Garage Sale Comics

This Saturday was the Great Glebe Garage Sale and once again I put out a box of comics I wasn't ever going to read again. I was a bit surprised at what sold and what didn't - not so much at who was buying. It was mostly guys around my age, probably a few years younger (in their mid-twenties) but a lot of early twenties, late teens women flipped through the box (none bought), one gothic-lite woman bought five books "for her son", and two groups of boys flipped through and bought a few books.

The boys were kind of a hilarious revelation. They wanted number ones but ended up buying my run of Infinite Crisis, and a couple of Batman comics. They almost destroyed the box though, but I restrained myself from saying anything - I mean dollar comics I'm selling isn't something I should be overly concerned about. There were a few comics they kind of were interested in but then shied away from - Villains United and some Morrison Batman comics. They bought some of Dini's Detective Comics run though. The reason - they flipped open a random book with "future batman" on the cover and saw this Batman laying in a bloody pulp and they deemed the book "too scary." I'm guessing they just have parents who would be a little pissed if they found them with excessively violent books (and I'm not going to draw that line for other people). Although I seem to recall Infinite Crisis involving at least one decapitation, so at least they avoided Identity Crisis.

It was weird because it happened twice with the Batman books. Another group of boys thought it was too scary as well. Weird.

I ended up selling a run of Ex Machina (12 issues after the first trade), the entire run of Ultimates 2, the three issues I had of Action Philosophers, an Iron Man mini-series (can't remember the name just now) and a smattering of other comics here and there. One kid bought the first issue of Countdown, so I gave him the next 3 or 4 that I had and it made his day - until he starts to read them, I suppose (zing!).

What I'm left with:

• A bunch of Morrison's Batman run
• A bunch of Dini's Detective run
• the first 19 issues of Godland

There is more comics in there but I haven't gone through them just yet so I can't really remember if Identity Crisis went - I think it did. I'm really quite surprised there wasn't at least one Morrison fan who flipped through. I sold Warren Ellis's JLA: Classified a few years ago based on his name being on the cover. And really, have we already moved on from The Dark Knight being in theatres? I'm guessing so. Weird. I thought the Batman stuff would be a lock for sale.

I understand the Godland stuff not going. I think anyone who saw it and was interested would already own them. Everyone else figured it was religious or "lame." The fools.

There were also a lot of guys trying to get the box for $20 or so. Now if there were close to 20 comics in there I'd have been fine with it, but I wasn't going to just get rid of 70 or 90 comics for that. Sorry, I was selling them at $1.00 each or 6 for $5.00, but if you got like 7 I took $5.00. And I was pretty generous if someone picked up 9 or 8 or whatever - I wasn't THAT much of a stickler so would usually take what people offered (within reason). Most people got 2 or 3 extra comics beyond that sixth, and for any younger kids I threw in complete stories if they were buying number three of five or whatever.

It was kind of neat seeing the kids weighing their purchases because most of them only had two bucks or five bucks to spend for the day. If they were digging through and were unsure I'd just say, hey, if you want the Iron Man stuff, I'll give it all to you for a dollar. They kind of looked at me in disbelief and say, "well I only have two dollars" but I'd just pass them the lot and say "don't worry about it, enjoy the whole story." It was they dudes with the fulltime jobs trying to get a bargain that annoyed me for whatever reason.

The last thing I'll mention is that there were twice as many people who would look at the box labeled "comics" and pretend not to be interested. They'd sort of stare it down as they walked by but wouldn't stop because they were with a guy or girl and wanted to look "cool" - even if they had an LP of German Drinking Songs or a ratty stool that looked like a frog. Just as many women did that as men. Okay, maybe they were just thinking "comics, they still make those?" but I saw the longing in their eyes. Just go for it people, it's a neighbourhood wide garage sale - go for the fun stuff - board games and comics.

So, yeah, selling comics is weird.

The Gateway Book

Well, it has finally happened. I did something I kind of promised myself I would never do and buy a comic for my wife. I’m not one to try and convert the masses to something I enjoy because I really can’t stand when people try to tell me about crap I don’t care about. But I took a chance on this one after we watched Watchmen and we had a few chats about the book and the medium in general.

