Between Books - X-Force by Geoffrey Thorne Vol. 1: Fractures

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Let’s play Betweenland’s favorite game…IS IT GOOD DEADPOOL?

X-Force by Geoffrey Thorne Vol. 1: Fractures written by Geoffrey Throne and illustrated by Marcus To provides a post-Krakoa start to the paramilitary mutant special forces. The story follows Forge as he sets up a new X-Force team, with hardly any pre-Krakoa X-Force members, as he tries to save the world from armageddons. Forge uses a new toy to predict future fractures that will lead to the destruction of the world, and uses his secret team and custom devices to face off against the end of the world.

The book covers features Deadpool, a classic X-Force member, front and center. And the collection description notes, “Forge will recruit a specialist for each target: first up, that regenerating degenerate, Deadpool!” So we have to ask, is this good Deadpool.

• Community: Wade is a traditional member of X-Force, but you don’t get the sense that he’s joined up with the group for more than getting his bag. We never get to see our friend have a good hang with anyone.

• BetterUp: At no time does Wade attempt to become a better person. He’s along for slashing, shooting, and fighting.

• Laugh Away the Pain: Wade quips, we laugh. But it honestly covers no emotional development.

• Your Pal Wade: Deadpool does make a joke or two for us that reminds us that he knows he’s a multimedia giant. But he has so little page time, that we really don’t get to spend time with our buddy.

X-Force by Geoffrey Thorne Vol. 1: Fractures is bad Deadpool. Despite the cover and the marketing, Wade Wilson’s time in the story is truly a guest spot as he’s just not on the page a lot. It feels like Thorne was given an editorial note to add the Merc with the Mouth for sales, through his appearance and cover art. Maybe they thought his inclusion would connect the title with other runs. But, I have a hard time saying that Wade is featured here or that Wade grows in any meaningful character way in the middle of this cast. It’s bad Deadpool in the sense that he fights and jokes, and his impact, other than establishing that Forge recruits to fix individual problems, is not essential.

It is Forge that gets highlighted here. We learn that his power of creating solutions, usually through machines, is completely passive. He has the mutant gift to create a counter to what is coming. But he may not understand the future or how his solutions even work.

Along with not being the best Deadpool, I don’t think this is the best X-Force either. I am a fan of this team being the special forces of the mutant world as seen in its Cable-based origins or during the Daniel Way run. Honestly, this run feels like a superhero team that is somewhat secret but not gritty and grim. Again, did editorial order a book titled X-Force for the legacy title, but had really gotten a superhero book that could have been published under another X-Men or X-Factor title?

X-Force by Geoffrey Thorne Vol. 1: Fractures is a fine mutant or X-book. But it’s not great Deadpool or even strong X-Force in my opinion. 

 

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Between Books - Star Wars: The High Republic A Valiant Vow

Star Wars…YEAH.

The High Republic…MEH!

But, hey I can be kind towards a book not meant for Sith adults…right.

Due to time and my past engagement, I have been trying when I can to complete High Republic books through audiobooks. Spoiler, I feel like this plan has been solid for me.

Star Wars: The High Republic A Valiant Vow, a book meant for young adult readers, by Justina Ireland, follows two groups on the planet Eriadu. The first group, a pair of Jedi knights including Imri Cantaros, support the planet’s population as the Nihil Stormwall is opening, allowing refugees to flee if they want. They must balance the weather, the creeping Gray, and a crooked government. Meanwhile, three young friends in Jedi young Tep Tep, Churo the Hutt, and Zenny, a Senator’s daughter, try to stop a Hutt plot and free Churo from the clutches of his family. The two groups may meet together for a big climax.

I have to admit, I read an earlier volume with Tep Tep, Churo, and Zenny, and I wasn’t a fan. I found there was too much going on, too many characters, and the story failed to fill my imagination. But in this case, narrator Todd Haberkorn helps the reader by providing engaging voices and clear transitions between his narration and characters. I think that element helped keep me engaged, even if the story is not the big set-piece battle one would expect for a book written for a different audience, angry Star Wars fans. The story, actions, and character growth opportunities are all appropriate for the audience age group, and I think engaging for the intended group.

It’s Imri Cantaros that most interests me. We really get to spend time here with Imri and see his character develop. We saw in Ireland’s most recent Star Wars story that Imri is remembered nearly a hundred years later as a great Jedi thinker. We even have time for Imri and Vernestra to spend time together, putting him on that journey. Readers come to enjoy a Jedi who believes in compassion and empathy. And this makes it clear to us that the fan casting of Imri as Darth Arms just can’t be true! Ireland has been spending a lot of time thinking about Imri, and wow she’s putting out books quickly.

Science should be ethical. I like Churo, not spelled Churro, and his desire to be a scientist. But I do think that his science mentor is a little quesitionable in standards. And I think we would do a little better in showing kids that science and ethics should go hand-in-hand.
 

Star Wars: The High Republic A Valiant Vow by Justina Ireland is a young adult adventure, filled with moments of friendship and empathy. It’s a book that helps us learn our lessons by watching fictional characters on an adventure. And I think that narration by Haberkorn improves the experience, and keeps this grumpy old man from going negative.

