place, people, and time. Defending it isn’t just seen as an act of piety. It’s akin to a superhero saving the day from evil forces. Whether those evil forces are demons from the underworld or a gay couple who want to get married doesn’t matter. It’s all about preserving a system.

Conversely, superheroes like Superman don’t limit themselves to a status quo. They’re less driven about how things are and more focused on how things could be. Superman doesn’t just want to save the day and help people who need it. He seeks to give people an ideal for them to aspire towards. This is perfectly reflected in his father’s message to him, as read by the late Marlon Brando.

It is now time for you to rejoin your new world and to serve its collective humanity.
Live as one of them, Kal-El
Discover where you strength and your power are needed
Always hold in your heart the pride of your special heritage
They can be a great people, Kal-El, they wish to be
They only lack the light to show the way
For this reason above all, their capacity for good
I have sent them you, my only son

It’s in this defining message that the superhero narrative distinguishes itself from religious traditions. These superheroes, as powerful as they are, didn’t create us. They don’t hold any inherent dominion over us. They didn’t create the current situation, however flawed it might be. They still seek to help people, carrying out feats that others cannot. That’s what makes them heroes.

One fights to maintain what society is while the other fights for what society could be. These narratives can exist alongside one another and can carry greater meaning for certain people. There are critical lessons in both, but I believe the lessons of Superman are more relevant than anything offered by the stories of religion.

For much of human history, organized religion was part of that social glue that helped keep society stable. For a good deal of that history, society was only as stable as the conditions around it. People hoped and prayed that there wouldn’t be a famine, a storm, or some other catastrophe that they could not control. Survival, even among kings and emperors, was their primary concern.

Things are different now. At a time when food is abundant, poverty is in decline, and education is more widespread than ever, survival isn’t enough. For a planet of billions to thrive, people need to prosper. Doing so means aspiring to something greater than the status quo. That’s exactly what superheroes embody.

That’s not to say that the rise of superheroes is directly linked to the ongoing decline of religion, but the contrasting narratives reflect just how much priorities have changed. Superheroes don’t demand faith, sacrifice, and reverence, just to keep things as they are. They go out of their way to save a world that they believe is worth saving, hoping that it can better itself.

They can help, but they can’t do it for us. That’s another trait that Superman demonstrates, much to the chagrin of villains like Lex Luthor. Like deities of old, he doesn’t use his powers to achieve everything for humanity. He seeks to empower them to achieve those feats on their own. That process of aspiring to be greater than is often an affront to a religious narrative, but critical to the themes of superheroes.

Even if superhero movies stop making billions at the box office, the over-arching message will still be relevant. Faith in what is just isn’t as appealing as hope for what can be. The gods of religion offer comfort in familiar order, but superheroes can inspire hope in something better. Given the many flaws in this chaotic world, I believe that hope is more valuable than any ancient doctrine.

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Filed under extremism, human nature, philosophy, religion, superhero comics, superhero movies, Thought Experiment

The Spider-Man Paradox: Power, Responsibility, And Guilt

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My YouTube channel, Jack’s World, is still very new and still has plenty of room to grow. I really enjoyed making my video on “Dark Phoenix.” That’s not surprising. I enjoy talking about superhero media in general. To that end, I’ve made another video, this time on Spider-Man. I originally intended to make it an article, but I think it works much better as a video. Enjoy!

If you have any suggestions for topics you’d like me to cover in a video, especially the superhero variety, please let me know.

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Filed under Jack's World, Marvel, psychology, Spider-Man, superhero comics, superhero movies, YouTube

How To Save The Comic Industry (In Four Easy Steps)

The comic book industry is in a state of crisis. I know you can say that about a lot of industries amidst a global pandemic, but the comics industry has been extremely hard hit. Shipments of new comics have ceased. Comic shops are likely to go out of business without that influx of new product. The industry that I’ve loved since I was a kid has never been this vulnerable.

It’s very depressing. I certainly have felt that after multiple weeks of no new comics. A handful of people, namely the whiny agenda-pushing loser types, have been talking doom and gloom about the comics industry for years. However, this hit has nothing to do with some overly political T-shirt that Mockingbird wore.

Even after the pandemic ends, this industry that I love will never be the same. It can’t go back to the way it used to be. This crisis has shown, among other things, that the current model that the comic industry utilizes just isn’t sustainable. It needs an overhaul of some kind.

I’m certainly not smart enough to know what that overhaul entails. I doubt few people are. However, as a long-time fan and follower of the industry, I have a few ideas. To keep it simple, here are four steps to saving the comic book industry in a post-pandemic world.