It all started when my wife said that she’s read to Pulitzer Prize winning books and loved them. We were talking about how yet another Canadian book prize was given to another book that neither of us had any desire to read, ever. I think we’re a bit more cynical than most readers what with the excessive English Lit degrees between us. I’m not trying to point out my ability to study, just that in the course of our educations we’ve both been exposed to way too much crap. In fact, my standard joke about CanLit is that it requires a minimum 2 of the following 3 contents – rural setting, sexual abuse (best if it’s incest) and substance abuse (best if it’s alcoholism). So reading prize winners that had nothing to do with these was quite welcome.

I know I’m tarring with a large brush here and that some Pulitzer winners probably fall into my CanLit theory but the whole point of this is that I told her about Maus. She seemed interested and asked about it a few more times, so I ended up buying it for her birthday. After a few months she’s picked it up and is just completely absorbed by the whole thing.

At first she asked how I read comics and I have to admit I didn’t know what she meant. She clarified the question by asking if I looked at the pictures as much as the words. I haven’t really thought about it much which I think comes from having more familiarity with the medium, and that I think of it as more of an organic whole. But really, I probably favour the words then go back and look at the pictures closely if I reread. Although I try to absorb as much as I can from the images because they contain the action.

We discussed how easy it is to read comics and how it’s kind of refreshing to simply be presented with the action and setting rather than excessive description which can be found in some writings. I’m not the biggest fan of minute detail description but I can get absorbed in pretty much anything. I just know if I notice it, I tend to get pulled out of a story so comics kind of helps with that.

What really opened the idea to write a post about this is when she said that what makes the book amazing is the presentation of the characters. It’s easy to forget that this is a true story because you’re reading about cartoon mice and cats. And if it wasn’t for the presentation then this would just blur into the fog of thousands of other books upon the subject. It’s precisely the presentation that makes it unique and unforgettable but provides enough distance from the horror through the cartoon representations for the reader not to feel entirely hammered with a message regardless of the importance of the message.

We briefly talked about how the presentation of the father felt new in that after his experiences he’s still not always the greatest guy. Even if he’s presented as a mouse he’s still a very human character full of human failings despite what should be experiences that make him into something audiences have come to expect. The other point she mentioned was that the mice have incredibly expressive and human hands – I’m not entirely sure what to make of this, but I haven’t read the book in a heck of a long time, so when she’s done I’ll pick it up and have a look.

I have to say, I’m looking forward to talking about this a bit more and I’m wondering what anyone else has found to be a good gateway book? Personally, I think it needs to be something that the reader would actually have an interest in and that’s pretty much it. She had tried to read an issue of Buffy a while back but just found it kind of distracting whereas Maus just seems to be presented right while containing a gripping enough narrative to hold my wife’s attention. I didn’t think something like Watchmen, Fables, The Dark Knight, or Sandman would work because like it or not you kind of need to already have an interest in comics to grasp onto those regular offenders as “gateway” books. (Although Fables might work here if she has any interest to read anything else comics wise).

I don’t really want blanket recommendations or anything but has this type of thing worked for you? Why do you think a particular book worked? Was it random or did you put some effort into matching a request to have a comic with the person’s established interests/temperament?

Form and function

Okay, I'm pretty much your average blogger these days in that, I don't really blog at all. Sorry, not actually reading all that many comics because of other life things - I'm about 50% a home owner depending on how the inspection goes tomorrow (please no major foundation problems!). But I have been contemplating the Watchmen a heck of a lot and the more I look into the book the more I find I can't separate the form from the content.

I'm finding myself more and more in Moore's camp that this really works best as a comic since most of the meaning is derived in the same way that words and image create the comic book medium. Now, I actually liked the movie, but the more I look into the comic the more I'm finding it a bit staggering how it all ties together - then again, look too long at anything and you can see connections that don't exist.

Things I never really figured before:

1. For the most cited and offered graphic novel for new readers to use as a gateway, you kind of need to have a lot of preknowledge to make sense of the whole thing. Sure it's a solid Whodunit? but the book isn't really about who killed the Comedian.
2. It lays a lot of the groundwork for the symmetrical structure of Moore's later work Promethea.
3. You're forced to deal with linearity and chonology as separate aspects.

The other thing I noticed is that while the comic used a cinematic approach to a lot of its presentation, these were dropped for the actual cinematic release. I can't say if this is for the best or detriment of the work, but it's funny how we use this word to denote a certain approach but when it's most appropriate the actual approach doesn't work as well. I don't want to get too much into this since it'll be explored a bit more somewhere else.

Watchmen - again.

So I've been writing an essay about Watchmen these days and I'm wondering if exploring the idea of fearful symmetry is over done? Part of me feels too many people write about Rorschach and while I think I manage to use the idea of fearful symmetry to create something more than "Rorschach is teh awesome!" I am conscious of focussing on the obvious things in the comic.

