Friday Feature: Pretty Deadly

I’ve briefly mentioned Pretty Deadly before on the blog, but it’s never been the subject of a Friday Feature. Part of my reasoning behind not featuring it until now was that I wasn’t certain about where it was going or how I felt about it.

Before issue #1 came out, Pretty Deadly had already experienced a higher-than-average hyping up. Part of this came from writer Kelly Sue DeConnick, who was excited to be working with artist Emma Rios on an all-female creative team.

Who can really blame her? Female creatorship is still pretty rare in the industry and having a creative team that passes the Bechdel test is even more unusual than having a book that does.

But the other side of that coin is that a lot of the hype came for this book just based on her excitement to be working with another woman. Again, not a bad thing, but we didn’t really know anything about the story (unless you dug deep through comics journalism) until after the book debuted.

Plenty of people ordered the book just because of the creative team with no other information. I was one of them. I wanted to support these creators (and publishers that support their creators and let the creators keep ownership of their work).

But when I read issue #1, I was a bit confused at the end of it. I liked what I saw, but I didn’t really have a good idea of where the story was headed. Debut issues of new comic titles are difficult – you have to both sell the audience on a new story and end on a compelling enough cliffhanger that they feel like they’re going to get their money’s worth out of the next issue.

I’m not totally sure that Pretty Deadly #1 did that. But after finishing issue #5 this week, I’m certain that despite my early misgivings Pretty Deadly is a solid book that lives up to promises it made in issue #1 that I didn’t even realize it was making.

DeConnick and Rios create a new mythology of the wild west in Pretty Deadly. With characters like “the Mason,” his wife “Beauty,” Death and his Daughter, Molly Raven and Johnny Coyote – this book his strongly on prototypically mythological beats. Gods or godlike characters clash with one another in a cosmic drama that plays out before us, with ramifications on a human scale.

One of Pretty Deadly’s mythic story beats: Beauty asks Death for her freedom.

Pretty Deadly is still somewhat of an all-or-nothing book. Most people either love it or hate it. The haters out there are saying that not enough happens, the characters are too vague, or that DeConnick is trying to mask a lack of drama with poetic writing.

They’re outright wrong about not enough happening. The pace of the book is variable, but there’s never an issue when the plot doesn’t advance. As far as vague characters and poetic writing go, these are characteristics of mythologies. No one story can tell you everything about a deity, why should we know everything about Ginny (Death’s Daughter) after one comic arc.

The art of Pretty Deadly is unparalleled in the industry. One of its primary colors is orange – which paints beautiful sunsets and assigns color to the arid feel of the western plains. Aside from the use of color, Rios’ penciling is beautiful, detailed, and emotional.

All in all, I think Pretty Deadly is one of the best books on shelves these days – but it does appeal very strongly to my taste for the mythic. Many will think the art is worth the cover price, and I would agree there, but if you look for story in your comic book purchase, know what you’re getting into.

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Dungeons & Dragons & the Devil

I played my first game of Dungeons and Dragons last year. The highlights of our game night included pizza, beer, and hanging out with a bunch of cool nerds. It was fun, but part of me expected something more.

Like the ascent of the dark lord Satan.

You see, I first heard of D&D in the mid-90s during a late night car ride, while listening to Unshackled on our local Christian radio station. If you’re not familiar with the program, it features dramatic retellings of people’s troubled life stories and their conversions to Christianity, which “unshackled” them from the demons of drugs, or gangs, or in this case, tabletop RPGs.

Some of the original “Unshackled” voice actors in the 1950s

Some of the original “Unshackled” voice actors in the 1950s

I was unable to find the episode online — as you’ll see if you click above, the Unshackled website leaves a little something to be desired — but I recall the story’s general arc. A socially awkward young woman starts playing D&D as a way to make new friends, only to discover that the game is a gateway to dark occult practices. The B-movie style voice acting and the mood music provided by a Casio organ really cemented the idea in my mind that a 12-sided die was an instrument of the devil.

Pamphlet published by anti-occult organization “Bothered About D&D”

Pamphlet published by anti-occult organization “Bothered About D&D”

Since then, fundamentalists have attached satanic panic to other geek interests, like Harry Potter and Magic: The Gathering, but despite the fact that its popularity has long since waned (playing D&D when you own a perfectly good Playstation is analogous to a hipster with a new Macbook writing a letter on a typewriter) Dungeons & Dragons remains the occult gateway drug par excellence in the conservative Christian consciousness.

