Ghostbusters' Winston Zeddemore: I'm Ready to Believe Him

Ghostbusters: Tainted Love, published by IDW Publishing, by Dana Naraghi, Salgood Sam, & Bernie Mireault



IDW Publishing is the best thing to happen to the Ghostbusters franchise in a long time. Amidst rumors of a third Ghostbusters film, IDW is already producing new stories starring everyone's favorite paranormal investigators, and this month's Ghostbusters: Tainted Love is the perfect example of how a franchise twenty-five years old can remain entertaining and viable when respected for its original wit. Further, while this one-shot exploits Valentine's Day as a backdrop, February is also Black History Month, and appropriately this issue shines a worthy light on one of pop culture's most underrated black characters ever: Winston Zeddemore.



See, while the three founding Ghostbusters each represent part of the dynamic that makes their story so compelling -- from Egon's deadpan intelligence, to Ray's paranormal passion, to Peter's horny humor -- Winston is the common man. Never mind that he's black; he's blue collar, and that's what makes him the every man even among resurrected demon dogs or medieval murals of animated madmen. He's seen the stuff that'll turn you white, and he hasn't changed a bit, still steadfast as the voice of reason, the regular guy that, if there's a paycheck in it, he'll do anything you say. That he is black is a testament to his culture; he's a hard-working man on a predominantly white team, and perhaps the most invested, considering his initial lack of experience in the paranormal. Remember, Winston knows his Bible. More than Egon and Ray's scientific know-how, more than Peter's detached sarcasm, Winston sees the big picture and he knows how to cope.

Ghostbusters: Tainted Love is the definitive Zeddemore story, as Winston befriends a substitute teacher suffering from a haunting at home, the result of a broken heart decades removed. Winston asks Egon to devise a way to avoid their usual collateral damage, but his new light-weight proton packs don't pack the punch the Ghostbusters need to handle such an experienced apparition -- so Winston talks to it. More so than any innovation in ghost-busting, Winston's ability to talk man-to-(former)man with the ghost transcends into the spectral plane and defeats the ghoul the old-fashioned way: by giving it some peace. In the end, Winston gets the girl, but more importantly he gets the respect he's deserved from the very beginning, when he first answered that help wanted ad in the paper.

Artistically, Tainted Love takes a step away from IDW's other Ghostbusters offerings, and I like it, as Salgood Sam's stuff reminds me of Jim Rugg's or Farel Dalrymple's work. His Venkman is my favorite yet, all wild-haired and sheepish smirks, until he's slimed, anyway. Colorist Bernie Mireault does a great job turning Sam's pencils into nice colorful effects, too. Further, writer Dara Naraghi gives us Ghostbusters fans everything we want in this single issue tale, from a worthy villain, to Peter's worldliness having value, to Egon and Ray spending a Valentine's Day with their true love -- science -- to all of the Winston goodness I mentioned earlier.

Finally, I'd say this story is a ghost of this franchise's past, if it wasn't so indicative of a more promising future. Keep it coming, IDW. When I want a good Ghostbusters story, I know who to call.

Jivin' with Black History Month: Justice League of America #173

When I saw the cover to Justice League of America #173, I knew the issue would be the perfect send off to Black History Month. Consider this image’s implications, before even cracking the comic open: Black Lightning refuses to join the team based on the impression of the no-name “jive bunch of turkeys” behind Superman. Would Black Lightning really refuse the Justice League based on the awkward physical appearance of other heroes? Is Black Lightning really judging the proverbial book by its cover -- leading me to do so, as well? Further, one has to wonder, did black people really talk like that back in 1979? Themes of discrimination and stereotyping abound, and we haven’t even read the story yet.

Fortunately, though the issue’s plot goes in a slightly different direction than its cover implies, Justice League of America #173 is a tale about testing one’s character, which is just as integral to Black History Month. When Green Arrow recommends Black Lightning for JLA membership, the Flash misunderstands his motives, saying, “I never thought you would suggest we take in a token black . . .” The accusation sparks a heated debate that results in the decision to test Lightning’s mettle -- through fisticuffs. The League disguises their identities (as the weirdoes on the cover) and attacks the unsuspecting hero quite mercilessly, and though Black Lightning defeats Green Lantern and Zatanna’s villainous alter egos, the Flash’s speed overwhelms him. Enraged, Lightning almost chokes out Green Arrow, and when the League reveals their motives, he declines their offer. “You just better get yourself another boy!” he retorts. Though his statement is dismissed, its undertone brings the racial theme full circle.

I’m grateful writer Gerry Conway didn’t pull any punches with his dialogue in this issue. Although Flash’s rash judgment is chalked up to grief over his wife’s recent death, Green Arrow’s reputation as “Mister Liberal” (Barry’s words!) does dictate many of his decisions and the heroes were right to examine the context of the recruitment. That even the world’s greatest superheroes have to deal with social impressions and implications is a refreshing take on their roles as public figures, in 1979 and now thirty years later.* Could you imagine a super-team of exclusively white heroes in the crosshairs of today’s media? Would their recruitment of a hero like Black Lightning be hailed as historical, or outdated obligation? I wonder how the rest of the world hails our inauguration of a black President, considering other countries' acceptance of minorities in leadership.



Of course, the elephant in the room is Black Lightning's name, as his superhero alias purely denotes his skin color and nothing more. Surely a character created nowadays wouldn't face a potentially demeaning moniker like this, yet Lightning's character has transcended that distinction and become timeless in both his name and role as a representative of his race in the DC Universe.