What I'm basically trying to tease out of my brain is the idea that the front cover, the text pieces, and some of the main visual metaphors all work together to create a symmetrical form between the comic and the real world. Too much for a general audience?

Vaction and Doug Wright

Just got back from vacation, found time to work on my Watchmen essay and found a great photo gallery on CBC's site about Doug Wright.

Go look: http://www.cbc.ca/photogallery/arts/2127/

Lights!

On Sunday the Juno awards were held in Vancouver celebrating Canadian music and music sales. I'm normally not interested in crappy awards shows - I love a lot of Canadian bands but I'm no fan of mainstream radio fodder. What, you may be asking yourself, does this have to do with comics?

Simple. The woman who won best new artist (Lights) has a back tattoo of Wonder Woman fighting Giganta. I'm sure the amount of internet offers of marriage she gets has increased about 5000 times because of this.

Personally, I like anything that shows geek stuff as slightly less geeky but not quite redundantly mainstream. Anyway, cool stuff.

Classic Seth

I’ve recently finished Seth’s It’s a Good Life if You Don’t Weaken. It was a weird experience as I only read it in little chunks of time here and there while the rest of my world had some kind of a fit. Me and my wife started house hunting but then her place of business just announced impending large cuts (she’ll be safe though so that’s okay), and I get to interview for my own job. So reading about a slightly misanthropic and depressed protagonist searching for some kind of meaning that may never exist wasn’t exactly my idea of escapism I usually seek in comics.

I did enjoy it though for what it is and it is a book I’ll certainly recommend to others looking for a certain type of read. I have to say that Seth’s quest for a past that somehow feels more honest and real hits close to home these days. He’s looking for something that exists in the creations around him – buildings, clothes, literature – but I’m just looking for a time when our current Prime Minister wasn’t in charge of anything.

At the moment I’m seeing a lot of Jean Baudrillard’s Simulacra and Simulation in things I read because of another project, and really It’s A Good Life If You Don’t Weaken is a perfect example of searching for a more truthful and honest past that never exists. That what current life is simulating may never have existed in the first place. That can be a very powerful and depressing idea or it can free you to simply enjoy what is there now. It’s a frustrating story to read on quite a few levels, from Seth’s search for John Kalloway to his interactions with people and constant self-reflection. You both love the character and get frustrated by him which makes the character appear all the more real and human. He can’t be distilled down to a core idea or element (well, maybe the idea of moving forward while watching the road through a rear-view mirror – see Marshall McLuhan for more on that).

I love Seth’s lingue Claire artwork that feels as much like an anachronistic detail as the buildings and clothes surrounding the protagonist. It’s equal parts comic books and newspaper comics (as well as the New Yorker cartooning), that is somehow more expressive and clean than you feel it should be. It shouldn’t be able to portray the content because it is a style meant for gags and single panel cartoons but it is precisely the freedom of the style that allows for a beautiful world to be created. I’d say the art style hits at the core of the word decadence – something overly beautiful with something decaying at the core or as the subject in this case. Beautifully rendered buildings that are falling apart and the like.

Kate Beaton - wow

Okay, I'm late to the party, I know, but I just discovered Kate Beaton's website Hark, A Vagrant and it is fantastic. Everywhere I turn I'm reading more about this wonderful talent and I understand why. She's producing material that is just north of the New Yorker and just absurdist enough to match her endearing style.

Go. Look.

I Viewed the Watchmen Movie

Yeah yeah, we're all tired of the "watching the watchmen" puns online, on tv and in newspapers. I went to see it on Friday and the quick review - I really liked what they did.

Things I think were actually better than the comic:

The world creation during the opening credits. Hot damn, that was probably one of the best opening credit sequences I've ever seen. From the song choice to the visuals working with the name credits (I admit, I didn't really pay attention to the actors' names, I was busy watching the scenes) the opening credits set up the world of The Watchmen in a matter of minutes. So anyone new to the movie knows what fans of the comic learned in the text pieces, the role playing game, obsessively looking up Watchmen articles online, etc. I think it really played to the strengths of the medium of film, and was so successful because it actually added to the core text in a positive way.

The repulsiveness of the violence. Okay, in a few years it may look hokey when this is being played on Spike TV, but in the theatre it was enough of a turn-off to get that point across what with the broken limbs and blood splatter.

Things I found slightly distracting:

They kept referring to themselves as The Watchmen. Yes, it's nit-picky, and I completely understand why it was done but I think I have more faith in the audience. It sounds like some exec was wondering why they kept talking about The Minutemen as a failed super-group, wasn't this movie called The Watchmen? They should call themselves The Watchmen.

Rorschach's narration at the very end. I liked the more ambiguous ending of the comic where his journal is left in a stack of other cranks. The ending narration implies it is read but it could have been added just to make sure the point is driven home that it's Rorschach's journal.

The narration in general except Dr. Manhattan's. This is the constant problem of adapting written fiction to film. The way the narration was handled in the comic is all on written materials (except Dr. Manhattan's) which simply can't be adapted onto film except as someone reading from the journal, etc. The narration in the comics works much better in regards to the narrative because these objects exist within the world of the Watchmen as actual objects, not dramatic readings. It helps sell the "realistic" nature of the Watchmen world because the audience is only allowed to see into the characters' minds via additional media except for Dr. Manhattan whose thoughts are in blue boxes (and thus the closest to the traditional thought balloon). This kind of reinforces his connection to classic superheroes as well as emphasising how far from humanity he has drifted. His relation to the world is different from the other characters because he doesn't need a separate medium to communicate directly to the audience. In the movie, all characters have that relationship to the audience because there is no way the director will show you page shots of Rorschach's journal to read while the action happens.

This I wished were included (please ingest your grain of salt from here on in):

Okay, this is just my fanboyishness here so you know, it's subjective. Where was the fate of Hollis Mason? No, I don't really want to see an old man lynched, but it would really have helped sell the idea of this being a time of crisis and heightened paranoia. It could have been included if they reduced the sex scene, no? I'm no prude, but I felt the owl-ship sex scene went on just long enough to be kind of embarassing - we get the point, make the visual joke, move on.

Captain Metropolis. The way the failed meeting was handled was fine, but I kind of miss the connection to history all the old heroes brought to the story. If the opening credits show how vital they were to the world, then having them removed from the plot kind of feels like a missed opportunity.

Final thoughts:

Anyway, I went to see the movie with both geeks and non-nerd-herd people. Everyone enjoyed it but the nerds complained about stuff more - no pirates, my thing about calling themselves The Watchmen, etc. The only slightly negative I heard from the non-nerds was that it seemed like a movie you should watch again to understand more of it. That's something I felt as well, which means it's pretty much how I felt after reading the comic for the first time. In that regard, it was great and all in all, I think the changes made were necessary for the film version and should have been made.

One of these things is not like the other...

So, today I went to the TSN trade centre website to check out whether or not anything is happening early this morning on the NHL's trade deadline. While there were no updates, I did notice the list of sponsors along the bottom of the site. There are your constant sports sponsors - sports shops, fast food restaurants, beer companies. But near the end was a blood splattered smiley face.

Now, I know that your average sports fan will go see Iron Man or Spider-man or Batman movies, but I'm not so sure there will a lot of love for Watchmen. I'd love to be proven wrong, and I wish I could remember how V for Vendetta did when it was released for a bit of context for this release.

Anyway, I just thought it was a bit odd there. Happy consumerism and post-modern deconstruction of the entire genre of superhero comics and the form of comics itself just doesn't seem to flow for me. I'll still go see the movie at some point because I'm reasonable enough to know it won't affect my love of the book.

Growth Rings as the Core Metaphor in Swamp Thing

Since that last post I’ve read the next two volumes – Love and Death and The Curse. Again, I feel like I have a lot to say but don’t know where to begin with it all. I guess the big thing I finally noticed is how there is a great visual metaphor used that reflects the structure of the plot.

Growth Rings. Much like the way new growth on a tree expands from the centre (as well as up) the plot for the series begins to reflect itself and grow to reinforce itself. Depending on how you look at it, these levels appear different. If you cut it open and look down, you see the rings forming into themselves, but if you tap it from the side you only see lines in sequence.

Having these stories in collected form lets me as a first time reader see the cycles and reinforcements much easier. I’ve got the collected firewood, so to say. But, I can imagine getting Swamp Thing month after month you would only see the lines in sequence (at first). Once you see where they come from you can adapt your perception to the wider whole. The lines are part of a bisected circle.

Anyway, growth rings are a great metaphor here, not just for the organic and organized nature of the larger plot that begins to support itself, but hey, he’s a conscious plant. What I have also come to notice is that this cyclical metaphor (here growth rings in a tree) are also used in Moore’s other works, particularly Watchmen and to some extent in Promethea. A perfect circle is symmetrical, and well, just open the pages of Promethea to any random pages and you’ll see the symmetry of the layout fairly clearly. In Watchmen, there are the cogs of the watch that Jon Osterman was working on when his father chucks it out. Again, the cogs are important in reinforcing the cyclical nature of time – something I’ll be exploring elsewhere in a bit more detail (I hope).

So where in Watchmen the circular cogs have specific points of contact that as a whole can create some kind of meaning (making a watch move and tell time, or how the heroes lives create some terrible and fragile peace) the growth rings of Swamp Thing show the organic progression from monthly comic towards comprehensive graphic novel.

Make sense? Perhaps I’ll find the time to write more on it.

Dipping a toe in the swamp

Okay, just wanted to check in with any lost souls shambling in a muck-encrusted way to this here site and give a very quick update. Finished reading Saga of the Swamp Thing, and will be posting something in greater detail soon (I hope). But, I wanted to get one thing out there first.

What really struck me in the first issue was the contrasting panel layouts between Swamp Thing’s story and Sunderland (or whoever the old man is in the story). Swamp Thing’s story is told in organic panels without borders that grow and merge into one-another, while the old man is presented in hard, sharp angled frames that are both slightly off kilter and confining.

Both feel slightly threatening in different ways, but a wonderful visual metaphor for what I’ve seen as a theme being established in the first few stories. The connected whole of the organic earth struggling against the conscious constructions of man.

Death of an Icon

There's something to be said about reading a much hyped comic long after the hype has died.

No, I've still not had a chance to get to that Swamp Thing trade, but I did get the Death of Captain America trade. Again, I'm just completely bowled over by Brubaker as a writer and how he's handling these editorially mandated stories. I mean talk about a clunker! And yet, you still have a generally readable item, but man, would I not want to come to this thing cold!

While there are a lot of good things here, from the great characters found in The Winter Soldier and Falcon, to the new array of retrofitted Cap villains, there is a huge millstone around the neck of this story - Civil War. I read the trades leading up to this story but not Civil War so I was okay in understanding some of the backstory and motivation. Being a former comic book blogger (reformed) and knowing the general plot of Civil War meant I knew some of the main plots even if I have no idea why Peter Parker is in the black suit. But coming in cold? Nope, this would not be very fun to read at all.

You'd still enjoy the character moments but I could barely piece together the larger picture which kept forcing itself onto the plot. There is almost no way to separate the larger Marvel Universe from the plot of the story and really, that is unfortunate. I have no problem with how the title was both updating itself and honoring its history. Kind of making all the old villains new again, so why not the same with Cap? The idea flowed well, but then we've got someone I had no idea was Tony Stark in a SHIELD outfit, and cap's corpse looking Skrullish.

Part of me just wishes I didn't know the bigger picture but then I'd be completely lost rather than kind of lost and bit disappointed at what could have been a great and timeless story. I guess this is a great example of how comics haven't really changed only rather than getting them out as fast as possible now it's getting them out while meeting some kind of mass crossover content. In both cases you do the best with what you got, only now the reader kind of needs to have a lot of money (or less scruples and a bittorrent connection, I suppose).

What Brubaker can offer is always high quality but what Marvel offers is a bit unfortunate.

Hiatus in Review

Okay, looking at that last post before the extended hiatus I should report a few things. I didn't read Labyrinths of Reason or Wasteland. Much like Swamp Thing I'm a bit shocked I haven't read Wasteland yet. I'll likely pick it up when I pick up Fallout 3 for the ol' X-box 360 some day. It's a series that I was really excited for when it was announced but I couldn't get a copy in Ottawa and well, it just sort of stayed that way until the trades started coming out and I was just lazy about picking it up. Huh, funny how that always happens. I guess it means I get to savor its post-apocalyptic goodness with a fine electronic parallel. And I'm still on the waiting list for the Hellblazer trades at the library, which seems really weird to me. I had no idea that many people wanted to read John Constantine comics from the Ottawa library.

I guess we should start with the comics first hey?

Wanted. Read it before the movie and I think the changes they made were completely necessary. The comic only works as a comic and well, I don't need to be told I'm a worthless prick for not being a completely selfish asshole. Otherwise, it's a rollicking villainous adventure. Liked the movie a bit more to be honest.

Sleeper and Criminal. Reading these made me kind of depressed knowing I would never write anything this good. I read a lot of Ed Brubaker and I really thought these were fantastic crime stories. Sleeper is the comic villain equivalent of something like Good Fellas, Donnie Brasko or The Departed in that you have a hero, Holden Carver, you become a bit unsure of and you start to understand the circumstances of the bad guys. I always appreciate the skill going into making killers seem sympathetic, something the Animated Batman series did amazingly well or Pulp Fiction did to a mass audience. Yeah they're the bad guys but you feel bad for them, you can relate to them on a basic level to a point where you're reacting to them much like Holden Carver is. Criminal, is a living breathing world where crime is the one thing tying everyone's story together. It's like the shared superhero universes only with a continuity that reveals itself rather than feel forced to make sense of things that weren't meant to be tied together. And with capers and characters that rival any in this genre, there was no doubt this would be a winner with me.

Scott Pilgim Gets it Together. It took me a long time to finally get this book. I did. I read it. I was slightly less charmed by it this time. I don't really know why because it's still great comics but I almost feel a bit too out of touch with the youth ethos in it as I get less lost in my own life.

Cpt. America – Red Menace and Winter Soldier. I can't remember the last time I ever read a Captain America comic book. These were the same solid procedurals in a superhero dressing that Brubaker presented in his other work. The more realistic based artwork really worked in these stories as it tried to humanize a symbol and bring him back to the real world. Yes, grown men in silly costumes do a lot of damage to each other and the world around them, but having things look almost real made the stories seem a bit more real as well. And that's the goal of comics isn't it, to have the art reflect the words – it works well here.

Watchmen. Just as good as the first time I read it. Actually, slightly better because you catch more of the things you missed the first time. I tried to explain it to my wife after we saw the movie preview and while it was a kooky rambling effort on my part she did consider reading it for about ten minutes after our chat. Never really understood the pirate comics until I read a few more interviews with the creators – makes sense that a world with superheroes wouldn't have superhero comics. Seeing a few more examples of how deep the metaphors run, especially visually, was a real treat. From the recurrence of clockwork mechanisms, to the marquee showing the band Crystalnache playing just before the tragedy brought onto the city's population by some self-proclaimed superior human.

Books (without pictures)

Catch-22. Great metaphor, great message, but really, I got it long before the book ended. How can you be sane in an insane situation when you have no sane option or sane action. I do understand why it's considered a great work of fiction but I also understand why people don't like it either. It can be tough to sit and read such a looping text once you understand that the characters are living their lives in the same way the text is written – reliving events over and over and feeling trapped by them only to relive them all over again when something similar happens. Perhaps the point is to get you to give up on the whole mess?

The Chrysalids. Man I love John Wyndham's writing and how his stories are considered sci-fi without any real noticeable sci-fi elements or stand-bys. I think he helped lay the foundation for the genre expectations so reading this book felt completely new to me. It's about the human condition more than anything with a few fantastical ideas thrown in there. The kids struggle for freedom only to find it in a society that is just as intolerant only in line with their abilities. Is this a reflection on the role religion plays in human society? Most likely showing how the exclusionary message of anything is not something that helps anyone except those preaching and conforming. Like the atheists say, be good for goodness sake. I'll be making a stronger effort to read more Wyndham, and really, I'd like a lot of superhero comic writers to do the same to see how you can get a message attached to a story with fantastic elements.

Blood Sucking Fiends and You Suck. These were fun and the perfect read just around Halloween. I mean having a group of late night grocery store employees called The Animals who become vampire hunters is in and of itself enough of a fun idea but throw it in with the rest of the loveable characters, and you've got a great series. Although I enjoyed the first book more.

And finally, skated into work today in a bit of a snowstorm. The canal looked like a frozen ocean with the mini-snowdrifts across the ice. Hitting them sort of slowed me down so it felt a bit more dangerous than it was. There was less than an inch of snow down but there was a solid sheet of ice down under the snow. Was listening to Gorillaz - Demon Days which was the perfect mix of creepy and fun.

Not a New Year's Resolution

Hi there ten or so people that remember this was once a blog about comics. It's a new year and I got a new idea. Oh, this will still be about comics and all that but I'm not really buying weekly floppies anymore and haven't for quite some time. Nope, I've been kind of doing this random read through the history and current publications of comics in their trade paperback form or "graphic novel" format. I've not really had any desire to post online for a while then something strange happened this Christmas.

My wife bought me the first trade of Alan Mooe's Saga of the Swamp Thing. And, well, I thought it would be kind of neat to record my thoughts on this book seeing as I've never read it. Mike Sterling is shaking his head in disbelief as are most comic fans, I'd imagine. Don't feel sad, feel glad, let's see where this goes.

This isn't a resolution or anything. I'll try to post some interesting things as often as possible but I'm not going to try to create a daily blog, others do it much better than I. My only real resolution was to try and skate to work as much as possible this winter. The Rideau Canal froze on New Year's Day (although I didn't know until the 3rd because I was cocooned in my house) and I've since started skating to work. I think that makes me the most Canadian comic book blogger online right now, not that it's a contest.

This is most likely the end

Well, life has certainly got in the way with my updating the blog for the last few months and I'm pretty sure I've all but pulled the plug on the machine keeping this thing artifically alive. I'm a bit unwilling to drive a stake into the undead heart of this blog, but for all intents and purposes I think anyone still coming here can agree it's over and done with.

So, one last parting shot. Here's my summer reading list:

Proper Books:

Catch-22 by Joseph Heller. I've been meaning to read this book for a long time and I finally got around to it, with a couple of chapters left to get through. It's taken me a while to get through it and I do find it almost terrifying in its ability to perfectly capture the inherent evil of any bureaucratic system. Stark reality is found here in a book about the cyclical nature of our lives and the horror wrought because of a larger system guiding us that is beyond the control of an individual, and cannot address the needs of an individual. Yossarian is a true anti-hero in that he does everything completely opposite of a classic hero. He isn't the anti-hero in the sense of the hero who uses bad methods to get good ends, but he does everything humanly possible to not act like a hero - he uses bad methods for selfish ends, yet he's the hero for standing up to the completely batshit insane system he's thrown into.

Blood Sucking Fiends and You Suck by Christopher Moore. My wife bought me Blood Sucking Fiends for Christmas and I just haven't had a time to read it yet. Nothing like an undead romance for some beach reading.

Labyrinths of Knowledge by William Poundstone. Because I feel like blowing my mind sans chemicals for a little while this summer. Give the synapses a workout rather than make them surrender.

The Chrysalids by John Wyndham. I just read Day of the Triffids this past year and really enjoyed it. I'm always a fan of apocalyptic type fiction and this also comes highly recommended from my wife. Plus, it's a short book which is perfect for the long hours and weekends of summer.

Comic Books

Right now I'm just about to start reading Mark Millar's Wanted because my wife wants to go see the movie. I was as shocked as anyone because I wasn't totally interested. Maybe I should see the movie first in case I need to rinse out my brain with the comic book version?

I'm apparently going to read a lot of Ed Brubaker this summer. And why not? On top of my pile are Sleeper and Criminal because I've heard nothing but good things. But to balance it out with good and proper superhero fisticuffs I've also got four volumes of Captain America ready to go - the Red Menace and Winter Soldier story arcs.

In between I'm still reading any Hellblazer trades I can get from the library. Nothing like demon stories involving a complete dick who fucks them over in the hazy humid summer days. Well, it might not seem right to you but I really like it.

I'm hoping to finally getting around to the fourth volume of Scott Pilgrim, and starting Wasteland which I've been meaning to read since it came out.

And finally, I'm planning on re-reading Watchmen before the movie hype starts and I run the risk of soul erosion and desolation.

Time to fire that chimp at the keyboard.

Well it has been quite a long time since I had a moment of free time to dedicate to the old blog here.  If there is anyone still out there remotely interested, here's the quick hits of what I have read over the last month or so along with a few initial thoughts.

 

The Essential Avengers, Volume 1.

I had this book for quite a long time and started reading it when I was home sick with the flu.  That long?  Really?  Wow, I'm almost embarrassed to say I never actually finished reading it.  I love to see the Jack Kirby art on it's own, well, inked I guess.  It just gives such a great view of how to lay out a panel, and a page for super action in a constrained time/format.  Then Don Heck takes over and suddenly the page layouts appear a lot more vertical.  Panels rise and stretch up as opposed to Kirby's much more horizontal spreads.  It's actually quite impressive that although Kirby's panels are generally smaller they seem to contain way more action.  He really is the master of having the panel frame the action to a point where the frame implies there is much more going on outside of it.  Don Heck's panels tend to completely contain all the action.  The weird part is, when I was younger and thinking of comics in my daydreams, I was probably thinking of Don Heck's art.  He just seems to be the image of what I remember Marvel Comics being.  Not so much these days, but still, he's good at being generic I guess.  That wasn't meant to be an insult, it's what I think any work for hire artist needs to work for – like the Hardy Boys authors or whatever.  It doesn't ruin the work, but they survive by being quick and consistent not rule breaking and bold.

 

Planetary Books 1-3 and Crossing Worlds

I really loved this collection.  Nothing like a bit of comics more or less about comics, in my opinion.  I'm a bit of a sucker about media examining itself and playing with the form and genre assumptions.  I like the relationships that are build and how the story is build around an espionage story but it's really about the relationship of comic books and pop culture.

 

30 Days of Night: 3 Tales and Spread the Disease.

They do a decent job of tying together some loose ends and random characters from the other stories.  Decent X-files type material with special agents and vampires.  Also, vampires in space is a great idea.

 

Corto Maltese: Encore un peu plus loin

This collection shows how Hugo Pratt really shines in the short tale.  I enjoyed this collection of short Corto Maltese stories a million times more than the book length adventure I had read previously (which is still exceptionally good).  A few of the characters from Tango are introduced in this collection, and the art being in black and white means there is just that much more wonderful linework to take in.  It's simply breathtaking.  There are a bunch of small morality tales and the double-triple-cross taste of your own medicine adventure yarn.  But really, what other collection of comics will have a surly amnesic sailor regain his memory by taking magic mushrooms, a zombie-priest led island uprising revolution, and a WWI British soldier relive a battle through his dying delusions?  There is a lot to enjoy here, but mostly Pratt's love of the Caribbean and South America.

 

Now, I've read a bunch more of the Ultimate Spider-man trades as well and I'm trying to figure out how to say "I liked it and it's good comics, but it won't really challenge your assumption of the medium or anything, which is really the point I guess anyway, so while inessential in the long run, still enjoyable when you read the story" in more than one way.  I do have to say that I really don't know how I would feel about the stories if I was reading them in the monthly format.  I think it would completely remove the level of enjoyment I get out of the stories.

 

The Decompression Project without Orange and Purple Armour

I've managed to read the Ultimate Spider-man collection starring Silver Sable.  I have to say I'm kind of disappointed with the update.  I thought she was a fine enough character and all but where was the ridiculous hair and the purple and orange jumpsuited Wild Pack?  Really, without the gaudy armor it's not The Wild Pack.  Otherwise this was more or less a decent story that didn't try to be something more than just a random encounter in Peter Parker's life as Spider-man.

 

There's some fun dialogue with the bumbling Wild Pack, a bit of mistaken identity as Peter gets tracked to his school and a great issue that allowed the creative team to do something a bit different when summing up the lives of the triumvirate at the centre of the story.  The little break was well executed and appreciated even if it didn't completely flow with the story – the Ultimate Spider-man epic to this point has more or less followed a similar pattern so anything slightly different is extremely noticeable.  That's not a bad or good thing really, just noticeable in and of itself.

 

So this was a neat story of how difficult it would be to track down an anonymous superhero.  It won't change your life or explain the world in a new way, but you'll be engaged from start to end and really, there are much worse things in the world.

 

*sent via e-mail

That was Unfortunate

Last night the Ottawa Senators lost for the third straight time in the NHL playoffs and while that has very little to do with comics there was this odd connection. It was the home opener of the playoff series last night and if you don't know anything about hockey or this team in particular you should know that their logo is this Roman Centurion.

Skip ahead to last night and the opening ceremonies for the home run was one of the weirdest things I've ever seen. It was one of those moments where me and my wife watching at home both got embarrassed watching this thing. There was this video of the hockey players watching this centurion guy walking out and then there's this guy in a 300 Halloween costume with a wonky microphone trying to yell something. It didn't really sound like any language I've heard and well, I felt bad enough for the actor. I'm guessing he was probably some local wrestling entertainer but he really looked like he was trying out for the porno version of 300. It was ridiculous to the point of insulting Frank Miller.

I guess if this happened last year, or whenever the movie came out, it would have helped a bit by being slightly more current but I don't think that idiocy could have been saved no matter what. And he was still better than the performance put on by the team.

Comics and Hockey

Sorry for the crappy html hyperlink text, but this was on CBC and I found it incredibly poignant for my two current interests.

 

http://www.cbc.ca/sports/hockey/instigator/index.html

 

I really hope Ottawa wins tonight but I won't be holding my breath.  I've always liked Pigpen.

 

*Sent via e-mail.