This is due in no small part to Jack Chick. Chick is an old-fashioned fundamentalist who has been made internet-famous through his so-bad-they’re-good evangelistic tracts. These mini comic books highlight a whole range of “sins,” from homosexuality to Halloween to Islam.

From “Boo!” by Jack Chick

From “Boo!” by Jack Chick

One of the Chick tracts that’s been most widely circulated online is entitled Dark Dungeons. Like that radio show that scared 7-year old me away from the evil world of RPGs, Dark Dungeons tells the tale of a girl who gets sucked into the occult through D&D.

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Like most Chick tracts, it ends in tragedy and a dramatic conversion.

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The cult status of Dark Dungeons has inspired a soon-to-be released film by the same name.

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According to the creators:

Dark Dungeons the movie is an adaptation of the comic Dark Dungeons that tries its best to stay true to the spirit and word of the source material given the limitations in adapting a comic to live-action and in expanding a 22-panel comic into an interesting and exciting motion picture. Many of the scenes and dialogue from Dark Dungeons the movie are lifted straight from the comic.

The movie seeks to achieve satire not through exaggeration, but through verisimilitude. As the panels above show, it would be difficult to make something more ridiculous than the original. While the satirical intent of the film is clear through the information provided on the website, I believe that when the film is viewed outside of this context, we will be faced with an example of that old internet adage, Poe’s Law.

Poe’s Law states that it is impossible to create a parody of fundamentalism that someone won’t mistake for the real thing. Take a look at Objective: Ministries and Rapture Ready. It takes a well-developed sense of humor and a high level of literacy in the language of Christian fundamentalism to discern which one is a parody. (I’ll take your votes in the comments — know that I grew up in fundamentalist evangelical culture, and I still had to fact check to make sure I was right).

The nature of fundamentalism is that it is so extreme that it effectively self-parodies. If I had not known the origin of the Dark Dungeons tract, I would have read it as well-executed satire. The other side of that coin is that some people may encounter Dark Dungeons the movie and read it as a sincere attempt by fundamentalist Christians to reveal the evils of D&D. Hell, for all I know, Unshackled is the best and longest-running parody of fundamentalist culture ever created.

The Dark Dungeons filmmakers have compiled a pretty great collection of videos on their website featuring fundamentalists condemning D&D. You should also check out Mazes and Monsters, another reactionary take on D&D that basically consists of an hour of a young Tom Hanks LARPing in a cave. Sincere or satire, this material all makes for comedy gold.   Dark Dungeons comes out on August 14 – your D&D party or your local evangelical youth group be equally entertained.

Friday Feature: Tiny & Big

Every now and then there’s a game that comes along that just gets you. You deep dive it and nobody sees you for a week, and then you go out to share your experience with everyone only to find out it’s not a great game.

“It’s too short!” they say. “Those controls are terrible!” they moan. “There’s hardly a story at all!” they cry.

Well I’m undeterred. I’m still going to recommend this game.

Tiny & Big: Grampa’s Leftovers is pure gold. No matter what you say.

You play as Tiny, the oddly shaped inventor, armed with his three trusty tools: Laser, Rocket, and Hook. Big, the other titular character, is a bully who stole your inheritance from your gramps: magic underpants.

All of that doesn’t really matter, though, because the point of the game isn’t to advance the story. Though the cutscenes are amusing and the intelligible grunts of the two main characters are worth a few chuckles, this game is, at it’s heart an puzzle/action game.

The “puzzles” of the game aren’t puzzles so much as they are areas that are difficult to traverse. In order to make it easier, you have to rely on Laser (which cuts through things), Rocket (which pushes things away), and Hook (which pulls things).

There are collectibles in the game, secret rooms to find, and above all a fabulous soundtrack. The developers worked with a handful of independent bands to create a fun and unique soundtrack that you can customize as you play. One of the collectibles is new tracks for your radio to play while you solve puzzles, so finding these little floating tapes becomes even more interesting than getting to the next area after a while. Because you only start off the game with one song, by the end of the time you get the last level, you’ll probably be kinda burned out on that one, as well as the first few tracks you find.

The game is done in a cel shaded art style, evoking a comic-book feel which is accentuated by the fact that most of the game sound effects are accompanied by onomatopoeia words the flash up next to the source of the sound. “POK!” flashes up when your hook sinks into a rock, and “BZZZT!” or “ZORT!” will show when your laser activates. It doesn’t seem like much, but it’s seamlessly integrated and adds both character and charm.