Step 1: Emphasize Quality Over Quantity

This is a simple metric. There are just too many books coming out all at once. However, this is a problem that predates the current crisis. It’s a problem that has lingered since the industry almost crashed completely in the early 1990s. It came down to simple economics. Publishers made too many books that not enough people bought. Even if they were only a dollar apiece, there’s only so much consumers can consume.

This is not a sustainable business model. Companies like Marvel and DC Comics grew the most when they were just publishing a dozen or so titles a month, with a few mini-series on the side. You could, conceivably, follow every major event in the Marvel or DC universe for less than $40, adjusted for inflation. That kind of easy access is what helped create the massive fandom that these franchises enjoy today.

That said, this isn’t the mid-1960s. The world is changed. Markets and consumer habits have changed. However, there’s still a place for comics in the publishing world. It’s just a matter of making those products more valuable. Books like DC’s Earth One series are basically single-issue graphic novels that tell a rich, complex story at a higher price and it’s worth every penny.

At a time when people are strapped for cash and looking for value, the comics industry is in a perfect position to tap into it. Make every comic count. Make every dollar feel like it was well-spent. It won’t just keep new fans happy. It’ll help create an entirely new generation of fans who are less inclined to go to crowded movie theaters.


Step 2: Embrace Digital (In A Novel Way)

This step plays directly off the first in that it embraces new technology. Decades ago, comics were easy to access because you could buy them at news stands and grocery stores. As a kid, I got most of my comics from the grocery store at first. They were easy and, much to my parents’ delight, cheap ways of putting a smile on my face.

These days, you can’t find comics in grocery stories. However, digital comics have grown a great deal and are more accessible than ever, thanks to companies like Comixology. Most comics are already released digitally on the same day they come out in shops. That’s great, but it’s basically just an extra convenience for those who don’t live near comic shops. That can’t be the extent of how digital comics impact the industry.

At the moment, digital comics are only a small part of overall comic sales, but they’re growing rapidly. In conjunction with that growth, the industry needs to embrace the other opportunities that digital offers. Services like Marvel Unlimited are nice, but they’re just giving us products that were already released. Why not give us something we can’t get anywhere else?

I’m not sure what that something is, be it a motion comic or something that sets itself apart from a traditional paperback. I’m not smart enough to figure it out, but digital offers so many rich opportunities. The first company to figure it out will make millions and entice a new generation of fans.


Step 3: Make Comic Shops More Than Comic Shops

I love comic shops. Some of my fondest memories have occurred in comic shops. I don’t want them to go away. However, embracing digital comics doesn’t mean the same as ditching these important brick-and-mortar structures. It just means changing their role in the overall comics infrastructure.

When I was a kid, there were two types of stores. One were the stores you could hang out in and the other were the stores in which the owners kicked you out if you lingered for more than 10 minutes. The future of the industry needs to embrace the former rather than the latter.

Comic shops can’t just be about selling comics and merchandise. Too much of that is online and relying on that model is doomed to failure. Instead, comic shops need to be part comic shop and part coffee shop. Make it a place where you don’t just browse the racks for new material. Make it a place where you can sit down with friends, get some coffee, get a snack, and enjoy comics in a communal manner.

Once comic shops are an experience again, people will visit them and not just because there are new comics to buy. If comics can become a popular hang-out once more, then they’ll have a place in a new market.


Step 4: Empower Creators (Instead Of Screwing Them Over)

As much as I love comics, I don’t doubt that it has engaged in some shady business practices. There are many stories about comic creators getting screwed over by major publishers. While every industry has shady practices, the comics industry relies too heavily on brilliant creators to screw them over.

While Marvel and DC have their Disney/WB overlords to please, they can’t just rely on being farms for intellectual property. There has to be a new and better way for compensating creators. Alan Moore may be a cankerous blow-hard, but he really did get screwed over when DC flat out broke their promise to him.

Broken promises always cost more in the long run, especially with respect to comics. It’s not enough for the publishers to just acknowledge the contributions of creators. They need to have a way to profit. It’s not impossible. Apple does it with their app store, creating a means for creative developers to profit from their creations while still making Apple billions.

When both benefit, everyone benefits. It’s really that simple.


I know the comics industry is undergoing rapid change. I don’t doubt I’ll be upset with some of those changes. However, I also understand that the industry needs to change in this increasingly chaotic world. These are just some ideas on how to go about it.

Whatever happens, I hope this industry that I love continues to thrive. I don’t know how, but I do know that a lot of people love it and they’ll find a way to make it work.

