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October 31, 2005

Celebrating Halloween in World of Warcraft



Originally uploaded by .
I'll write up something more about this later, but here's a shot of my character standing dangerously close to the Wicker Man being burned to celebrate Hallow's End in the online game/time vampire World of Warcraft.
Or I can start writing it now while I'm waiting for trick-or-treaters and blasting the Cure's Disintegration, which was one of the only appropriate CDs I could reach given that most of them are packed up so my daughter doesn't rip them off the shelves.

World of Warcraft, like many computer RPGs (particularly MMORPGs) has a long and rich backstory that hardcore players are familiar with, and lots of other folks simply blow off. And like most RPGs, the backstory in WoW is largely original, but also syncretically constructed from a number of real world mythologies and fictional worlds. I'm most interested in how WoW handles the Undead, one of eight races that players can build characters from.

So, the tortured backstory is this. A demonic host invades the war-torn world of Azeroth. They're badasses, dark to the core. Hell, they raise the dead as an army to ravage their enemies and crush all opposition through both fear and force. These guys are not good news. They even manage to subvert the scion of the kingdom to their dark ways, burn, pillage and feast on the corpses of the fallen. In their wake, a plague of undeath follows, swallowing up families, villages, kingdoms, civilization teeters on the brink of being consumed.

Of course, the tide of battle turns. But then something interesting happens. Some of the undead, after the death of their demonic masters, declare themselves to be free beings, owing alleigance to none but their own, bound by a curse and the plague that's left them intelligent, though certainly not pelasing to the eye. Instead of being simple flesh-munching zombies, the Undead of WoW, the free Undead (or Forsaken, as they call themselves), are just like us. Only kinda pallid and a little glowy-eyed. They retain their passions, drives, and essential characters.

And they're kinda pissed at the rest of the world for trying to exterminate them. Granted, most folks don't know that there's a difference between Forsaken and the Scourge (the demonic flavor of undeadness, who are mindless eating machines by and large.) Now, the Forsaken know they can't protect their nascent kingdom (or queendom as the case may be) all by themselves, and have formed an alliance with the Horde (orcs, trolls and tauren, who are sort of minotaur-like folks who have a culture rooted in that of the plains Indians of america). Of course, not even their fellow allies trust them fully. I mean, geez, they're *dead* for crying out loud. They are not like us.

Only they are.

You'd figure that Blizzard (the makers of WoW, and really it's unfair of me to talk about them like a giant monolith, when I know for fact that it's made up of quite literally an army of skilled designers, artists, programmers, testers and the like) would go all out for Halloween. After all, they've had harvest festivals, Easter-like Spring celebrations, and Father Winter observances. Halloween should be something special. And indeed it is. Jack-o-lanterns festoon all the capitals, and players can trick or treat at inns and the like (often being temporarily turned into a cat or frog or leper gnome for their trouble). Enchanted confections turn players bigger (and oranger) and apple bobbing draws a big crowd everywhere.

And then there's the Wicker Man. This gigantic effigy can be found near to the Forsaken capital city (in the ruins of the jewel in the crown of the old kingdom). It's probably built to a scale of nine or ten meters in height (I'm terrible at guessing this sort of thing), and every night for about two weeks or so, it's burned in celebration of not only the commemoration of the Forsaken breaking the shackles of their demonic masters, but also to serve as a warning to any who would attempt to enslave or eradicate them again. The Banshee Queen herself appears in spirit, moments before ignition, and the crowd goes wild, firing off all manner of fireworks and spell effects, cheering and frothing in proper celebration

I have to admit, the first time I took in the spectacle, I was moved. Not only because it was visually quite impressive (as you can see above), but because it added something crucial to the lore of the Forsaken and the game in general. These beings started out as the lowest of the low, mindless servants of the hellish thugs that would remake the world in their image. Even after that, the Forsaken were persecuted and exterminated by the humans that would embrace them, but for the plague that's transformed their bodies.

But the Forsaken have had enough of that. They're not going quietly into the good night. With the Wicker Man, they're putting their enemies on notice that the Undead are free beings and never going to serve anyone again. That's right. Non servaim, bastards.