To that end, interestingly, a brief subplot about the impending Metropolis Vigilante Act raises questions about Conway’s mentality behind mentioning it. When a detective warns Black Lightning that his antics might attract political and legal attention, the hero replies, “Any law that’s gonna affect this boy’ll also hafta affect Superman . . . and no way is that gonna happen in this town.” The statement seems true enough in the DC Universe, where Superman could do no wrong, but was Conway establishing an allegory for the contradictory judgments of society, as well? Was he trying to combat social injustice and assert that the law of the land is applicable to anyone, despite racial stereotypes that certain youth are more prone to criminal activity?

Although Black Lightning’s dialogue is definitely dated (if even accurate to the vernacular of the time, rife with words like “jive” and slang contractions like “hafta”), his integrity as a hero is unquestionable. Although his electric powers are offensive in nature, he primarily uses them defensively and takes down his opponents hard and quickly, an interesting contrast to the League’s preference to just jump right in and throw punches -- even against a fellow good guy, even as just a test! The world’s greatest superheroes come off as the world’s most arrogant, too, in their assumption that Lightning would embrace their offer. I’d say this hero passed the test, staying true to his passions rather than succumbing to the temptations of celebrity.

I wish they still made comics like this. First of all, while it wasn’t critical to my review, I’d be remiss not to at least mention that artists Dick Dillin and Frank McLaughlin deliver amazing, engaging work here. Further, although your typical super-villain schemes in the background, setting up the next issue, this issue surely stands on its own, offering real characterization, fun action, and a few poignant questions about real life. Judging Justice League of America #173 based solely on its cover doesn’t do it justice.

* This issue was released in December 1979, the month and year of my birth. It would be interesting to track down all of the comics published that month, to understand what was happening in my beloved medium as I was entering the world. Hmm . . .

Justice League of America #173 was published by DC Comics and was written by Gerry Conway, illustrated by Dick Dillon and Frank McLaughlin, lettered by Ben Oda, and colored by Jerry Serpe.

Global Heart Warming: Millennium Fever #1

As I was flipping through a myriad of back issue bins at today's monthly Los Angeles Comic Book and Sci-Fi Convention, pulling up the occassional issue and mulling over its potential to join my collection, my girlfriend sarcastically asked me, "Hey, did you just judge that comic book by its cover?"

I replied, "Of course. That's what I've been doing for all of them!"

Consider Millennium Fever #1. When I picked up this issue in a similar twenty-five cent bin blitz almost a year ago, I reserved it for a Valentine's Day read, since its cover seemingly depicts two youngsters falling in love. Further, since these youngsters are African-American, what better way to acknowledge Black History Month in the midst of Cupid's annual target practice? If only President Lincoln made a cameo holding a groundhog, based solely on its cover, Millennium Fever #1 could be the perfect February comic book!

Of course, every time I make a wide-sweeping generalization about a comic book like this, I underestimate its impact. Millennium Fever is actually a complex coming-of-age story, certainly tackling issues of love and racial identity, but also dabbling in macabre, potentially apocalyptic science fiction, that binds its hero's quest for identity into the fabric of the entire universe itself! Okay, maybe it isn't that complex, since I did only read the first issue, but writer Nick Abadzis laces teenager Jerome's persistant inner monologue with a haunting tone that transcends his typical adolescent circumstances. It starts simple enough, as Jerome laments his virginity at his grandmother's funeral, an odd contrast for sure, but then grows more intricate when his reminiscing about his diverse family tree become a treatise about the beauty of music and communication.

The love story boasted by this issue's cover kicks into gear after Jerome's failed, drunken attempt to hook up with his high school crush, when he desperately responds to a personal ad and meets the girl of his wet dreams. I won't spoil this issue's ending, especially since it's so weird without the next issue's presumed explanation that I probably couldn't do the sequence justice anyway, but needless to say, between that, his blossoming ability with language, and a doom-and-gloom subplot about global warming and oncoming catastrophe, Jerome is in way over his head.

Artist Duncan Fegredo and letterer Ellie DeVille expertly choreographed their efforts to ensure that Abadzis' captions didn't choke the visual flow of the story, and the package comes together nicely. Fegredo keeps his characters expressive and animated while retaining the necessary realism to keep this introductory installment "slice of life" until the strangeness rears its head on the last page, and I assume the crammed paneling was intentional, preserving the moment's mystery for next issue's elaboration. The more spacious paneling was preserved for character-oriented moments like Jerome listening to music in his bedroom, which must've been Abadzis' hope anyway. Get to know your heroes before they save the world from itself, that's what I always say!

While writer Andrew Kreisberg would have us believe that his latest issue of Green Arrow/Black Canary is the best Valentine's Day gift for your sweetheart, I challenge you to thumb through your local stash of discounted back issues for Millennium Fever #1. Its lesson? The quest for true love might not be the end of the world, but it certainly helps postpone it. Also, if you're lucky enough to have someone in your life that will endure your hunt for this or any other obscure back issue, like me -- count your blessings. If it were the end of the world, I'd feel fine!

Millennium Fever #1 was published by DC Comics' Vertigo for October 1995 and was written by Nick Abadzis, illustrated by Duncan Fegredo, colored by Nathan Eyring, and lettered by Ellie DeVille.