I’ll have to admit here that the art style and the soundtrack are both unparalleled in their greatness – but they’re the best part of the game. There are places in the game where having such awesome style makes the game’s flaws stick out a bit. The really cool cel shading feels a little underutilized when there are only two characters and really only three environments in the whole game: desert, pyramid interior, and a virtual game-within-a-game world. There are also places where the artistic awesomeness makes me willing to ignore even the most grievous of gameplay flaws, so you take the good with the bad I suppose.

When I really step back and think about it, I have to tell you that Tiny & Big feels a bit like it’s somewhere between a game prototype and a full game. It is a bit too short and it could have benefitted with a bit more fleshing out. Sigh. Truth hurts.

But don’t get me wrong. I’m still recommending it! Even with it’s flaws, it’s still fun to play and if you buy the version of the game that includes the soundtrack ($15; the game by itself is $10) it’s a very worthy purchase.

 

Super Shame

NPR recently re-aired an episode This American Life from February 2001 about Superpowers. The entire episode is well worth a listen, but I’ll be focusing on Act One for this article. Act One of this episode features John Hodgeman’s “unscientific survey” about superpowers: “Would you rather have the power of Flight… or Invisibility?”

Which would you choose? It’s not an easy choice. There are clear advantages to either power, but then there are disadvantages too.

Most of the people quoted in the segment make their choice for based on some kind of practical convenience. From this point, Hodgeman begins a social commentary about why people choose their power – and what they would do with it.

“People who turn invisible will sneak into the movies or onto airplanes … people who fly stop taking the bus. Here’s one thing that pretty much no one ever says, ‘I would use my power to fight crime.’ No one seems to care about crime.”

Super-heroics don’t necessarily go hand-in hand with super powers. There are, of course, practical reasons for this as well. Superman is able to fight evil because he can do a great deal more than fly — he’s also super-strong and practically invulnerable. Invisible Woman can also create force-fields and is part of the Fantastic Four, only one part of a team that fights evil. Even the anti-heroic Shadow (who uses psychic tricks to make himself invisible) relies heavily on guns to do the fighting for him.

Flight or invisibility aren’t enough to make us safe from someone stronger or better armed than us. So we ask ourselves, “Why take the chance?”

Back to Hodgeman’s interviews:

“More than the ability to, say, burst into flame or shoot arrows with uncanny accuracy, flight and invisibility touch a nerve — actually they touch two different nerves. [They] speak to different primal desires and unconscious fears.”

One interviewee noted the following:

“One superpower is about something that’s obvious, the other is about something that’s hidden. I think it indicates your level of shame. A person who chooses to fly has nothing to hide, a person who chooses to turn invisible wants to hide themselves.”

Another interviewee made this observation:

“It all has to do with guile. If you want to be invisible, it means you’re a more guileful person. If you want to fly it means you’re guileless. And I think the reason that I’m so conflicted about flight vrs. invisibility is that I have guile, but I wish that I didn’t.”

Whether or not you’re willing to admit that you have guile (sly cunning and dishonesty), another interviewee made the accusation that people who would chose flight are lying. All of us want to be invisible so that we can do any number of sneaky or voyeuristic things, she insists. She believes that if you really want to fly, you’ve made yourself believe something false about your own heroic identity.

Hodgeman ends up his act by saying this, “At the heart of this decision, the question I really don’t want to face, is this: who do you want to be? The person you hope to be, or the person you fear you actually are?”

Superheroes already have a complex relationship with expectation and shame. It’s one of the sources for the problem of needing a secret identity. How can Peter Parker deal with the expectations of being Spider-Man all the time? He can’t, which is why it’s important that Peter Parker and Spider-Man be (at least nominally) different people. Most superheroes will also have a secret identity to protect their loved ones from harm at the hands of a supervillain who would use them as leverage against the hero.

But there’s an aspect of shame tied to every masked super-hero. What they’re doing must be done, at least partially, in secret. At the end of the day, every superhero with a mask is a vulnerable human being (whether or not they’re actually human) that fears for their own safety and social stability enough to adopt a new personality and hide it from their old one.

Like any classic hero, we’re all often stuck between two worlds. We’re public and private. We’re graceful and awkward. We’re brave and fearful. There are times where we’re proud – where we accomplish things that put us above our peers, soaring through the air. And there are times where we hide – when we’re embarrassed or afraid and we want to disappear into the shadows. The choice between two powers is more than arbitrary, and it’s difficult for an important reason: according to Hodgeman it’s not a once-and-for-all question of whether we fly or whether we fade. We all do both every day. 