Yoda…where are you at pal?

 

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Between Books - Walt’s Utopia: Disneyland and American Mythmaking Second Edition

If you read enough Disney books, there are a few different formats which you find recurring. One common format is the park walk around, where the author strolls from land to land sharing secrets and history. It is a familiar book type to Disney fans, where if you have read five Disney books you’ve read this format at least twice. Honestly, I have read the walkthroughs enough, I’m not sure one could add a new flair to it. But I am willing to give an academic version of this style a chance.

Walt’s Utopia: Disneyland and American Mythmaking Second Edition by Priscilla Hobbs provides a new take to a familiar format. Hobbs takes readers through Walt Disney’s original park, Disneyland, with a look not to fun facts, but discussions of myth making in the park. Hobbs declares that Disneyland is one of America’s most mythic spaces as a location where reality is often surplanted by imagination. Here the American myths of exceptionalism can be built out and explored by guests on a physical canvas, allowing guests to create their own connections and personal myths about the park. Hobbs adopts an interdisciplinary approach to explore Disney myths. Hobbs uses textual analysis to break down the stories that Disney offers guests to reach their foundations. Additionally, Hobbs relies on contextual analysis to better understand the symbols and metaphors that guests are immersed within. Often what Hobbs finds are stories that provide guests reassurance, not lost on me as a goal of Disney Legend John Hench. In a world that may not have always seemed orderly, Disneyland often bolsters the myth of human progress even going so far as allowing one to buy into the myth through the purchase of items tying guests back to the park. With an approach set to review the myths of Disneyland, Hobbs walks readers through the park from Main Street USA to Star Wars: Galaxy’s Edge, discussing not just the history of the attractions and lands, but also the myths the lands communicate to guests as they immerse themselves in the themed environments.

I found Hobbs’ discussions to be interesting and enlightening. I would remind us all that theme parks are often seen as a setting for children and play. Therefore, you may wonder if one really needs to analyze the messages an myths that the park is projecting. But Hobbs helps us to understand the power of the myths and why they are so attractive to audiences like Disney adults, who seek a more ordered world, let’s be honest working isn’t all it’s cracked up to be, and why the parks are able to make individual connections that foster return visits and return spending. For example, I love the Adventureland’s of the world. I think of them as places where one can explore and have fun. Hobbs notes that placemaking here is attempting to establish a world that was seen as exotic by mid-century Americans. The plants, sounds, and smells all created a hyperreality of an unspoiled world. Where, myself and my own studies of the British Empire has made it clear that what I am seeing is fiction. But I find myself returning to enter the myth Disney storytellers have crafted for me.

Along with Hobbs’ argument, I also appreciate Hobbs’ viewpoint. I don’t feel like Hobbs is ever anti-Disney. We have all seen or heard about academic Disney books with only one goal, burn it all down! Hobbs is a Disney Parks fan and I believe quite comfortable in the explored lands. Hobbs is just able to separate from the placemaking to step outside and review the story being told. And while Hobbs may show some fandom, the author especially with this edition is still able to hold Disney accountable by noting the connections between their mythmaking and the consumption and consumerism it encourages. As I often say, Disney doesn’t leave a dollar on the table. So I think even the most ardent Disney defenders must admit that while we love the parks they are quite good at separating us from our money. I also appreciate that Hobbs is very transparent on their academic approach, not leading me to believe that I am reading a history book when I am really reading a literary deconstruction of a physical place.

Walt’s Utopia: Disneyland and American Mythmaking Second Edition by Priscilla Hobbs is a unique way to walk through a Disney park. Hobbs reminds us that Disneyland is a myth, one that creates reassurance about the world and human progress. Additionally, this created deep individual attachments to the park, even for adults playing in a land seen as childish by others. These attachments support Disney corporate goals as guests become consumers and consume beyond park tickets to further their personal attachment. Overall, I found Walt’s Utopia to be well-written and thought provoking, a good read for Disney fans who want to think about their park visits intellectually. 

 

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Between Books - Groundmaking Magic: A Black Woman's Journey Through the Happiest Place on Earth

I have blind spots. I enjoy Disney history, but that doesn’t mean that my Disney knowledge is endless. Disney Legend Martha Blanding was one of the important figures in Disney history that I didn’t know a lot about. But now I feel like I have been welcomed into her life.

Groundbreaking Magic: A Black Woman’s Journey Through the Happiest Place on Earth by Martha Blanding with Tim O’Day recounts in Blanding’s own voice her life story, focusing on her 50-year career with the Walt Disney Company, largely at Disneyland. Blanding shares her family history, with her parents moving out west to settle in South Central Los Angeles, or Watts. In 1971,the California State University Fullerton student looked for a nearby job and was encouraged to apply at Disneyland, an employer that at the time didn’t have a history of hiring employees of color. Initially rebuffed, she would later find herself being recruited and hired for an illustrious and very public position as tour guide and VIP Hostess. In this role, she was trained to represent the best of Disneyland as she interacted with the rich and famous. However, she looked for additional professional opportunities and transferred into a management program where she worked at the Emporium and also served as a candy buyer. This role in merchandising would evolve into a role with Special Event Merchandise, where she would again be charged with interacting with the famous and talented. Blanding discusses throughout the book the challenges of being a woman of color in the 70s and beyond in the park, which includes incidents of intentional and unintentional racism and the growth of multicultural representation at Disneyland.

