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jesncin · 1 month ago

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Spirit World, Ride the Cyclone and Death. A weird comparative analysis

Gonna combine my musical nerd and cape comics fixation together for a rambling meta thought. I've been reflecting on how taboo the topic of death is in media after getting into Ride The Cyclone (highly recommend watching the slime tutorial and Waiting in the Wings' documentary on it) but also contrasting that musical with how Spirit World handled similar topics.

Both stories cover characters whose lives were cut short from a tragic circumstance, but while Cyclone directly talks frankly about how each character uniquely grieves over their lost life (and eventually accepts death)- Spirit World uses death as largely an aesthetic to a generic fantasy superhero adventure.

[spoilers for Ride the Cyclone and Spirit World]

Spirit World is about non-binary, half dead half living Envoy Xanthe Zhou, as they go into the Spirit World with John Constantine to rescue Cassandra Cain Batgirl. They eventually go toe to toe with the spirit of a bitter dead poet.

Ride the Cyclone is about 6 choir teenagers who die in a roller coaster accident in their small town. In the afterlife, they are given the chance to vote which one of them they believe should be resurrected.

For Spirit World, do we even know how Xanthe feels about being "half dead"? What does that even mean? They died as (what looks like) a 3 year old, and have clearly aged 15 more years since then. So they can age? Do they need to eat or drink (they're seen with a drink in a Pride comic)? Xanthe keeps mentioning they're half dead and half living, but the comic doesn't seem to want to discuss what that means. How would Xanthe feel that they were essentially given a job as an Envoy the minute they died as a very young child? Was this even a choice?

We've already covered the numerous plot holes in Xanthe Zhou's poorly thought out backstory so I won't go over that again. But honestly apart from the thematically loose "the dead shouldn't be forgotten" moral, a lot of how death is presented in Spirit World feels so superficial. When Xanthe is formally introduced as this cool character with a giant sword hanging around a gravesite, fighting all these hopping vampire creatures... this scene would play out the same if you swapped the setting with a forest and zombies as bad guys.

The Spirit World is less an afterlife for the spirits to move onto and more an MMORPG setting for our superheroes to travel across and fight generic evil beings and encounter eviler, bigger, boss battles at the end. Then there's the poet clout villain whose problems are just easily solved by Xanthe promising to remember her. I've already covered what a lost opportunity thematically this character was in my last Xanthe essay, but this time I want to contrast her with Ride the Cyclone's Jane Doe. I also want to compare Xanthe with Noel Gruber afterwards.

Ride the Cyclone's musical numbers follow each character performing a song reflecting their wishes, and musings on life (this sounds depressing but the musical handles all this with comedy and wit), hoping to prove themselves as worthy of a second chance at life. Of the characters, Jane Doe is the mysterious odd one out. The accident decapitated her, leaving her to enter the after life with no memories and the people of the living unable to identify her.

You might see where I'm going with this. So in Spirit World, Wan Yujing was this famous poet mourned by an entire empire. She only goes monster mode when a handwave-y "time erodes all" happens in the Spirit World and she is eventually forgotten- so she becomes desperate to demand to be reincarnated by the Jade Court. Because her clout ran out. Again, I already made the critique in my previous essay that this villain would better link to our protagonist if she was a queer poet whose poetry was being purposefully straight washed as an act of queer historical erasure. But I want to bring up how truly unsympathetic this villain is. She gets Shakespeare levels of clout but still demands more because she isn't getting reincarnated fast enough. Xanthe promises that as an immortal "half dead half living" person that they will remember Wan Yujing, so she too can be immortal in some way.

I think about all the Jane Doe-s in the Spirit World who don't get to be famous poets that have Empires remembering who they were. People who died anonymously without a past. In Cyclone, the main character chooses Jane Doe as the person who should be brought back to life. Our cast of teens come to terms with the fact that while it's tragic that their lives ended shortly, they conclude "to say that if one dies young, they die needlessly... that is to discount the years we had. We had a life, she didn't. That's my vote." Since Jane Doe has no memory of who she is, it's only fair that she is given that second chance.

I get that Spirit World is choosing these "larger than life" characters as villains, but it's at the expense of their own supposed themes. Of all the people to die and face off our hero as the villain, a character who's essentially an influencer but somehow has an entire empire forget about her anyway feels thematically hollow.