Friday Feature: The Humble Store

It’s unusual for me to feature a storefront over a product or work, but I feel like The Humble Store for PC games deserves a special mention. It springs out of the Humble Indie Bundle events that began several years ago, where independent game developers joined together for a “pay-what-you-want” sale where a portion of each sale would go to the Childs Play charity.

Humble Indie Bundle has been through 11 incarnations, each with a set of independent games which, when you purchased the set, you could often get the Steam  download code for each game. Usually at a reduced price from what you’d get from the Steam storefront – with the added bonus of donating to charity.

Humble Bundle has also introduced several other bundle sets, including the Humble Book Bundle and the Humble Android Bundle, each with the same goal: companies who enter their product to receive a reduced commission and donate the rest to charity.

While The Humble Store isn’t a pay-what-you-want operation, they do donate a portion of each sale to any of a handful of charities (Child’s Play, American Red Cross, Electronic Frontier Foundation, World Land Trust, and Charity: Water). Their breakdown is as follows: 15% of each sale goes to their operations as the Humble Tip, 75% goes to the creators for their work, and 10% goes to the charities. Nearly all games that are also available on Steam also come with a Steam redemption code (since basically all PC gamers rely on Steam for their game library).

So next time you go to buy a game on Steam, pause and take the extra step to go check The Humble Store and see if they have the game for the same price – because then you know you’ll be giving some of your purchase to a few good causes.

How Stylish are Nostalgia Goggles

“Nos-tal-gic,’ Akira said, as though it were a word he had been struggling to find. Then he said a word in Japanese, perhaps the Japanese for ‘nostalgic.’ ‘Nos-tal-gic. It is good to be nos-tal-gic. Very important.’

‘Really, old fellow?’

‘Important. Very important. Nostalgic. When we nostalgic, we remember. A world better than this world we discover when we grow. We remember and wish good world come back again. So very important.”

-Kazuo Ishiguro, from the novel When We Were Orphans

Nostalgia will always be the double-edged blade of geek culture. With it, we are able to keep our favorite passions alive. Yet, when they do return, it is always in new forms and we long for the way we remembered it.

Take, for instance, one of my personal favorites.

The Teenage Mutant Ninja Turtles.

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Growing up, these “radical dudes” were a large part of my life. I owned tons of toys, too many VHS tapes, and dreamed of learning ninjutsu, just so I could be like them. I was in the heart of “turtle-mania,” and when the cartoon ended in 1996, I was heartbroken.

What happened the next year may have been described by “lil’ Jonny” as a miracle. A new Teenage Mutant Ninja Turtles show was coming on the air; and not only that, it was going to be a sequel to the live action movies. Few of you may remember the abomination that was “Ninja Turtles: The Next Mutation,” but suffice it to say I wasn’t the only kid disappointed in it.

This was my first lesson in nostalgia. Sequels and relaunches are hardly ever are as good at the first one.

The Turtles have had success since that initial relaunch. They went dormant for a while after The Next Mutation flopped hard, but came back for a six year run in 2003; and three years after that series had ended the current version of the show started. Each series attracts new fans and gives the world another take on the Ninja Turtles, garnering some level of success along the way….

…and each time I am there watching at least that first episode, trying to recapture that small happy moment I had when I was a kid.

In that was my second lesson in nostalgia – You can never recapture that original magic.

This rings true throughout all of geek culture. Whether you are talking about Star Wars, the new Hobbit films, Transformers, Star Trek, Indiana Jones…the conversation always remains the same.

Clone Wars

The version of the cartoon, the movie, or the comic that you experienced first will always be the best. It will always be our first love, and we will fight to the death to defend it; because nothing has ever been able to recreate that sense of wonder that the original experience gave you.

There was still one thing left that I had to learn about nostalgia, and it was one I had to learn the hard way. After watching one of the newer incarnations of the Transformers, and being left indignant as to why it would sully the original cartoon that I held in such high regard, I decided to re-watch said original Transformers cartoon.

Luckily, the whole series was on Netflix, and I set aside an evening to watch the first handful of episodes. Before the first episode had finished, I was questioning my entire belief structure. The animation was poor, voices would be matched up to the wrong characters, and what little plot there was made less sense than the stories I had made up for my figures as a kid. Not to mention that it became painfully clear that the show existed to sell me those very same toys that I played with.