I think the most important reaction that a reader will gather from reading the book is becoming familiar with Martha and her work. Martha, I’ve read your book. Are we friends now? It is a real achievement that Blanding and O’Day capture her voice and tone. She talks in depth about family members, ones that are not connected to Disneyland. But what one feels is love and appreciation for who they are and how they impacted her journey. Also, I know Martha’s work and found it very interesting. I’ve not been inside the merchandise buying team or Disney’s special merchandise program. But Blanding and O’Day make these fields interesting to me and help me better understand those roles. And these are not even the role that is front and center and brings readers to the page with tour guide and VIP hostess roles.

Martha appears to have a generally positive view of life. But that does not mean that she runs away from retelling painful stories from her life and those that she loves. One of those pains that she directly addresses is racism. Blanding had a career at Disney filled with joy and colleagues that she enjoyed working with. She was also treated unfairly at times due to her being a Black woman in a workplace that was largely filled with White employees. Martha retells several of these stories and how she negotiated through them. She doesn’t paint a story of a faultless workplace, but instead shows us one containing imperfect people.

I'm really glad that Martha Blanding and I are friends now. She is a caring and thoughtful Disney legend who has been a pathfinder for employees of color and experienced the bad and good of working at the Walt Disney Company. Groundbreaking Magic: A Black Woman’s Journey Through the Happiest Place on Earth by Martha Blanding with Tim O’Day isn’t just a Disney history, but a memoir that pays tribute to moments that Martha has loved, including Disneyland cast members, celebrities, and family. 

 

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Between Books - Star Wars: The Acolyte Wayseeker

Many people didn’t like Star Wars: The Acolyte.

I thought it was mostly fine with me being the most tripped up over ties to The High Republic, and leaving me wanting to know more about Darth Arms and his connection to Jedi Master Vernestra Rwoh.

I guess some people like the bigger High Republic concept. I keep struggling with it and still just have questions.

Star Wars: The Acolyte Wayseeker attempts to connect these two Star Wars “periods” and answer some questions in one book.

Star Wars: The Acolyte Wayseeker by Justina Ireland is a prequel to the Disney+ program with an action story focused on the first meeting between Rwoh and young Jedi Knight, later master, Indara. The two are pushed together in an investigation to find the source of lightsaber nullifiers, which have their origin in The High Republic. The two Jedi meet as Indara is pulled out of the Jedi Archives to retrieve Wayseeker Rwoh, who has failed to communicate with the Jedi Order for several years. The two go on an adventure where each has to see how they can change to become better, fuller members of the Jedi.

I am going to stay away from a big plot overview. The two Jedi are really the focus of the story. Ireland for me helps bridge a gap between the young and optimistic Rwoh to the crafty Jedi politician we see in the show. She seems to have become more cynical after a bad experience with a padawan, Darth Arms perhaps, and has lost much of her optimism due to the rough galaxy she has experienced. Additionally, Indara fails to be the confidant Jedi master we see on Disney Plus, perhaps too confidant. It is Rwoh who puts her on a path to better understand her competence and make her the Jedi we see in the show. Sta

Honestly, this book kept me engaged with its adventure. It is not galaxy-shaking, and doesn’t need to be. What Star Wars: The Acolyte Wayseeker by Justina Ireland gives us, a character-focused adventure tale. With its focus on just two characters, which we have some background on, we can dive in, go seeking, and not get overly lost. It also helps to give nods to The High Republic in a way that makes me feel like those characters other than Rwoh are important, and even in some cases, spoils a future we don’t know yet.

Yoda has words to say! They are words that do not spoil a light, breezy, summer read! 

 

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Between Books - International Journal of Disney Studies Volume 1 Issue 1

I have long been a supporter of academic research focusing on Disney history and culture. And I have wanted to see that movement spread, allowing interested parties to actively participate. That hope has become real with the International Journal of Disney Studies, as Disney has gone academic!

The opening essay of the volume, “Welcome to the International Journal of Disney Studies” by Robyn Muir and Rebecca Rowe outlines the goals of this new journal. The editorial board in 2022, came to the realization that the academic study of Disney related topics was growing, but there was no one home for the content being developed. This led to the creation of a new journal, the International Journal of Disney Studies which intends to provide an interdisciplinary approach to supporting and publishing Disney related research. The disciplines covered in the first issues include gender studies, history, architecture, politics with the journal itself being able to publish studies from any academic specialty with a Disney tone, opinion pieces and commentaries, book reviews, and other essays of interest to scholars. In this first volume, “Revisiting Disney’s The Living Desert: A documentary or a wildlife fable filmed in a mythical desert?” by Susan E. Swanberg and the “Making history at Disney Springs: Florida’s past as themed tourism” by F. Evan Nooe provides the feeling of a historical survey and topics that Disney fans may find in other publications like the Hyperion Historical Alliance Annual. But essays like “We’re not quite there yet…but we will be’: Identifying shifts in the Walt Disney Company’s LGBTQ+ representation” by Matt Weaver and “Conservatives watch cartoons: The Rise of Disney, the right and cultural criticism in the 1990s” by Alex Pinelli discuss societal trends and issues which are generally not found in the history and culture focused Disney fan press. Overall the studies, commentaries, and book reviews in this first volume eclipse a wide variety of topics, including ones that Disney fan projects may not typically consider, or consider with a level of scrutiny such as peer review that elevates the discussion and the impact of Disney content on society.