Modern Superhero comics are suffering from a specific problem right now; they're not really about anything. Characters don't feel like people with interior lives informed by the context of who they are. Class, race and bigotry are only touched upon as lightly as possible. Queer characters are now Pride ads with no personhood or flaws. They punch gentrified crime and fight for no one in particular. Even recent adapted media such as My Adventures with Superman and Caped Crusader follow this. Superman fights white-washed xenophobia, while Batman fights gentrified, white-washed classicism. It's why comics like Superman Smashes the Klan, Catwoman Lonely City and Alan Scott Green Lantern stand out so much. It's been a while since these characters talked about anything that matters. Don't get me wrong, slop that's about nothing exists in every industry. But when these characters and worlds historically used to have more bite- it's especially obvious.

If I could be playfully conspiracy theory-like for a second; I believe Xanthe Zhou was pitched so that DC Comics can buff out their Pride Anthology or AAPI anthology with a new younger character. The company will give this character one limited series, but that's it. Xanthe will appear in the larger DC universe whenever big magic plots happen, but that's it. Maybe they'll get a YA graphic novel. I would love to be proven wrong, but the problems with Xanthe are baked in the dough.

Because they don't feel like a person, Xanthe feels more like an industry planted Pride ad. They're designed to be the most palatable and marketable image of Asian androgyny. They literally have no flaws to grow out of, and their backstory makes no sense. They weren't built to be a sustainable solo character.

So I want to contrast Xanthe Zhou against Noel Gruber from Ride the Cyclone. Because they're both queer characters whose lives were cut short at a young age.

In a dramatic lament, Noel Gruber expresses how if he had a chance to live, he'd want to live the horrible cinematic messy life of a French sex worker woman in post-war France. He struggled as the only gay boy in a small town and never got to kiss a boy before he died. It's a look into a queer life that could've been lived, one with all the messy texture and self destruction Noel couldn't have but desires. We get to see how death and queerness intersect into rich, unflattering, gender-messy themes. "I want to be that fucked up girl." Noel sings.

But what's Xanthe's deal? They died as a 3 year old, got brought back, avoided their family at all costs for 15 years, and then had a transphobic confrontation with their family when they're invited to dinner way later. If Xanthe grew up in a transphobic household, how did they ever figure out they were non-binary when they were 3? Could they even verbalize it? Or did they instead figure out their queerness after they died? But how is that possible when they already held a level of familiar resentment towards their family's transphobia as if they've had several fights about it? It's hard to picture a 3 year old having multiple heated debates about gender with their parents for this level of resentment to make any sense.

Details aside, how does Xanthe's queerness intersect with themes of death and grief? Well, it just doesn't. This scene ends with Xanthe's sister telling them that she bothered remembering them even though their parents moved on from their death (which makes no sense since the parents wanted to have dinner with a random 18 year old they correctly assumed was their long dead "daughter" but whatever). Honestly, the only reason queerness exists in this family drama is so that Xanthe has a tense relationship with their family. The story would be exactly the same if Xanthe was a troublemaker that brought shame to their family. Who they are isn't specific to whatever grief exists in the comic.

When people give the critique that modern Superhero comics aren't about anything anymore, we usually think of these comics as "lacking political bite and commentary". We don't often think of something like Death to be political. And even though it is in many ways, it's also a social taboo to talk about. Death is an uncomfortable thing to confront, even in the safety of fiction. It's what made Ride the Cyclone such a difficult stage musical to market.

So how does a modern mainstream comic like Spirit World fit into that? It just sits there in this non-committal way. Yes, this is a story about a trans teenager who died, but only in a cool Superhero Origin Way, not in any way that would make readers uncomfortable. Bury Your Gays is a stereotype after all, so we can't talk about how queer people feel about death. We don't get to know how Xanthe feels about death as a non-binary Asian American. Especially if it's messy. It's the reason why Wan Yujing's character can never commentate on themes of historical queer erasure. God forbid superhero comics be about something.

I think about how, in the original Hellblazer run from the 80s, John Constantine had an elderly gay friend who was diagnosed with AIDS but was killed by a homophobic hate group. The comic openly talks about the sheer amount of gay people dying of the epidemic, a looming threat that informs John's queer life. It's such a culture shock, to contrast these early comics with how John Constantine is written in Spirit World. A character stripped of his own queer history and is at the mercy of incessant slutty bi jokes. Where is the desire to talk about how death informs a queer person's life? The mourning of a lost generation to the AIDS crisis? Something John lived through?