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Filed under DC Comics, Marvel, superhero comics

New Comic Day April 15, 2020: Limited Releases, But One Pick

Another Wednesday has arrived. Once again, it’s another Wednesday without the weekly dose of joy that is new comics. It wasn’t a surprise, but it still happened. All major publishers, including Marvel and DC, have announced that no new comics will be released this week, except for digital only titles or previously scheduled compilations.

There aren’t enough words in any language for me to articulate how much this sucks. However, rather than spend another lonely Wednesday complaining about it, I’m going to make an effort to find a shining gem in this sea of doom and gloom.

Yes, major publishers are still delaying their shipments and releases. That’s to be expected of big, entrenched businesses who have been following a particular model for decades.

At the same time, independent comic creators still have an opportunity to publish their work on established platforms outside that entrenched system. Thanks to sites like Comixology, some creators can bypass the typical comic publishing model altogether and release their work straight to the public. As a lifelong comic fan, I can’t say enough about these creators.

While the selection of independently created comics tends to be limited, there are still quality books within this crop. I would even argue that the current lack of major titles gives them a chance to shine in ways they never would’ve been able to in an ordinary market. If a book is really good, it deserves to be singled out for the joy it brings during these difficult times.

To that end, I’d like to highlight one particular book that came out today. It’s not a superhero comic. It’s not from a major publisher, either. Despite all the forces working against it, this book still found a way to shine through on this gloomy Wednesday and for that, I’m happy to single out its greatness.


Lost On Planet Earth #1

Lost On Planet Earth (comiXology Originals) #1 (of 5)

Some stories don’t need to be full of epic space battles and alien invasions to be impactful. In fact, the sheer grandiosity of those stories often make it hard to relate to. Most people aren’t billionaire playboy philanthropists or a demigoddess born into a race of warriors. We can be in awe of their exploits, but overwhelmed by their impossible standards.

That’s exactly why “Lost on Planet Earth #1” is so refreshing. It’s a story built around futuristic, sci-fi aesthetics in a post-scarcity world. It involves alien races, star ship fleets, and a universe full of interplanetary intrigue. At the same time, it feels like a down-to-Earth, slice of real life story that real people in the real world can relate to.

Written by Magdalene Visaggio, with art by Claudia Aguirre, we follow the boundless ambition of a young woman named Basil Miranda. She starts out as focused, determined, and dedicated. She’s like that person we all knew in high school who went out of their way to overachieve, setting a high bar for herself and doing everything she can to top it.

She’s not smug or self-righteous about it, either. She’s also not someone who relies on a super soldier serum, bites by a radioactive spider, or a billion-dollar bank account to pursue that ambition. She’s just a very driven young woman who decided at age 5 that she knew what she wanted to be when she grew up. From that day forward, she worked hard every day in pursuit of that goal.

Then, the day of her exam to join the interplanetary fleet, something unexpected happens. She’s asked a question that she never could’ve prepared herself for. It’s a simple question, but one people in real and fictional worlds alike struggle to answer.

What makes you happy?

It sounds basic, but it has profound implications, both for Basil and for anyone who has ever thought about it for more than five seconds. In all her ambition, she never stops to contemplate whether this goal she decided when she was five-years-old is what will make her happy.

Yes, it will make her successful.

Yes, it will put her in a position to have a major impact on her world and others.

However, will it make her happy?

That triggers a full-blown crisis in Basil, which Aguirre’s colorful artwork captures beautifully every step of the way. Suddenly, this determined young woman who was so disciplined and certain is now utterly overwhelmed. She doesn’t know what to do with herself and struggles to figure that out. I won’t get into spoilers, but it does lead her down some unexpected paths.

What Visaggio does with “Lost on Planet Earth #1” is remarkable in how it flips the script on an ambitious character’s journey. It’s easy for anyone in a sci-fi fantasy world to look up at the stars and yearn to explore, thrusting themselves into new conflicts. It’s also easy for someone in the real world to envision their future, thinking this is what they want for themselves.

It’s a lot harder to stop for a moment, take a look inside yourself, and ask why you pursue these goals in the first place. Do you genuinely think they’ll make you happy? Is success and achievement really the same as happiness and fulfillment? These are questions some people go their whole lives without contemplating. Many people, especially young people like Basil, aren’t inclined to think that far ahead.

These heady concepts help make “Lost on Planet Earth #1” a unique story within a sci-fi worlds. They’re concepts that are worth exploring in the real world, as well. We can all identify with Basil’s unexpected struggle in this story. In times of crisis when we have more time than usual to think about these things, this book asks some profound questions that are worth answering.


To Magdalene Visaggio and Claudia Aguirre, thank you for making this comic and releasing it during difficult times like this. As a comic fan and just someone in need of a more uplifting story, I really appreciate it.

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