Of course, the Wicker Man has its origins in Celtic culture, where it was an offering to the gods to ensure a good harvest and remind folks that today's hero might indeed be tomorrow's sacrifice, so a little humility might be in order. In WoW, the Wicker Man is a stark warning, blazing against the digital stars hanging in a slate green-black sky: respect us or face our wrath.

Just to show

That I haven't entirely disappeared, here's a little thing I did for Dark, But Shining a little while ago. Posted now for your reading pleasure.

No, it's not a usual Halloween pick. But that's okay.

And I owe a response, but I haven't had time to write one up. Besides, what I'd have to say wouldn't resolve much of anything, so I suspect we'll have to end up agreeing to disagree on some things.

Oh noes!

I'll tell you why I'm not excited

About this whole Stephen King thing. And frankly, why I'm not excited about any big-name author coming in and writing books for the major publishers. Hell, about the only franchise character/author I'd be up in arms about would be Harry Potter (and that's not going to happen, as JK Rowling has gone on the record about her disdain for comics in general.) See, Harry Potter is even more of a brand name than Rowling herself, and that brand name would motivate kids to go seek out the comics (particularly if it were new material and not just adaptations of the books that they can already read). Kids are more likely to get comics by dint of the fact that they're kids and haven't been exposed to years and years of programming that comics aren't a medium for Mature Folks Who Can Read Real Books (as we get so often.)

Stephen King fails to elicit the same excitement for a couple of reasons. One, and this is likely opaque to most folks, is that he's not writing the darn thing. He's plotting it, but from what I can gather, it's not clear if he's actually writing dialogue for it or not. So, there's his name up on the front of the book, but what's his actual contribution? "Written by Stephen King" seems a lot more exciting than "Original Content Contributed by Stephen King". Too bad the latter has been the descriptive phrase used more often than the former.

Next, it's kind of a second rate property as King goes. Now that's likely my perception getting in the way of things. If it were a brand new, entirely original set of stories/characters, then I'd be a tad more worked up about it. That said, the DARK TOWER material probably lends itself better to comics than much of his other work (though movies based on his novels seem to do okay, if they're adapted well, which is an iffy proposition.)

Lastly, it's a comic book. A monthly comic to be followed by a high-priced hardcover and then an affordable softcover sometime down the line. The original run won't be available outside the Direct Market (unless I'm reading things wrong, and if I am, then feel free to smack me around.) Yes, some people will probably be motivated to head into a DM comic store to get the originals as they come out. At least the first one or so. We'll see if they form the habit of coming back on a monthly basis to get the whole story.

I'd wager that they'd sell a lot more if they did it as a well-priced hardcover or even a slightly marked-up softcover original into all bookstores and not just the DM. Maybe, just maybe, bookstores could be convinced to carry the floppies and put them on the shelf next to King's other prose books. That might break the barriers a bit, but I don't see that happening. Having to give up face-out space on something that's only going to give you a buck or so a copy back, not to mention is even more fragile than a paperback and is of an odd size to begin with makes the odds of this happening slimmer than Bachman's protagonist in THINNER. It's gonna be easier to sell books in a bookstore. I know. My mastery of the obvious parallels that of even the mighty Steven Grant.

Okay, so you get King on the cover of a Marvel monthly and people respond to it. What are you going to do to capitalize on this? Where's the crossover appeal? Right now, it's likely to Vertigo (if they could somehow build up some synergy as the premiere publisher of horror comics, which is tough when you have competition like Dark Horse and IDW these days.) What do you bring out to keep people coming back? And how does this fit in with your franchise-at-all-costs marketing/editorial plan in general?

Like a lot of other things Marvel's done lately (and DC for that matter), this is a stunt. A one-time event to grab some headlines and to my eyes, offers little or nothing of substance to really shake things up. I've said it before and I'll say it again: most people don't want 22 pages at a time of story. Unless that 22 pages is in of itself an entire story. And even so, most people are primed for a larger "satisfying chunk" (to take the phrase that's been floating around the Engine lately) than that. If the big companies want to be treated like original book publishers (and not just like that in their reprint divisions), then they need to deliver a product that satisfies like a book and not like a short story. Audience expectation is quite nearly everything, format-wise. You choose to adapt your offerings like that, or you get stuck with the audience you already have.

