Cat burglars

Image and text © Michael Chevy Castranova

The idea of cat burglars as heroes is not new, in movies or comics. There was a silent French movie serial in 1915 called “Les Vampires” in which a gang of thieves — a woman, in particular — dressed in black, scurried across roof tops and, well, stole things. Parts of it are pretty fun. (You can find it on DVD and YouTube.)

Over years we’ve had Cary Grant as John Robie, aka the Cat, in Hitchcock’s 1955 thriller “ToCatch a Thief” up to Paul Rudd as “Ant-Man” just last summer.

Catwoman has been longtime Batman foe/friend in comic books, movies and most recently in “Gotham,” as played by Camren Bicondova — though she’s more of a Cat-teenager in this latest TV iteration.

Tyler Wilson’s own cat burglary is a bit less clear. It’s stated often in “Slipped” that she has stolen, and she’s taken on the name of the Scarlet Sparrow, the infamous cat burglar of Paris, from her missing father. Or rather, that name been thrust upon her.

But she wears the scarlet mask and gloves, and her agility and stamina come from her ballet training. That’s how she’s able to scoot up and over the walls you see in chapters 362 and 364.

Stan Lee

In a glossary at the back of his It’s a Good Life, If You Don’t Weaken, Seth defines Marvel Comics this way:

“Back in the 1960s it was a wonderfully fun line of comics books — especially the Kirby and Ditko stuff. Now, it’s a hateful media conglomerate that popularizes bad drawing.”

By “hateful” I’m not sure if Seth specifically means the big-budget movies, the “bad drawing” or how Marvel has treated illustrators and creators — or all of the above. But to get some detail on the years-long battle involving Marvel, Stan Lee, Jack Kirby, Jim Shooter and lots of lawyers over the rights to ideas, characters and art work, take a look at Stan Lee and the Rise and Fall of the American Comic Book.

Authors Jordan Raphael and Tom Spurgeon try to be even-handed and give all sides equal space to air their recollections of who promised what to whom when. Chapter 19, “Step Right Up!,” details Kirby’s struggle to reclaim the 8,000 pages of art he did for Marvel and what Lee did — or did not do — to help his former colleague.

As a bonus, the rarely heard-from Steve Ditko pops up as a Greek chorus, pretty much to keep everyone else more or less honest. Which isn’t easy as, all things considered, it wasn’t pretty.

The Ultimates

Giant Man to Son of Satan: “Are you really Satan’s son?”

The reply: “Are you on crack?”

I was delighted to find my stack of The Ultimates, series 1 and 2, just last week. While it’s true that after you move three times in 18 months you’re happy to relocate anything recognizable, I discovered these stories still packed their initial power.

Marvel Comics broke ground in its early days by setting its superheroes in the real world. What if people with super powers didn’t really get along? What if Spider-Man had to earn a living? Who covered the rent at the Baxter Building? What writer Mark Millar and illustrator Bryan Hitch did next, first with The Authority, then with The Ultimates, was take that notion and color it post-9/11.

Before, the Fantastic Four fought giant monsters in deserted districts of Manhattan (if there even ever were such areas). In The Ultimates, whole chunks of that heavily populated city — as well as LA, Chicago, Phoenix and the nation’s capitol — could be decimated.

Along with these grim times, and the pages’ black borders, anyone could be betrayed, maimed, tortured or killed in this Avengers updating. Giant Man a wife-beater? The Black Widow a traitor? Thor a deluded paranoid only imagines he’s the god of thunder? Yet Millar and Hitch (who also did the redesign of the TARDIS for the re-launch of Doctor Who, in 2005) pulled it all off with great panache and wit.

A bound Bruce Banner being thrown out of an airborne SHIELD helicopter so he’ll turn into the Hulk. Super-marksman Hawkeye dispatching armed villains with only his bloody, ripped-off fingernails as deadly projectiles. The Scarlet Witch taunting Loki by “increasing the odds of someone showing up to kick your ass” — then a cascade of lightning heralding the appearance of the god of mischief’s half-brother, Thor: “Looking for trouble, Loki?”

And, in the final panel of issue 13, at the end of series 2, a flashback to 1942: Sunny Steve Rogers, before he ships off for the Super Soldier project that turns him into dreary Captain America, gathers his girlfriend, Gail, into his arms and kisses her. A close-enough re-imagining of Alfred Eisenstaedt’s famous Life Magazine photo taken on V-E Day in Times Square.

Wonderful stuff.

Quicksilver to his sister, the Scarlet Witch: “Wanda, were you just flirting with that machine?”