Currently, this journal is free online. The journal is bringing peer reviewed scholarship to academics and Disney fans at a low entry cost. Which, in a world where everything seems to cost more and more I believe is great. It's scholarship for everyone, which is great as it makes it easy for students and general readers to access the publication. Additionally, as one looks at the list of contributors and editors, this is truly an international effort. One that I hope to continue to support.

And as one goes down the academic Disney rabbit hole, one will discover this is part of DISNET, The Disney, Culture, and Society Research Network. Along with this new journal, the Network also sponsors academic conferences, supports book launches, fosters writing groups and mentoring, and many other professional academic efforts. It seems that Disney as a scholarly pursuit now has the foundation to claim a professional status.

I read my first article on a tablet. And I hated it! Formatting for me, including spacing and indents, was really off on my interface. For my second article, I jumped to a PDF format for reading and it was a much more friendly experience. The PDFs for me are the best read, and they are also really easy to download in that format.

International Journal of Disney Studies issue 1 provides a forum for academic studies, scholarly commentary and book reviews related to Disney content. The effort is academically driven with a large editorial board supported by scholars from around the globe. The essays found in this volume cover a large number of topics from the history of Disney Springs, to friendship in the Toy Story franchise, to gender representation, and so many more. Most of all, the collection provides a step forward to creating professional academic interdisciplinary studies of the Walt Disney Company and its affiliated topics.  

Between Books: Star Wars: The High Republic Into the Light

Once again we dive into The High Republic…and it was fine!

Star Wars: The High Republic Into the Light by Claudia Gray works towards resolving the B plot of The High Republic. Jedi Knight Reath Silas leads a crew of Jedi, allies, and enemies to Kasshyyyk to investigate the spread of the Blight on this forest world. The potential devastation could be devastating to the Wookies. Reath’s team faces a number of adversaries from the Blight, the Nihil, the Drengir, and more! The story is very action-heavy as Reath’s team moves from uncovering secrets about the Blight, alternating with small-scale battles. While some secrets are revealed, there is also a cost!

Claudia Gray is a good writer. And we have characters with Reath, Avon Starros, and even the villainous Nan that we have had time to learn about and in some cases are invested in. Gray places most of the story on a world that anyone claiming they are a Star Wars fan will enjoy. But it has the story negative of we know that it can’t be completely destroyed! Gray alternates well between action and story development, though we do know with this being the B storyline that there will be no resolution with the main plot.

There are still some stakes here, largely due to character investment. As a reader, we will struggle yet again with Nan and whether she can be redeemed by Reath. And I will ask yet again, what does redemption mean? Redemption is not a loss of justice. Also, going back to the early volumes of the High Republic, Gray does take some big swings with characters that at times can rock the reader.

They say the High Republic is coming to an end. I mean, I am looking forward to Darth Arms and his origin, even if that’s via comics. Star Wars: The High Republic Into the Light by Claudia Gray helps bring the main B story closer to an end, but not quite there yet. I’m left as a reader to wonder if The High Republic will be tied up in one volume for all storylines, or are there still 18 volumes to go so the architects can conclude the 6 stories.

Yoda makes his appearance and drops some wisdom. 

 

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Between Books - Star Wars: The High Republic Tempest Breaker

War crimes are not cool. I’m sorry if you find that controversial, but they are horrible, truly evil, and require justice. Did Star Wars decide that redemption is more important than justice?

Star Wars: The High Republic Tempest Breaker by Cavan Scott is an audiobook with production to really provide a radio play. There is a script version available for those who prefer to read. The story follows forearm Nihil leader Lourna Dee as she works with a group of Jedi to track down a possible cure to the Blight. The story is full of adventure and danger, while we witness Lourna Dee transform from truly evil to at least gray.

I’m sorry. Lourna Dee has been a participant in truly evil mass casualty events. Scott allows us to dive deep into her personality, with the hope of finding sympathy from the reader, allowing us to accept a character transformation and redemption. But the fear for the reader is that the Jedi and the Republic will forget the horrible, atrocious acts of terror she has at times masterminded. I just need to remind everyone, Anakin Skywalker was redeemed, but he died before the next steps. Could he have moved forward with no punishment? Also, Lourna Dee isn’t even the most evil character that Scott builds sympathy for. I get that it’s enjoyable to redeem villains, but let’s not go so far as to make them heroes. Lourna Dee is not Han Solo! Their crimes were not at the same level of terror.

I also continue to struggle with the High Republic setup. Here in this book, I keep being told that Marchion Ro promised to cure the Blight. But I can’t remember when and where in everything I’ve read so far. There is a section that is a recap of other books and comics in the series. There is a pretty large plot point that I keep thinking, well, we can’t resolve this here because how many readers have picked up this audio first volume? And here, this is the moment where the High Republic attempts to more fully connect the different phases of the High Republic? I just think there are too many moving pieces, it’s too big, and disconnected in a way that keeps readers from being connected.

Okay, I like radio shows. So I love the production elements of this audiobook that makes it feel like I am listening to an action-packed story.

Yoda gets a moment.

I still can’t get past the fact that war crimes and many other horrendous acts cannot be ignored. Star Wars: The High Republic Tempest Breaker by Cavan Scott frames Lourna Dee in the language of Star Wars as a Han Solo type. Perhaps, we need to acknowledge that redemption and regret do not mean one can escape from judgment and justice.

 

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Between Disney - Animating the Victorians

 

I find myself on a ledge between two worlds of Disney between books. I have academic training, have written academic pieces to those standards of citation and scrutiny, and I teach history while not actually doing research at the moment. But I do put a lot of examination of sources into my teaching. I also love to read Disney books that come from a number of publishers that don’t require citation or peer review, as they are meant for the general public or Disney fans. It’s been one of my stated goals to support the increase of academic study of Disney history (and culture), mostly due to my own background and interests.

And I feel like the floodgates on this movement are opening with an increase in university presses publishing Disney-focused books. There is now an academic conference out there for the study of Disney. And what’s this 2025…an academic journal!

As academic Disney studies spreads, I ask myself, can the regular Disney fan who has been entertained by books from corporate, independent, and general audience presses still be entertained and informed?

Animating the Victorians: Disney’s Literary History by Patrick C. Fleming investigates the connection between Disney's animated films and shorts, largely but not exclusively under Walt Disney’s production, and literary works and authors from the 19th-century Victorian Period. The book is connected through chapters covering four large themes: Disney and the Victorian Tradition, Disney and connections to Alice in Wonderland, the impact on Disney content by Hans Christian Anderson and his works, and finally, Victorian influences on Disney depictions of princesses and pirates, including in recent films. Each of these large chapters go beyond just discussions on actual literary works and the threads connecting them to on-screen adaptations, but also investigate how these works would have been seen by Walt Disney and his animators, the lives of Charles Dickens and Anderson in the public eye and parallels to Walt Disney himself, and how modern views of princesses conflict with historical and literary Victorian ideals on the big screen in films like Ralph Breaks the Internet.

Fleming provides a serious, well-researched, cited, and reviewed literary academic review. He weaves a story about how the Victorians impacted the Disney content that fans love. As a history guy and not a literary criticism fan, I was worried that I would be out of my depth. I view myself in this arena as a Disney fan and not a scholar, as I opened the academic monograph. I am thrilled to say that Fleming held my attention, made the literary review portions of his text accessible to me, and others. And Fleming provided a large amount of history, both 19th-century English and Disney, to engage this history lover. For example, his discussion on princesses describes the key archetypes of Victorian literary princesses, and then uses the real examples of Queen Victoria and her daughters to illustrate expectations, including how they fulfilled the models and pushed against social ideals. 

Animating the Victorians: Disney’s Literary History by Patrick C. Fleming is a serious academic study of Disney's creative endeavors and how Victorian literature helped form, I think one could say even inspired, some of the most important Disney films of numerous Disney eras. It is also an interesting study of entertainment archetypes and history. And best of all, as academic study of Disney grows, it is the type of book that most Disney history fans will find accessible while finding something new…like a discussion on the history of international copyright laws before the creation of Mickey Mouse! 

 

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Between Books - Deadpool: Blood Bond

It’s time to play everyone’s favorite game, or at least mine…is it good Deadpool?

This one had me worried! As I’ve read only a few Cody Ziglar comics and I was not a fan. Has my beloved Deadpool been handed over to someone who fails to follow my essential Deadpool rules?

Deadpool: Blood Bond by Cody Ziglar follows Deadpool as he takes his next steps as a businessman and parent. Deadpool is now a part-time father sharing his daughter/symbiote/dog with his ex-girlfriend. And being a dad is a lot! So why not add businessman as he attempts to start up a very small mercenary business? Despite working small, Wade catches the attention of Death Grip, part Dr. Strange part ninja (ninja’s make everything better) whose death cult looks to teach Wade his final lesson. Can Wade survive this threat as he manages his startup and not just one daughter but two when Ellie returns to his circle? Let’s all cheer all of Wade the Girl Dad!

• Community: You can’t help but cheer on Wade the small business owner because he hires good people. First and foremost, we have Anthony Masters, Taskmaster, who really is the best non-Deadpool merc out there. I love their interactions and it makes we want to go back reread Fred Van Lente’s classic run on this anti-hero. But don’t forget, Doug! Doug the IT guy is just, what we all needed in this team which has no Weasal or Hydra Bob. He may be my newest favorite to the Deadpool family, if we believe Princess having debuted one run earlier is old news.

• BetterUp: Wade is a girl dad! And he wants to be a better dad, not just for Princess but for Ellie too. He goes through a reflection with friends and Agent Preston debating is his presence good or bad for his girls and lands where we want him to be, Dadpool is the Deadpool fans want to see. I also love the fact that Ellie has no concerns about a symbiote dog sister and Princess is just excited to have a sister.

• Laugh Away the Pain: There is violence and there are quips. Quips hide the very real and emotional pain Wade carries.

• Your Pal Wade: Is he my pal. He makes several comments that I think are for me, about editors and pages and stories. But he typically makes them to very confused on set characters. I mean, I want him to look right at me and say, “Hey Between Disney, I see you!” But at least he is acknowledging my world.

Honestly, I liked Ziglar’s Deadpool: Blood Bond even if I didn’t expect to. Ziglar gives his readers what we hope for with Deadpool while both creating new in Doug and Death Grip while also taking some of the best of the old in Tasky and Ellie. I liked it and hope to see more soon!

Between Books - After Disney: Toil, Trouble, and the Transformation of America’s Favorite Media Company

There are a handful of great books that detail the fall of Ron Miller as the CEO of the Walt Disney Company and his replacement by Michael Eisner. These chronicles often include the role of Roy E. Disney in Miller’s removal and his chosen successor. These books often put Eisner front and center. What has really been missing is a book that outlines Miller’s career, the obstacles he sought to overcome, and the state of the Company during his time as CEO. Would it be cliche to say, until now?

After Disney: Toil, Trouble, and the Transformation of America’s Favorite Media Company by Neil O’Brien provides a study of Disney's corporate history through the Miller era. The text focuses heavily on animation and meets one of O’Brien’s stated goals of developing an oral history of Disney animation during this period. O’Brien walks us through the origins of Miller and Roy E. Disney, who were never close despite externally being seen as the faces of the company after the deaths of Walt and Roy O. Roy E. Disney early on leaves the stage as he sought to create new opportunities for himself creatively and in investments. Miller was faced with the challenge of leading a company in transition as the older animators that Disney films were based on aged but saw no one in-house to fill their creative leadership. The company then fostered the creation of a new Character Animation department at CalArts to mentor a new future Disney animation cadre, with members of that first class including legends like Brad Bird, Jerry Rees, and John Musker. The text gives us a case study, as we watch the old guard and new artists interacting in the development of animated features, especially the stalled The Black Cauldron. The book also discusses how Miller led the company and his attempt to evolve the studio, especially around live-action films with the creation of Touchstone Pictures which would allow more hard-hitting storytelling. Finally, the book discusses Roy E. Disney’s move to resign from the Board and leverage his shares to install Eisner and Frank Wells into Disney leadership. The book ends with the author noting the changes that went into effect during the Miller period, especially the training of new animators, which pushed forward an animation renaissance both internally and externally.

I have one minor gripe, the cover gives us the impression that this is a story of MIller vs Roy E. fighting for the soul of Disney. It’s really not, as Disney removed himself for much of this period as an employee. The real focus in this book is on culture and day-to-day under Miller. A more fitting cover to communicate what will occur in the book might have been Gurgi from The Black Cauldron as much of the tension around staffing, leadership, and storytelling are told through the lens of developing this movie It was the “Author’s Note” at the end that even more clarifies this, as O’Brien notes his desire to write an oral history of animation and his interest in the Lloyd Alexander stories. I will raise my hand and admit that I am of an age and fandom to have also been pulled into those books. I also find myself wanting to know more about why the film I wanted to see so badly didn’t work. So the recurring film and its development helped keep me engaged in Miller’s struggle in running a company and legacy left to him by his beloved father-in-law. But the story is not a duel between two businessmen, that I felt the cover provided me.

The discussion about The Black Cauldron is so strong, that I didn’t even mention the rise of Don Bluth’s star at the studio. This just shows that for readers there is not just one engaging story in this volume, but levels of complexity.

This really is a well-written and sourced book. I will argue that it’s also very well-balanced. While I did find a lot to admire about Miller as I read the book, I also felt like O’Brien didn’t attempt to romanticize him. And I personally think Miller, Eisener, and Roy E. are all figures that should be respected as Disney Legends as while they may not have always worked well together, they did all three leave important contributions to the company. They were people, and this is what O’Brien gives us, interesting people ranging from corporate leaders, to directors like Joe Hale, to even struggling animators like Glen Keane who lived through these interesting times of change. This is the type of story that reminds us that change happens, people are part of it, and we are people. 

 
After Disney: Toil, Trouble, and the Transformation of America’s Favorite Media Company by Neil O’Brien is one of my favorite Disney history books of 2025. O’Brien gives us a story about real people, with real feelings as they transition through changes in corporate culture and American storytelling. The use of The Black Cauldron as a story focus, really helped me stay engaged as it’s a movie release that confused me in its failure as someone who loved the Alexander stories as a child. And it allows the author through it’s long development to talk about the changing Disney corporate landscape. And I think best of all, it gives readers a well-balanced picture of Ron Miller who is often a quick note in Disney's corporate leadership history, hidden by the shadow of Walt Disney, Bob Iger, and Eisner. 

 

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Between Books - Origins of Marvel Comics: The 50th Anniversary Edition

1974’s Origins of Marvel Comics has long been on my bucket list of to read. But other books got in the way or I would say it’s nearly 50 years old and going nowhere fast. I can get to it later. Then editor Chris Ryall pushed this classic volume to the top of the list by packaging the Stan Lee classic into a pretty package that reached out to my nostalgia and history-loving heart.

Origins of Marvel Comics: The 50th Anniversary Edition by Stan Lee and edited by Ryall repackages the Lee text for a contemporary reader. Ryall provides readers with the Fireside book including all of Lee’s original commentaries and the art to match the original, for example, a green Hulk seen in the 1974 book and not the gray Hulk from the original comic. The stories found in the book include reprints of the origins of the Fantastic Four, Hulk, Spider-Man, and Doctor Strange along with a later issue to show more developed versions of the beloved heroes. Along with the original book are essays that discuss the history and importance of the book. Today’s writers using the light of history also discuss Lee’s original remarks with some looking to provide credit to writers like Jack Kirby, who felt that Lee’s words diminished their efforts. But, this is not a Lee-bashing book with the inclusion of essays from Lee proponents like his brother Larry Leiber. Artist Alex Ross provides the hardcover’s dust jacket with a new homage cover, which he provides a step-by-step process for within the text. As we look back at much of the controversy of the creation of many of these heroes, the new 2024 edition is a very balanced approach, recognizing the efforts of both Lee and his partner artists.

Reading this today, I am really glad I waited and didn’t try to find a secondary market copy of the 1974 or other editions. My assessment of the Marvel creators is that much like Disney corporate history, everything worked best with dual genius leading the way (Walt/Roy or Michael/Frank). I think that the golden age of Marvel creation was pushed forward by Lee and Kirby, Ditko, and other artists. Lee’s original introductions balance this reality, with him calling out the King Jack Kirby and his partnership with the Fantastic Four. But he with Doctor Strange wrote an introduction that was full Marvel publicity machine with Lee highlighting his efforts and framing Ditko’s role as assigned artist not a key voice in the Strange creation. These introductions from Lee give you the two sides found in the Marvel media machine of the 70’s, an all-encompassing Stan Lee with nodes to important artists that made the funny pictures come alive.

The new essays are not going to change everything. For example, the Lieber interview does not fully address the known tension between the brothers. But I do feel like the Lieber discussion does help show how Lieber feels today, as the surviving brother who in many ways is cherishing the memory of a brother who while distant at times was also supportive and brought him into the Marvel family.

Origins of Marvel Comics by Lee was an important cultural moment in the popular acceptance of comic books. Fireside put Marvel stories in a bound book and placed the stories in bookstores. Ray Bradbury wrote a review of the book, included in the text, which demonstrated the important literary moment for comics with this publication. In the book, even Lee calls the comics strips, the more culturally accepted visual media of the time. There were no graphic novels. In fact, this may be one of the first models for a graphic novel. Bookstores were not being kept afloat with large sections fills with graphic novels and anime and all the toys and gear associated with these properties. Fireside with this book made reading a comic acceptable due to the bound nature of the book. This first offering led to other Lee and Fireside offerings in books like Son of Origins of Marvel Comics and Bring on the Bad Guys. And this reader hopes that Ryall is given the chance to repackage some of the other volumes for today. Especially since these hardbacks would look really great side-by-side.

Origins of Marvel Comics: The 50th Anniversary Edition by Stan Lee and edited by Chris Ryall is a must-read for Marvel Comics fans. Even those who have a vintage copy on their shelf, will want to grab the new edition. First, let’s be honest, we are collectors. Second, the new essays and Ross’ art add to the context of the entire project. Finally, for those who have not dipped their two in, this work is an important moment in not just Marvel but now Disney history and you may wish to check it out. Without Lee’s bigger-than-life personality, we would fail to have the Marvel Cinematic Universe and other Marvel stories in so many formats that exist today.  

 

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Between Books - Walt Disney & El Grupo in Latin America

I’m tired! I think Walt Disney may have been tired too!

Walt Disney & El Grupo in Latin America by Theodore Thomas, J.B. Kaufman, and Didier Ghez outlines Walt Disney’s trip to South America in 1941. The book covers the entirety of the nearly 3-month fall expedition, spreading American goodwill as a strategy to win over South American neighbors away from Nazi sympathy. Disney was asked by the Coordinator of Inter-American Affairs (CIAA) to use his global celebrity to strengthen Western hemisphere ties. The story is told heavily in images with the authors providing narration to the group’s daily doings. The volume does not focus on just Walt Disney but recognizes that El Grupo the 18 Walt Disney employees and family members on the journey, were at times separated into smaller traveling parties or even in the same cities separated to meet with numerous local industries or celebrities. Due to the highly visual nature of the text, it at times feels like a documentary and less than a book.

I’m tired, did I mention that? The goal of the authors is to provide a detailed account of the trip. The trio, therefore, doesn’t provide us a thesis to prove, in fact, the three have other works on El Grupo that have this as a goal. As a reader, you understand this is a very visual book seeking to provide a daily accounting. Hence, I’m tired. It feels like the group, especially Disney, rarely had a chance to rest during this fact-finding and goodwill-building adventure. Even in “downtime” artists like Mary and Lee Blair and Jack Ryman were sketching, painting, and refining ideas for potential future movies Saludos Amigos and The Three Caballeros. Or perhaps, Jack Cutting may visit a local studio to supervise a movie dubbing into Spanish. The book makes it clear that this group of 18 were constantly in motion. And while early in the trip, they may have spent in the reader's mind “weeks” in Rio, it becomes clear to the reader that on later stays the group seemed to only linger a day or two in a location before moving on again.

Design-wise, I was pulled into the book and it often felt like a visual experience and not a book. That is why I feel tired. This isn’t an era of perfect staged pictures. The spontaneous nature of many of the pictures helps one to feel the emotion and action, like a tired Lillian Disney asleep on a train car one can feel the stuffiness within. The closed eyes and the improperly directed glances remind us this is a different time before everyone had a camera and the time to coordinate numerous shots for the perfect social media image.

My only complaint with the design is some pages have maps on the layout that pictures and text sit upon. These maps have notations to locations on the page design. Sadly at times, I read these like image captions and not part of the page design which took me out of the journey for a bit.

Walt Disney & El Grupo in Latin America by Theodore Thomas, J.B. Kaufman, and Didier Ghez is a book for those who want to go deeper into Disney’s trip to South America in a highly visual way. For those who want to see Disney legends like the Blairs and Frank Thomas working, drawing, and immersing themselves into a culture this offering is for you. The authors help me to understand the kinetic and tiring nature of the trip, even without making this an overt goal. I wondered, can El Grupo just kick back and relax? An answer that seems like no as Frank Thomas was teaching himself Spanish even on the long-trip home.


Quick Note: While you can purchase this text on Amazon. I grabbed mine at Stuart Ng books where I was able to pick up an autographed copy. 

 

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Between Books - Contested Kingdom: Fan Attachment and Corporate Control at Disneyland

 

Congratulations Disney Adults, you’ve caught academia’s attention.

Contested Kingdom: Fan Attachment and Corporate Control at Disneyland by William McCarthy provides two discussions. First, McCarthy explores the sense of place attachment developed by Disney fans at Disneyland. Second, the text provides an examination of three decades of fan social media relationships with the power including power dynamics. As part of this evaluation, McCarthy provides insights into the relationship between fans and the Walt Disney Company. The author completed a longitudinal study of fans and media that ranges from the use of discussion boards to the more current Instagram and YouTube influencers. McCarthy demonstrates that the creation of the Annual Passholder program combined with message boards gave fans who had increased access to the parks additional thoughts of ownership and a platform to share their increasingly strong thoughts of ownership. However, with increasing costs and diminished access, many fans have found themselves disenchanted with Disney corporate and limited access to a place they see as their own. But in the current age, many of the expressed fan thoughts are strongly positive as key social media influencers need to maintain positive messages to gain access to Disney resources for content creation. As a reader, we observe a transformation as online outlets were originally a place to state strongly one’s own opinions to today where many of the loudest voices require Disney support to feed their streams.

I totally understand the need for support to create content, right here on this blog. Not to speak out of school, there once was a publisher I had a fantastic relationship with and numerous review copies. But in my promise to be honest, I had some problems with one of their books, which led to a curt email and the end of a relationship! Could I have been softer in my criticism? Well, no! But honesty came with a cost. I understand in a small way how those in the online space creating content need external support to lower the economic cost of creating. A true rock-and-hard place situation is occurring in these online settings. McCarthy does an excellent job of showing how the increased cost of content creation and access online, and the need to pay for the content, has created a situation where even unintentionally, some of the top Disney and Disneyland content creators have been coopted to the Disney publicity machine. I bet the late Jack Linquist would be proud!

I’ve made some observations in the past about serious academic works and largely Disney history intersecting. This is another example of a serious academic study, with McCarthy completing a survey and interviews while employing an academic model to construct an argument. However, in this case, it’s not history but media studies and sociology taking Disney fandom seriously. This could be intimidating to some, with academic language and models attempting to explain relationships. I at times struggled with how to review this text, do I use a more formal academic tone or slide into more casual language? This is the type of study that will gain the attention of researchers and other academics. However, I would urge those interested in Disney influencers and social media, Disney’s corporate relationships with these media outlets, and those with a general interest in the growth of 21st Century social media to consider this monograph an interesting read.

Contested Kingdom: Fan Attachment and Corporate Control at Disneyland is an academic study of the relationship between fans and the location they feel they just not own but also love. McCarthy demonstrates how fans have come to be attached to the park. McCarthy also details through surveys and interviews the changing relationship between fans and the Walt Disney Company’s views of the park on online platforms. While academic, the main points of the study are accessible to non-technical readers, especially for those who consume Disney social media content as part of their fandom. 

 

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