This was my last lesson in nostalgia: sometimes it is most definitely not as good as you remember it.

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This brings me back to geek culture, because sometimes we seem to forget that last lesson. We can get so wrapped up defending our version, our take on the characters, that we drive others away. We have an uncanny ability to love something so much that we drive others away from sharing in it.

Does it really matter that much if someone’s first experience with Star Wars was the prequel trilogy, or that they actually LIKE Jar Jar Binks? Maybe what really matters is that they like Star Wars; that there is one more person in the world who enjoys something the same way you do, even if it isn’t the EXACT same way.

Does it matter if someone’s first experience with the Turtles wasn’t the Eastman and Laird comic by Mirage, that their first Star Trek was Enterprise, or that their first take on the Transformers was the Michael Bay movie?

No.

What matters is that we all love our little part of geek culture. Our nostalgia for our past creates an opportunity for others to experience something similar in the future. We may never be able to recreate and recapture that magic for ourselves, but we have the opportunity to create that experience for those after us.

It will always be someone’s first Star Wars movie.

It will always be someone’s first Turtle story.

This is the joy and heartache of geek culture; and of nostalgia itself.

Enjoy the fact that there is more of it, and smile that there are others who are revelling with you.

Criticism because it is not how you remember it only serves to hurt those experiencing it for the first time.

We will never have that magic moment again; but we can always make sure that someone else can.

(You can find me this summer in line for Transformers: Age of Extinction and Teenage Mutant Ninja Turtles at your local cineplex).

“Anti” matters — “Veronica Mars” had to answer its own call for complex female leads

Veronica Mars: The Movie

Kristin Bell as “Veronica Mars”

The Veronica Mars movie makes its debut in theaters (and for instant streaming) this Friday, March 14.

Fans of the show, many of whom contributed to its record-setting funding on Kickstarter (the project reached its minimum $2 million goal in under 11 hours and had raised almost $6 million by the end of the funding period), couldn’t be more excited — including me!

In preparation for the big day, I’ve been rewatching the series with my boyfriend, who’s never seen it before. And it is still excellent.

For those of you who aren’t familiar with the show, “L. Hamre” on IMDB summarizes it thusly:

The murder of high-school student Lily Kane shook the seaside town of Neptune, California to the core. For once popular girl Veronica Mars, it meant the loss of her best friend, and being ousted from the affluent crowd that she once thought were her friends. Her father, Sheriff Keith Mars, found himself voted out of his job after making some unpopular accusations about the murdered girl’s family. In response, Keith opened his own private detective agency. Now, Veronica, with her sardonic wit and a few new friends, works as his assistant while also navigating life as a high school (and later college) student.

We’re about halfway through season 1, which aired on UPN in 2004-2005, and we’re both loving it.

For me, it’s especially fun to watch it with my significant other because he’s a filmmaker who’s actually dealt with actors, scripts, lighting, editing, all that good stuff — and, most fun of all, he’s a fan of classic noir (which I knew little about when I first watched the show).

Veronica Mars sits squarely in the noir genre — it’s got the traditional dens of corruption, questionable authority figures, greed and excess at the expense of the downtrodden, extreme wealth disparities, long dark shadows, rainy streets (sometimes — I mean it is Southern California), snarky private investigators and seedy underbellies.

There’s one major element that makes it different from most noir stories, though — its protagonist.

Can you guess? Here’s a clue – below is how tvtropes.com describes the main character in noir:

“The Anti-Hero is the most common protagonist of the Noir — a man alienated from society, suffering an existential crisis. Frequently portrayed as a disillusioned, cynical police officer or private-eye and played by a fast-talking actor, the Anti-Hero is no fool and doesn’t suffer fools gladly. He faces morally ambiguous decisions and battles with a world that seems like it is out to get him and/or those closest to him.”

Yep, in Veronica Mars, our anti-hero ain’t a “he”.

Unlike the majority of noir stories (think of The Maltese Falcon, Touch of Evil, The Big Sleep, anything else written by Dashiell Hammett or Raymond Chandler), Veronica Mars features a female lead as its hardboiled detective.

And this is pretty cool — not only because there’s still a dearth of shows with female leads (even more so back in 2004), but also because of the roles women are normally confined to in noir — the “femme fatale”.