Oh yeah. Another thing. This will be a comic book. Recent PW coverage and embraces by the literary establishment aside, most adults aren't going to want to touch it with a ten foot pole, Stephen King or not. Remember that King did the comic adapatation of Creepshow with Berni Wrightson providing the art, and I'm betting that it didn't sell all that well compared to King's other works of the time. Sure looks pretty, though.

Finally, I'd love to be proven wrong in this. Really I would.

October 26, 2005

Nick's Cafe



Originally uploaded by .
In Dogtown, not far from downtown LA, just across to the wrong side of the tracks, quite literally. As I understand it, Nick's was started/is owned by an ex-LAPD homicide cop and is only open for breakfast and lunch. I don't think they're open after dark, though it would seem that it's safe enough inside, behind the bars and barbed wire (and whatever firepower is under the counter.) They serve a mean corned beef hash.

The cafe at the LA Police Academy in Chavez Ravine hands out a pretty solid breakfast as well, though it's been years since I've eaten there. Wonder if they still let the public in? Should go check that out sometime.

Stuff I've Dug

Lately.

Seven Soldiers: Klarion
Okay, I've mostly dug this, particularly due to Frazier Irving's stupendous artwork, which is both spooky and children's-book sing-song-y in a way that nobody else's is. I do kinda wonder where the whole Klarion and Kitty merge into GIANT TERMINATOR DEMON MONSTER came from. Seems like they dropped a page or two along the way. That said, Grant Morrison shows with terrifying ease how well he knows these characters and the sitauations that they find themselves in. And his Sheeva are so unremittingly evil that they're a joy to watch. And that double-page spread with the drilling rig bursting into Klarion's village? I'm swooning! Lovely stuff that more than makes up for its flaws.

Marvel Monsters redux
These have all been a lot of fun. Which is good, because who needs deadly serious Fin Fang Foom in their lives? The Hulk/Devil dinosaur smash up was great, not simply for Eric Powell's art (though that was certainly part of the appeal), not simply because of the appearance of the Celestials (one of my favorite Kirby creations), not simply because of the sheer joy of "Hulk hate space!!", but for a combination of all these things and then some. The embrace of Marvel monstrosity extends even to the underrated Fantastic Four/Iron Man: Big in Japan, which is some kind of wonderful as well (even if the ad-content ratio drives me batty, and I'm likely to wait for the trade just so I can have the whole thing on my bookshelf instead of a box full of chaos.) I'll also remind my gentle readers that they can get another monster fix in the pages of the Fantastic Four "baby book", Fantastic Four Adventures, with the latest installment (featuring the Thing versus a brontosaur and Mr. Fantastic on the receiving end of a Tryannosaur chomp). Not to mention Jeff Parker's re-conception of GOOM as a bling-lusting MTV freak a couple months back, which made me laugh out loud more than once.)

Superman Showcase
This stuff is bonkers. It's not always good storytelling by our standards, with >CHOKE< providing its primary emotional thrust, but what it lacks in nuanced characterization it more than makes up for in SHEER, DESPERATE INSANITY. Superman with hydrocephalis? Got it. Superman shoots proxy Superman out of his hands? Got it. Supergirl wished into existence by Jimmy Olsen? Got it. Superman marries Lady Luck and has superbabies that he can't spank into submission? Got it. Superman has to do the will of a vile swindler to maintain his honor? Oh yeah. Imagination on the page, man. It's right there.

The Wintermen
And on the other end of the spectrum is a very sober, non-crazed, expertly-crafted character study/suspense thriller. The characterization is strong and believable, and from my reading in the area, spot on, from a cultural standpoint. Of course, most superhero readers are going to be disappointed, as there hasn't been even a single page of caped heroic, though there's been a few panels of flashbacks here and there. This story could easily be transplanted into today's environment and work just fine (though I don't know how long that will hold true), which does make me wonder why Wildstorm's putting it out at all (instead of Vertigo as it was originally going to be published there.) This is a dense read, but there's not a lot of fat there; like the lead character, this story is all muscle. Hopefully folks pick up on it before the series comes to a close.

Picking up from where I left off this morning...

Amazing Joy Buzzards, v2 #1
I'd liked the title before, particularly as it wasn't being anything more than what it was: densely-packed fun. However, with this issue, things just jelled in a way they hadn't before. Probably because I'm genetically predisposed to lunge at anything Tesla. With a first line like "We have Tesla's ray," and the looming menace of the mod Spiders, something hit me. And when the book goes horizontal for the road race in Monaco, I was knocked out. It all worked. Sure, a reductionist sees that AJB is The Monkees with vampire robots and Mexican wrestlers, but I'm having a hell of a time with it.

Dr. Ready
Brought to you by Curtis Broadway, the Dr. Ready books defy easy explanation. They're part dream narrative, part spy story, part parable, part symbolist fantasy and all good. If you're looking for a linear story, best turn back now before you're irratited by Broadway's staunch refusal to overtly hook everything together. However, if you want a direct taste of someone else's brainspace (and an entertaining one at that), drop by his site and tell him I sent ya ('cause I don't think you can buy the books anywhere but though him--correct me if I'm wrong, and you happen to see this, Curtis). There's two volumes: Cosmogeny and Casa de Perros. One of 'em is in Spanish, but that doesn't present any barrier to getting the joy from the books. Oh yeah, I forgot the banjos, but there's plenty of 'em. Dig it.

Doomed
Doomed is IDW's shot at bringing back the black and white horror anthology magazine (and really, we need all the alternate formats we can get in this business). It seems a tad steep at seven bucks, though, but the ink doesn't come off on your hands and the paper is mostly a uniform shade of off-white and not blotchy, patchy grey like the old Warren mags of my memory. Also, the blacks print black, which is pretty crucial for horror, really. The stories themselves are okay to pretty good (hard to go wrong when you're adapting the likes of Matheson and Bloch. F. Paul Wilson adapts his own short piece "Cuts," which works well. The art delivers as well, Ash Wood bringing some sketchy brushwork that lends "Blood Son" an allegorical, storybook quality that I've not seen from him before. There's a slight disappointment in Eduardo Barretto's work on "Blood Rape of the Lust Ghouls", in that it's not as clean as some of his more recent work (such as on The Long Haul), but it suits the style of the story well enough. Geez, but aren't people who work in the entertainment industry real pricks who get what's coming to them? Oh, and "The Final Performance" delivers a real shock and scare with its twist ending, which I was trying to unravel before I got to it, but then it's Robert Bloch we're talking about here. You demand that sort of thing from his work. The adaptation, however, by Chris Ryall and Kristan Donaldson works very well, desperation and ultimately insanity oozing from the pages.

As for Ms. Doomed, the hostess of the affair, of course she's over-the-top to the point of ridiculousness. That's the whole point. That said, it'd be nice to see that mold cracked and something else worked up. Yeah, it's an homage to the Warren magazines in that regard, but if this is to work, we need to move past homage and make something that's our own. That admonishment could (and should) be applied more broadly to the industry at large as well.

I'll be around for the next issue, though. Hopefully it takes off, or at least gets a sustainable audience. Which is kinda sad when you have to hope for as little as that...

October 24, 2005

If he's right

Then Rich Johnston has just made me a very happy man. Word is that there will be a second Seaguy miniseries, that being the hinted at "Seaguy and the Wasps of Atlantis."

Which would make me cackle with glee. Positively cackle!

Back to page layout...

EDIT - Cameron Stewart himself has shot this one down, and he'd be one to know. Sigh.

October 21, 2005

Thrill Power!

FT - The Brown Wedge

Tom from Freaky Trigger (and also I Love Comics) writes about the idea of Thrill Power in pop culture. Give it a read.

Though I'll note that I've got examples which don't jibe with his, and that a lot of Thrill Power can be chalked up to newness and shinyness of a particular piece of cultural output (also known as "Their early albums were better.") Give it a look and let him know what you think.

You know what I want to see?

I want to see a new Batman movie. Not a sequel to Batman Begins, though. Not an adaptation of The Dark Knight Returns, either.

I want to see a movie shot off of All Star Batman and Robin the Boy Wonder. I'm not joking here. I think it would be genius and would cause the thousand caretakers of the franchise to go utterly start raving bananas. Can you imagine "I'm the goddamn Batman" being uttered on screen?

I'd cackle with glee, and probably wet my pants in the doing.

You'd think that I'm insane for saying so, as I'm not a fan of the grim Batman, but this take is so grim, so determined, so dark that it loops right around to Adam West territory (just a different region of it). I wanna see Miller take this all the way. All the way to where, I'm not sure. But all the way, just the same.

October 19, 2005

Strangeways forum established

Speakeasy Comics :: View Forum - Strangeways

Click on the above link and you will be brought to the Strangeways forum at Speakeasy Comics. No expense has been spared in bringing you the finest comics chatter experience imaginable! See the Whirling Dervishes! Smell the countless bossoms delicately plucked a thousand hands in a thousand lands! Taste the bitter dregs of defeat as I talk smack about your favorite books!

Okay, maybe not that last part. But the other two are solid-gold ironclad guaranteed to be true.

October 18, 2005

Just to give you an idea

Of what I think a fun birthday haul is:

  • Pictures that Tick by Dave McKean, purchased direct from Allen Spiegel Fine Arts awhile back.
  • Meeting People is Easy - A film by Grant Lee about Radiohead
  • Replay - Bark Psychosis
  • Heroes - David Bowie
  • Comets on Fire - Comets on Fire
  • Acid Mothers Temple and the Cosmic Inferno - Just Another Band from the Cosmic Inferno
  • Bardo Pond + Tom Carter - 4/23/03
  • Special Low Frequency Version - Earth (2)

Of course, the best part of it was a night with my wife minus the kids. The wonders of going to a restaurant and not having to keep a hyperkinetic toddler entertained and in her chair for just TWO MINUTES TO MAKE A MENU SELECTION GOD PLEASE really trumped anything else I received.

Oh yeah, the battling T-Rex toy (think Rock'em Sock'em Robots with dinosaurs and electronic sound) will be used to settle household conflicts via proxy violence for years to come!

I won't stay in a world without snark

Apologies to Lennon and McCartney.

Fanboy Rampage packed it in yesterday. It had been coming for some time, really. And that's okay. Because if he stuck with it, Graeme would become the Johnny Lydon of snark: meteoric and incandescent before burning out and appearing on The Surreal Life. None of us really wants that, do we? I didn't think so.

FBR!!! at its best was a place that demanded not simple snark, not just a rapier wit and thirst for blood. It demanded outrage. Outrage born out of jesters cavorting and fiddlers fiddling while Rome burned. It was the only appropriate response to the Hype Age of Comics, bent on deflating egos and savaging naked emperors (of which there no shortage - nor are there today).

Sadly, the comments section dipped into self-parody more than once. Or twice. Or thrice. And yet, we still came back for more, knowing that sooner or later the trolls summoned in from various other messgaeboards would give up (or the peanut gallery's attention would be diverted elsewhere.) Somehow, FBR!!! remained essential reading, even in the midst of the pain and anguish of Paul O'Brien's dark night of the soul or the stab of the arctic shit-knife. Graeme, like Peter Finch's character in Network, was Mad As Hell And Not Going To Take It Anymore. At least not quietly. Only flimflam artists and sycophants had anything to fear.

Odd that people are talking about the death of the comics blogosphere right about this time. Funny, but I don't see that. Sure, a lot of the more prominent early booggers hung it up, or went on to gigs that paid them for their time and effort. Some of them are even trying to actually get work in comics and watch what they say (/me raises hand), but that hasn't stopped others from firing up their own blogs and getting the word out. Whatever word that is (and there's as many opinions as there are bloggers and commentors). Perhaps people are regretting a missed opportunity for comics bloggers to save comics and enforce a positive (from their perception) change. That, of course, is a cherished notion that is largely bunk. I dont' see too much change to the industry having come from the fan communities. Sure, some of those fans became creators and exerted influence (arguably detrimental as a whole, depending who you talk to).

But I don't think that's the point. Blogs aren't supposed to save the world. They might get people talking, but they, much like mailinglists and USEnet and messageboards, aren't likely to change anyone's mind. Or rescue the medium.

However, I'm off-track. I really should be saluting Graeme and his many thankless hours of work and ultimately his inspiration. Without him, I wouldn't have written a single column or started this here blog. Well, maybe I would have, but he made it look so damn easy that I figured I could do it too.

Bottoms-up, ye wee bastid! Here's to yeh!

What is a "Slayer?"



Originally uploaded by .

Courtesy Jog:

SOVIET UNTERZOEGERSDORF / the adventure game

It's baffling, but I think I like it. Think of it like SimApparatchitknik or something. I'm quite sure I didn't spell that right...

Blasphemy!

to my essay on the nebulous boundaries between SF/Horror:

Is the idea here that if the characters aren't straight-laced enough, it's not science fiction? I think that's a needlessly proscriptive way of drawing the line between these genres--if as is often said science fiction is simply regular literature with some speculative elements thrown in, then couldn't--indeed, shouldn't--it encompass the entire range of human behavior and emotion, including extremes of fear? Then there's the part that argues that Lovecraft isn't scary...hoo boy. But hey, read it and decide for yourself.

The Thing by Hawks = sober, straitlaced men of science defending themselves against an alien vegetable.

The Thing by Carpenter = scary paranoid freakout.

It's all about the destination, Sean. Carpenter brings you to a scarier place than the original ever imagined, driven by paranoia, mistrust and terror. Hawks brings you the sober triumph of science.

Science fiction, and I'll add the caveat "to myself", doesn't and can't bring the scares like horror can. It's not trying to, for the most part. Even the at best unsettling "Hey you old fogeys, what happens when we start jacking ourselves into computers and hacking off our limbs and replacing them with blenders" cyberpunk fiction of the mid-80s doesn't scare. Can't. Won't. Most of that anxiety was driven by the tension between humanist SF of the previous generation and the "we'll freaking do anything for a new sensation" attitude of the new kids. (And by "kids" I mean authors that nodody paid attention to before they were glommed into the category of Hot New Something.)

Granted, by the "it's all about the destination" metric, just about anything can be horror, which I don't think he disagrees with.

And sure, science fiction could address the span of human emotion, but it largely chooses not to. Then again, horror often doesn't soberly consider the intersection of technology/politics/society. Hell, horror's not often sober about much.

Which is why I don't find Lovecraft a good example of horror myself. His writing is too distant, too considered, too rational even when he's trying to describe the indescribable. Lovecraft is a lot of things, at times lyric, an excellent expressor of the uncanny, rife with existential dread at his best.

But his writing is not scary. Never has been. Being afraid of Lovecraft's Elder Gods is like being afraid of the stars or tidal waves (or earthquakes). I suppose in some parts of the world (like California) a healthy respect is demanded, but his horror is so impersonal, distant, uncaring, that I really can't get worked up about it. I suppose folks in the thirties, driven by a more roundly "humans are the center of the universe" sort of attitude would be more unsettled by this sort of "inversion." But I'm not.

My opinion, mind you. And likely to be an unpopular one.

October 14, 2005

FYI

THE BEAT: The First Blast of the Trumpet Against the Monstrous Regiment of Women

Heidi writes in her rebuttal to various rebuttals of Johanna Stokes' column (link is dead right now, but it's over at Comic Book Resources):

I know quite a few couples where the spouse (and it isn't always the wife!) is completely uninterested in comics, and these pairings rarely strike me as being totally compatible. That would go for any choice of avocation, though, really. A race car driver who married a woman who was allergic to the smell of gasoline would have a lot of adjusting to do. Yet such things do happen.

Just want to mention that I'm living proof of that. My wife, whom I adore and dote upon, has no interest in comics. Sure, she read Grendel back when Christine Spar was the lead, and the occasional other book that I'd zealously point in her direction, but it never really took. Of course, she loathes Tom Waits and just about any other music I get really excited about, too.

However, that hasn't prevented her from being supportive in my work (particularly now, when getting into comics seems both easier and more crazy stupid than ever). She might give me a weird look when I come home all worked up about the Seaguy art I bought and how much I paid for it and what a great deal it was, but it doesn't get in the way. Not really.

And The Sandman bored her to tears. Even the EC-stylee horror at the launch of the series.

Say hello

Though I suspect that Graeme will have to find another outlet somehow, else the pent up urges will likely be the death of him.

October 14

Tomorrow is Vince Coletta's birthday. You know him. He's the guy who rubbed out Kirby's backgrounds so he could get pages done faster. And yet he could render textures a lot better than many of Kirby's other inkers, so it's a tradeoff.

That, of course, means it's my birthday too. I really should take the day off, but I'll probably be writing, both for "Lone", which is the follow-on story to "Murder Moon" in Strangeways, and for something that I promised to the guys at Dark, But Shining awhile back.

At least I won't be doing lettering...

October 13, 2005

Reviewers sought

Bloggers/print/web/radio/smokesignal/whatever. Comics reviewers who are interested in more free books (or PDFs) to review, in particular: Strangeways #1, are urged to please get in touch with me via email. You can find the address on the main page to my site:

https://highway-62.com/.

No print copies to be allocated just yet, but those will be along in due course.

I'm... famous?

NEWSARAMA.COM: MATT MAXWELL ON STRANGEWAYS

No comment. This is all very weird.

Stuff I done bought yesterday

Big, expensive day. Stupid Doom Patrol trade...

  • Doom Patrol: v 3. Down Paradise Way
  • Doomed - from IDW
  • Where Monsters Dwell
  • Gødland
  • The Goon #14
  • The Goon 25-center
  • Villains United #6
  • Marvel Adventures: FF #5
  • Infinite Crisis #1

I actually had to put stuff back. Like Death Valley from Speakeasy, which I'd never heard of. Which is weird, because I'm writing a book sorta in the same genre for them, coming out in a month or so.

There may be reviews of some of this later. Though in a nutshell, Infinite Crisis #1 ended up being pretty much what I expected it to be (which will be true for any reader). It's erratic and jumpy, much like the book that inspired it, not particularly well-written. The art's less crowded than the original (whch is white-dwarf-dense compared to today's comics), but I suppose it serves as a decent spine to hang all the other crossover issues off of. It's not a satisfying or moving read, though. And really, who needs to see GRIM BIZARRO pound on the Human Bomb?

The reveal isn't much of a surprise, had you read the original (which I didn't when it was fresh, but I did a few years back). I mean, geez, why has it taken them this long to use a set up which Marv Wolfman acknowledges he left in as a back door years and years ago?

As for me being a grumpy old man, that may be a fair cop. However, when I'm reading superhero comics, I'm going there for a hit of wonder and imagination, and maybe just maybe a shred of insight into the characters. That's something that I get regularly with the wonderful (though uneven) Seven Soldiers, but it's just something that I'm not getting off this. There's a dreariness that pervades it, a tooth-gritted crosshatched musclebound dread that simply fails to rock my world. The first Crisis was insane, unhinged. This one just seems dour and homicidal in comparison.

Quartz City likes

A Joshua Tree In Every Pot: What I Like October 2005

My longtime friend Chris writes up some stuff he likes this month, including, but not limited to: flying manta rays, PROJECT UFO, and shortwave music (featuring a nod to arcane musicologists The Roswell Incident.) Check it out.

Dice Heart

COMICON.com: DYSART'S SPENDING TIME WITH THE SWAMP THING

As you can tell by the above link IN CAPITALS, that's a link to Comicon's interview with current Swamp Thing writer Joshua Dyshart. Writing Swamp Thing after, say, 1990 or so is really a tricky proposition. Writing it today, even after the reboot, which should have streamlined things, isn't much better. All in all, it's a solid book, and certainly a step or two (or three) away from what passes for ordinary in the Big Two-dominated marketplace. Granted, it's sometimes on the obtuse side, and things are often only made clear upon reading the entirety of the arc, but Dyshart has brought a lyric sense and voice to the book that has been missing since the days of Moore and Veitch's writing. And the art is solid, if not amazing (Breccia is really something once he gets going.)

That said, the book seems to have trouble getting traction in the marketplace (even if you follow Dyshart's admonition to regard the numbers with skepticism), which is disappointing, but not particularly surprising. Expectations for the character, given his pedigree are one of two things: insanely, unreachably high or achingly low. Neither of which really enhance salability. And of course, it's something different, which always goes over big...

Dyshart also talks about his other book, Captain Gravity which comes out from Pennyfarthing Press, and I can somehow never get my hands on. Well, with a trade collection together, hopefully that'll be a bit easier.

October 12, 2005

No wonder it's so quiet...

Commenting, though tantalyzingly within reach, has not been enabled on this here blog. The technical issues will be solved and the meddlesome Reed Richards will be punished. Unleash the minions of DOOM!

EDIT - The master is most pleased. Normal commenting functions have been established. Let slip the dogs of the Peanut Gallery!