How about how any of this intersects with being an Asian American queer person? Queer people of color are often erased or purposefully excluded from queer history and communities. As a Queer Asian American, what does it mean to have identities that are often perceived to be in conflict with each other? Would your queer Asian ancestors even be remembered? Cultural differences with how you'd mourn your communities? But answering any of these questions means an uncomfortable conversation for Spirit World. For Xanthe. It threatens to be about something.

Which makes it all the more silly that, of the two stories, a musical about teenagers dying from a rollercoaster malfunction is more willing to have that uncomfortable conversation. You should ride the Cyclone.

#ramblings #jesncin dc meta #ride the cyclone #xanthe zhou #sorry I'm picking on Spirit World again but it's my right as the supposed target audience for the representation #anyway watch/listen to Ride the Cyclone! i adore it. so simple yet so profound

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dailycass-cain · 1 year ago

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Spirit World #6 concluded the series this past week. Did it end on a high note? How was Cass within it? Well, all answers will be found here...

I love that this series fills the final gaps of questions I have for certain characters in the series. Namely, Wan Yujing's motivations, WHY the Jade Court are so meh due to Po Po's warnings back in #4. and how this ALL ties into the origins of Xanthe Zhou.

But like poetry, it also ties into Cass as into what she was going through in #1. Said issue, Cass was lost, but also feeling awful in helping slay a creature (even dark) and it took a slight toll on her.

Here in #6, it all circles back.

Seeing why Wan's desperation. Seeing the souls she's trapped. Seeing the Jade Court's inability to "want" to save the situation. All it ties into this isn't a simple solution of just slaying the demon.

But this doesn't just tie into Cass, but also the series' central character Xanthe. We get their full origin here. The mystery all pulled back and the scope of their powers revealed.

Writer Alyssa Wong sprinkled teases of Xanthe's origins throughout, and here they are on full display. You can also see why they keep company with John Constantine but also now open themselves to Cassandra Cain.

Why these characters just gell so nicely to each other complimenting it all. With how Xanthe finds the way to end this all.

For now at least.

The ramifications of this issue interestingly bring up new ideas for the DCU at large. Both in the mystical portion and well in Cass (more on that soon).

I find the whole mystical area of DC fascinating because they aren't just bound to one corner. Each magical user always brings something new to the table. Xanthe Zhou is just another character that I hope more tales are showcased with the character going forward.

The fact that well, not everything is tied up at the end leaves me to think that Wong has still so many more stories to tell of Xanthe and Spirit World itself. We've only touched the first layer of that.

To that, I hope allows the creative team to return and tell more tales.

The artist for the series, Haining has been exceptional with the various designs and actions throughout. Like I'm still in awe of the designs used or even how horrific Wan's demonic can be but Haining brings a level of cracks of her humanity through the body horror drawn.

That's not even bringing up the fluidity to the action we've seen throughout the series.

Every bit of the creative team brought their A-game to the table in telling something truly unique. Like I really want more.

And you get that there MIGHT be more.

Clearly, Wong lays seeds at the end of the Verdant Sorcess not at all pleased with the new status quo of Spirit World going forward.

I'm REALLY curious about their origins now with the reveal of the prior ones.

Not only that but in the case of Cass, only one of her subplots is resolved in the series. I mean yeah it's the big one: she gets to go back home.

But the "missing" time of her being in Spirit World (due to Batgirl Vol. 1 #72)? Why incident is all screwed (Shiva never killed Cass in that particular issue)? What new memories Cass lost in #3? Was Shen posing as Steph?

It feels like Wan found her, that while she was absorbing Cass, THAT's when Shiva brought her back. But it still doesn't answer fully what occurred with Cass during that lost time?

These are riddles still left unanswered, and it can't be coincidental given what next year being. So hopefully maybe THEN they are.

Please let Alyssa Wong cook DC!

Wong truly has an amazing grasp on the character and is the first to really bridge the lingering cracks Batgirl Vol. 1 left and bring it into this modern era.

Regardless, Spirit World was an exceptional series. It was something I truly needed to wash the sadness of Batgirls ending and another event douring the characterization of Cass.

I really hope DC goes all out in collecting this series. Show us all the Haining concept art.

Give me some words by Wong on how this series came to be. How they developed Xanthe Zhou. Give me it all!

.....

I've become Shen. My greed knows no bounds. 😅

Anyway, to those who haven't read this series. You now have the full excuse to read it all in one sitting. It's even BETTER when you do that actually. To those who read it like me keep hyping this and the other new minis DC created this year.

We need more of this!

#cassandra cain #dc comics #my thoughts

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