The “femme fatale” is a villainous woman who may pretend to be a damsel in distress, but actually uses feminine wiles to ensnare, manipulate, and harm male characters. This traditionally included the anti-hero, who sometimes does, and sometimes doesn’t, resist her charms — but even if he does become entangled with her at one point, he always repulses her in the end.

From the beginning, Veronica Mars upends this convention simply through the gender-swapping of the protagonist. (And no, they didn’t swap Femme Fatales out for Phallic Fatales, either — though it’d be fun to say). Rob Thomas, the series creator, knew this going into it:

“Thomas initially wrote Veronica Mars as a young adult novel, which featured a male protagonist; he changed the gender because he thought a noir piece told from a female point of view would be more interesting and original.” –Wikipedia

But what makes this switch so successful is that, in every other way, Veronica truly embodies the traditional anti-hero. She isn’t a typical female character given a different label but with the same ole’ character traits still clinging to her.

Veronica certainly fits the cynical, disillusioned bit — she was abandoned by her mother, unraveled a murder mystery involving some of Neptune’s most “upstanding citizens”, saw her supposed friends abandon her in a time of need, and is now determined to see the world in black & white — and refuses to forgive.

Veronica does things no well-adjusted, reasonable person would do. She isn’t above running a background check on her father’s girlfriend, asking her best friend to risk expulsion for swiping students’ files from the school office, manipulating her new police officer boyfriend for access to evidence, or stealing her ex-boyfriend’s medical history from his doctor’s office.

And yet, we still root for her. She’s still the protagonist and viewers can still empathize with her. But we can also tell that her life — one that’s lived with gritted teeth and with a chip on her shoulder — isn’t something we’d really want to be living.

In fact, her father — the “official” private investigator who, on the surface, perfectly fits the noir protagonist role — is often a voice of stronger caution & morality. He’s the one who cautions Veronica that there are boundaries she shouldn’t cross, that there truly are shades of gray, and that most people still have some good in them. Veronica, of course, doesn’t listen.

Veronica has problems, and sometimes makes bad decisions. A lot of us would be justifiably leery of being her friend or dating her. In addition to smart, resilient, insightful, and funny, she can be weak, vindictive, petty, and foolish — like any male anti-hero (just think of Sherlock, Dexter, Tony Soprano… even Tony Stark will do).

But boring? Clichéd? One-dimensional? Most definitely not.

Veronica is an anti-hero first, and a female lead second. But this is why it’s important that she’s a “she” — Veronica Mars proves that a character doesn’t have to be simplified, flattened, or dumbed-down because the character’s a woman. Veronica doesn’t settle for being the “Strong Female Character” trope (she’s more than a princess who knows kung-fu). Instead, she’s still just as complex and flawed as the traditional male anti-hero.

Rob Thomas didn’t decide to have a female lead and then pick what her character could be from the existing pool of “women’s roles”. Instead, he started with a nuanced, complicated, challenging role, and then challenged its tradition by casting a woman in that role — to see what would happen. He thought it would be more interesting & original, and it was.

Unfortunately, few writers seem to have believed him & stepped up to the plate.

In fact, I tried to come up with more examples of female anti-heroes, and this is what my google search turned up:Screen Shot 2014-03-13 at 9.29.18 AM.png

Though there have been a sprinkling of post-Veronica female anti-heroes (Nancy Botwin on Weeds, Olivia Pope on Scandal, anyone from Girls [though their anti-hero traits are largely reviled]) this list is cosmically dwarfed by the crop of complex male anti-heroes who have appeared since — just think of the likes of Walter White, Don Draper, Dexter Morgan, Dr. House… or the male lead of pretty much any HBO show. (Did you even need the names of their shows, by the way? Probably not, because they’re insanely popular).

The desire for these characters is clearly there, as is the frustration with their still-miniscule presence.

But ten years after Veronica Mars first aired, one of the most exciting anti-heroines to succeed her is, well… herself. The relative dearth of suitable successors is likely one of the reasons fans have clung so fiercely to the original, and why they were so eager to support her return to the silver screen.

Veronica Mars the TV show proved that the character could be built, and built to last through hundreds of storylines. Veronica Mars the movie, whose crowd-funding was so successful that Zach Braff shamelessly swiped its strategy for his own film, proves that viewers will pay to see them.

So, screenwriters: step up your game. Rob Thomas already showed you that it’s possible to cast a woman in a complex role. $2 million in 11 hours showed you writing her can pay well. So, what exactly are you waiting for?

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References & Further Reading: