Tag: Storytelling

Best/Worst of Times, etc.

2012-12-05, 8:53 pm
Categories: Comics, Movies, Stream of Consciousness

Yesterday I talked about Karen Berger's imminent departure from Vertigo, the disappointment I feel as a Vertigo fan, and the excitement I feel wondering what she'll do next.

And you know, that's kind of the perfect metaphor for what it feels like to be a comics fan in general right now. There's just so much bullshit -- but there's so much gold, too.

Since the 1940's, the American comics industry has gone through a regular, 20-year boom-bust cycle. We're in an odd-numbered decade, so if the pattern continues that means we've got another bust coming. And while I think Marvel and especially DC are full-speed-ahead on stupid management decisions to cause the next one, this one's not going to be like the others -- it's going to be smaller, it's going to be confined to those two major publishers, and it's going to happen even as their characters and brands increase in popularity.

Now, both companies seem dead-set on repeating most of the worst excesses of the 1990's -- variant covers, new #1's, big summer crossovers, increasingly muddled continuity reboots, Jim Lee -- and don't seem to get the idea that this is going to go much like it did in the '90's, with a brief boost to sales followed by a crash as everybody gets sick of this crap. DC, in particular, is currently being run by bean counters at Warner who think their best shot at relevance is pushing the Reset button on their universe again and putting out prequels to Watchmen.

Even still, DC's still managing to put out some great books. Dial H is fantastic, Demon Knights is a joy, and Animal Man and Frankenstein were both pretty great until they muddled into an unnecessary crossover. I really don't think it's a coincidence that the best books coming out of DC are the ones that are subject to the least corporate interference and are the least subject to the whims of shared-universe continuity.

And that's just DC proper. Take the the industry as a whole and there's a stunning variety of wild, beautiful, original books -- Saga, Chew, Manhattan Projects, The Massive, to name just a few. There are even some wonderful licensed books -- Adventure Time, Popeye, Godzilla: The Half-Century War. Prophet shows that even a 1990's Liefeld property can turn into a brilliant, offbeat science fiction series worthy of classic Heavy Metal. Dark Horse Presents demonstrates the depth and breadth of modern comics at its greatest, at 80 pages for $8 a month.

And that's just the new stuff. As far as classic comics, there's an embarrassment of riches. When I gave my cousin a copy of The Completely Mad Don Martin -- a collection of the cartoonist's entire Mad output, in two oversized hardcover books in a slipcase, weighing in at about 25 pounds -- my uncle looked at it and said "Did you ever think you'd see anything like this?" The mere idea that, in two generations, Mad has gone from being dismissed as trash to being given reverential treatment.

There's so much in print -- Floyd Gottfredson's Mickey Mouse, Carl Barks's Donald Duck and Uncle Scrooge, exhaustive collections of Peanuts, Calvin and Hobbes, Bloom County, Terry and the Pirates, Dick Tracy, Prince Valiant, Mary Perkins On Stage, Pogo, Tintin. You can get the complete Bone in a single black-and-white volume or a dozen color trades from Scholastic. Love and Rockets is collected in paperbacks or hardcovers, pick your Poison River. The other day I was at the library and saw a huge hardback collection of Walter Simonson's entire Thor run (only the worthy may lift it). There are glorious hardcover collections highlighting the work of Kirby, Ditko, Wood, Davis, Kurtzman, Wolverton, Eisner -- the choices are staggering.

And that's just the stuff that's in print.

You wanna talk about digital? You can buy the entirety of Quantum and Woody right the fuck now (and there's a rumor of two finished-but-never-published issues on the way too). Sure, digital comics has its issues -- DRM and the inevitable platform fragmentation and compatibility problems that DRM causes -- but it's still early days and that stuff'll get ironed out.

And that's just the stuff you have to pay for. Head on over to a site like Digital Comic Museum and you can gaze upon thousands of public-domain comics, completely free of charge.

And that's just the stuff that's available legally.

You want a comic that, for various rights reasons, will never be reprinted? Jack Kirby's 2001? Moore, Bissette, Veitch, et al's 1963? The infamous Air Pirates Funnies? Can't stop the signal; they're easier to find now than they were when they were in print.

So, all in all? It's plenty easy to get frustrated with the direction DC and Marvel are going in. It's easy to foresee their readership tanking and bringing on another crash and panic. But Avengers and Dark Knight Rises are still Hollywood blockbusters; their publishers aren't going away -- and even if they vanished overnight, there would be so much good stuff left to fill the vacuum that I, for one, wouldn't miss them...much.

Truth is, for all the bullshit, I don't think there's ever been a better time to be a comics fan -- not even the 1940's.

And I shouldn't have to say this, but just to be perfectly clear: I am absolutely not advocating illegally downloading comics that are commercially available. Support publishers you like. Support creators you like. Support your local comic shop.

And if you download a work that's out-of-print, or otherwise acquire a book that doesn't benefit the creators or their families, it's a good idea to buy something that does. You like 2001 (or, for that matter, any of Kirby's Marvel work)? Buy Kirby: Genesis and send some money his family's way. Like 1963? Pick up some Swamp Thing trades, and keep an eye out for Bissette's Tales of the Uncanny.

Or whatever it is you're into. Bottom line? Find something you love, support the people who make it happen, and tell your friends.

Berger

2012-12-04, 2:13 pm
Categories: Comics, Stream of Consciousness

Vertigo isn't what it was.

Have they had a big hit since Y? I can't think of one. Fables is still ongoing (along with spinoff Fairest), and they put out a new edition of Sandman every two years (with a new miniseries coming!), but I can't think of a new series becoming a real barn burner since 2002.

Not to say there aren't series that deserve it. Northlanders, Scalped, DMZ, American Vampire, iZombie, and my personal favorites, Sweet Tooth and The Unwritten -- they've all been critical successes, and they've all stuck around awhile (the shortest run of the lot was iZombie's 28 issues). But for a long time I've gotten the impression that the bean counters aren't happy with the results.

From what I understand, Vertigo's contracts are a lot more restrictive than they used to be -- "creator-owned" in a technical sense but giving a whole lot of the rights over to DC.

And lately, they've been shutting down popular Vertigo series to reintegrate popular characters back into the DC universe -- Swamp Thing and John Constantine are the two biggest examples.

So when I read yesterday that Karen Berger was stepping down as EiC of Vertigo, it came as a blow but not a surprise.

It's not an exaggeration to say that Karen Berger changed the American comics industry. She put Alan Moore, Steve Bissette, Rick Veitch, and John Totleben on Swamp Thing; she brought Moore and David Lloyd's work on V for Vendetta into the DC fold and gave them the opportunity to finish it. And then she put Neil Gaiman on Sandman.

That would have been one hell of a résumé all by itself. But then: Vertigo. Sandman wasn't just an amazing and unique book -- it led to an entire imprint based on the premise of amazing and unique books. It reminded comics fans -- and showed new fans, perhaps for the first time -- that comics can be anything. And that "mature" can actually mean "mature" instead of being a euphemism for "blood and guts and cursing and maybe titties".

It's been just shy of twenty years, and Vertigo's influence -- and Karen Berger's -- can't be overstated. It changed the way people looked at comics and consistently produced some of the best comics on the stands and in the bookstores.

But I get the distinct impression that current DC management doesn't care. And I'm not talking about Didio, Johns, Lee -- I think they all like Vertigo just fine. But DC is, increasingly, not a company run by comics creators, or people who know or care about comics. Warner's in charge. Warner doesn't want critically-acclaimed books with mediocre sales, it wants crossovers and prequels and sequels and reboots and corporate synergy and brand leveraging.

So Berger's out. And on the one hand, it's a shame to see her go -- I really think the writing's on the wall for the entire Vertigo line at this point. Fables will keep going because it's a moneymaker; it won't change much except that it might get a DC logo on its cover instead of the Vertigo one. But every other Vertigo book? Well, I'm nervous as a reader and I'd be more nervous still if I were a creator.

On the other hand, Berger's already changed the face of American comics, and even if DC is no longer a place where she can innovate, there are plenty of other publishers that I'm sure would be thrilled to have her.

And not just publishers -- there's a very long list of comics creators who refuse to work with DC anymore but who have nothing but nice things to say about Karen. And I'm betting they'll call her before she calls them.

Dragon Quest 1&2 SFC

2012-11-29, 6:01 pm
Categories: Games, Stream of Consciousness, Tech

I've occasionally been poking through the Super Famicom remake of the original Dragon Quest on my cell phone -- you know, when I've had downtime and haven't had my PSP or DS or suchlike with me.

First of all: man, onscreen D-pads suck, even for games that require as little precision as DQ. I have to savestate-spam just to get around the outside wall of Rimuldar without accidentally walking out.

Second: there's so much that's wonky about the interface of this remake. The stupid little half-steps you take instead of moving a full tile at a time, the bizarre decision to stick the action button on X and leave the menu on A (something they stuck with on up through 7 on the PS1!)...frankly I'm almost inclined to tip the Game Boy remake as the superior version of the game despite its inferior graphics and sound, just on its smoother interface.

(Also I recall the GB version having a more charming translation. I probably snorted out loud in class when I took the Princess to an inn and the keeper remarked the next morning that we'd sure been up late last night.)

(Yeah, I played Dragon Quest in class for most of CSE122. If you'd ever tried to sit through a lecture with that instructor, you'd understand.)

More Random Thoughts

2012-11-28, 10:30 pm
Categories: Comics, Stream of Consciousness, TV, Work

Got an E-Mail about a Win7 update needs doin'. Only a four-day job but it'd still be nice to get.

Dizzy again today. It had been awhile. Don't know what caused it; did not like it.

Those Threadless shirts came in, and so far they seem like quality merchandise! I am happy with them. The Groupon deal still appears to be going on; it's worth checking out. (Though I now find that both shirts have been marked down to about the price I paid with the coupon since I ordered -- oh well, it happens.)

Ate dinner at Cornish Pasty. Good food, good beer.

Arrow has turned out to be a surprisingly good show, but man the dialogue on tonight's was overwrought. Geoff Johns? Oh.

Doctor Who: The Green Death

2012-11-26, 8:39 pm
Categories: TV

Originally posted brontoforum.us, 2008-12-03.

The Green Death is pretty good. By-the-numbers story, with too much wandering around in caves and futuristic businesses, but the Third Doctor and the Brigadier are in top form, and the villains are pretty awesome too.

The environmentalist bent to the story is obvious but still takes a backseat to rubber monsters and an evil computer. It does do a decently fair job of setting out the green-versus-labor dilemma and pit the down-to-Earth miners against eccentric hippie scientists, with the Brigadier somewhere in the middle, ever the pragmatist. It also strikes a chord in that the evil polluting corporation is so powerful that it has the full support of the PM, and in one scene the villain threatens to have the Doctor (I think it was the Doctor) arrested under the Emergency Powers Act.

There are some problems with the transfer in places -- I streamed it, so I'm going to chalk all the artifacting up to that, but there are bits where there's flickering light at the bottom of the picture and a couple of places where it looks like the master tape was crinkled. Nothing deal-breaking.

Anyway, it's become one of my two favorite Pertwee serials (the other is Inferno); must-see (streaming on Netflix!) and worth buying.

Doctor Who: The Pirate Planet

2012-11-16, 9:33 pm
Categories: Stream of Consciousness, TV

I am very tired, so here's another old Doctor Who review. Originally posted Brontoforumus, 2008-11-18.

The Pirate Planet is not what you expect either from the title or for the writer (Douglas Adams). The pirates are not of the traditional variety (though the leader has robot parts), are never referred to as pirates, and it is unclear until halfway through or more why the serial is called "The Pirate Planet".

But all that's part of a series of mysteries in the serial that are quite cleverly revealed. Some are obvious, others (why do gems fall from the sky right before the stars change?) are not.

Adams crafts a story with far fewer laughs than you would expect, but it's quite clever and plays out at a good pace, and features an interesting cast of characters (particularly the villains). As usual, he wears his environmentalist cred on his sleeve, but uses it in a way that makes the story interesting.

For $11, it's on the "worth owning" list.

That said, I have zero interest in watching the rest of the Key to Time Series. I've already watched 200 minutes of a collection quest; I don't really see following the remaining 450. Frankly, as much as I love Baker I think I'll take a break from him, maybe watch some more Pertwee or Davison.

Tron Lives

2012-11-09, 9:35 pm
Categories: Cartoons, Stream of Consciousness

Tron: Uprising is like an amalgamation of all my favorite cartoons from the 1990's.

Like Batman Beyond, it's the story of a familiar character, a shadow of his former self but still formidable, training a brash young successor.

Like Sonic the Hedgehog, it's the story of a small group of rebels waging an asymmetric war against a ubiquitous technocratic dictatorship.

And like Beast Wars, it uses the fact that its characters aren't actually human as an end run around standards and practices in order to be the most violent children's cartoon on television.

Seriously, it turns out that if you change "kill" to "de-res" and change blood to little blue cubes, you can show a dude with half his face cut off and the outline of an eyelid still blinking over an empty eyesocket. Game of Thrones wasn't that graphic when Tyrion took an axe to the face.

Also: Fred Tatasciore's impression of Jeff Bridges is uncanny.

Anyway, in case you haven't caught the show yet, here's the first episode (which thetvdb classifies as a "special" instead of the first episode, thus offsetting the numbering of every single episode by one -- so thanks for that, thetvdb). It's hosted on the official Disney XD channel, so that means it's not liable to be taken down any time soon, but also means it's probably region-locked -- sorry 'bout that.

Heart of Frankenstein

2012-10-30, 10:43 pm
Categories: Movies, Stream of Consciousness

Watched Young Frankenstein tonight -- it's that time of year.

Certainly one of Mel Brooks's all-time greats. And certainly there's plenty of pure spoof and slapstick, with corny jokes and wonderfully, gorgeously over-the-top performances from its impeccable cast.

But there's something in there that keeps it from being the straight-up trifle that, say, Spaceballs is (and I like Spaceballs). It doesn't have the social satire of Blazing Saddles, but it does have heart.

It's not just that it's a love letter to the original Frankenstein films (and the whole Universal Monsters line), though it's certainly that, too. It's that it's a story about family, about fathers and sons. For all that Frederick tut-tuts that it's Fronkensteen and his grandfather's work was doo-doo!, he's already followed in his footsteps to become a neurosurgeon and the very first thing he does in Castle Frankenstein is ask where his private library is. He's well on his way to taking over the family business before he ever chants "Destiny! Destiny! No escaping that for me!"

And of course, crucially, the difference between Frederick and Victor is that Frederick shows love to his creation -- even risking his own life, as the Monster points out in the climax. Because as anyone who's read Frankenstein can tell you, Frankenstein's crime isn't in creating the monster, it's in abandoning it. Mel Brooks carries that sentiment to its logical conclusion and gives us a Frankenstein who is a good father -- and so instead of the standard Tragic Ending where Everybody Dies, we get the standard Comic Ending where Everybody Gets Hitched.

Plus I doubt it's a coincidence that Wilder and Brooks wrote it around the time the former was raising a daughter and the latter fathered a son.

Doctor Who: The Ribos Operation

2012-10-23, 10:47 pm
Categories: Stream of Consciousness, TV

All right, so I'm phoning it in with another Doctor Who review I already wrote. Just because I've got free time doesn't mean I've got ideas for things to write about -- hell, the opposite may even be true.

So here goes. Originally posted on Brontoforumus, 2008-09-03.

The Ribos Operation is a mediocre story saved by interesting characters. It's probably most remarkable as the first appearance of Romana, who isn't one of them. At this point she's just a know-it-all college girl and general ice queen (as made less subtle by her costume). While this is the only serial I've seen with Mary Tamm in the role, I can reasonably assume she and the Doctor warm up to each other over time -- but I can also reasonably assume she never achieves the same chemistry with Baker that Ward had, what with Baker and Ward sleeping together and all.

This is the first part of The Key to Time Series, AKA Collection Quest: The Movie, wherein a generic good-guy overlord tells the Doctor he has to collect a series of MacGuffins before a generic bad-guy overlord can get to them first. The plot from there is simultaneously simple and needlessly convoluted: as the Doctor and Romana seek the first piece of the Key, they find that a royal exile and a pair of small-time thieves want it too. The series shows the pacing problems faced by so many early Who serials in that nothing really happens until it's half-over.

That's saved, as I said, by a good cast of characters: the lovable con-men, the ambitious villain, an alien version of Galileo, an entertainingly over-the-top augurer, and a rubber-suit monster that doesn't get nearly enough screen time.

It ends with what I've so often complained that RTD simply can't seem to do: a short but satisfying goodbye scene.

All in all, it was probably worth the rental but leaves me fairly nonplussed about the whole Key to Time series. I assume I will find the next serial, The Pirate Planet, much more impressive, as it was written by Douglas Adams.

I expect I will get to reposting my Pirate Planet review at some point here; suffice to say it had its moments but I was largely disappointed and I didn't stick around for any of the rest of the season arc. I did watch the Black Guardian Trilogy from the Fifth Doctor Era, and wished I'd stopped after the first serial.