Finite Crises

From The (essential) Beat:

MILE HIGH COMICS presents THE BEAT at COMICON.com | 2

The NYT quotes Dan DiDio as saying "The commitment of resources scared a lot of departments...This is not just an editorial risk; it's a company risk." It's an interesting comment. In this day of the internet and message boards, the universe-shaking crossover seems to be the least risky approach possible for a comics company. The prize that DC's eyes are on is really the line of books seven months from now. Now that's a risk.

Heidi's comments in bold, DiDio's not so much so.

Firstly, DiDio's assertion that this is a company risk. It isn't, not in the slightest. As Heidi points out, this sort of "everything you know is wrong and CHANGES" mega crossover has become SOP since 1985, for both of the Big Two (and really before then, starting with Secret Wars in what, 1982?) The diehard comics fans will always come back to the characters, no matter how much they gripe about "They killed Blue Beetle!" or "Golly, I liked 'em better when they were happy!" The books will sell into the DM about as well as they ever do. Probably better due to the buzz surrounding the event. And if people end up not liking the direction that they're going...well, superhero comic worlds are infinitely malleable and can bounce back from anything and woo fans back with "It's just like you remember, only BETTER!" The superhero sector of the DM is driven by habit as much as anything else. Habits are very, very hard to break.

As for risk outisde the DM.. Uh, doesn't anyone remember when they killed Superman and nobody really noticed? Lois and Clark still went on the air, as did Smallville. Superman's saleability was unmarred in the long and even the medium run. So few people who know about Superman as a cultural icon actually read the comics that DC could really go bananas and not damage their franchises. And, I believe, the comics readers will come back for their character fixes anyways.

As for what comes seven months after, (that's what, two months before SDCC?) and risk, I'm not so sure. I think that 52 is going to be something of a gamble, but that's an issue of marketplace mechanics and not content mechanics. Playing to the current pool of comics readers isn't that difficult for the Big Two (okay, not entirely true, but it's easier for them than it is for say, nearly anyone else). I'd like to see them take riskier moves in the arena of actually capturing new readers, whether through genre diveristy (where DC trumps Mavel currently), accessbility, support of fringe titles and outreach. Now you're dancing out on the edge...

Way to waste a morning.

Zombie Simulator, v 3.7.

I'm forcing myself to turn this off right now, else I'll lose the entire day to the damn thing. Full power zombie simulation, featuring army troops and cluster bombs (to be used sparingly, as humans killed by one become zombies themselves.) Yeah, you've gotta use a little imagination and the graphics are barebones, but if you ever think humans are going to beat a full infestation without killing themselves, you've got another thing coming.)

Link courtesy The Horror Reader.

New content

At the Highway 62 main site:

About your host.

About our founder.

Strangeways page updated with all four covers of the first storyline.

October 11, 2005

End of an Era

Rykodisc Catalog - The Index Masters - Wall of Voodoo

Or perhaps the beginning of a new one, as Rykodisc sees fit to reprint one of my favorite records ever. Yeah, "Mexican Radio" got overexposed on the radio circa 1983, and the video (though interesting and engaging) was inescapable on the nascent MTV. But this stuff, this stuff is pretty much timeless so far as I'm concerned. This is Wall of Voodoo at their most raw and unrefined, and yet still able to hook you with the pure infectiousness of "Call Box" and the anxiousness of "Red Light" and "The Passenger" (still, dare I say it, relevant after the intervening 20+ years after its recording.)

And their cover of Johnny Cash's "Ring of Fire" (with a little "Our Man Flint" action towards the end there) is absolutely sublime, with a synth sound that's yet to be equalled, even to this day.

And if you're curious to what Wall of Voodoo's former ringleader, Stan Ridgway, is up to, then just click on this here link and your thirst for knowledge will be quenched.

Above all, remain calm!

a little east of reality: in case of...zombies??

Make with the clicky. Because you don't want to be caught with your pants down in case of zombie infestation, whether it's the annoying Class I or the civilization-threatening Class V...

Link courtesy Delendaescarthago, whatever that means...

Busted gut

From laughing after reading Dorian's take on Watchmen. The sad thing is, I can see people saying this with a straight face.

My head hurts

Ripped from Newsarama! NEWSARAMA - DC COLLECTS EVERY ALAN MOORE STORY, LISTS JAN/FEB '06 COLLECTIONS

Gathering every DCU tale written by Alan Moore under one cover for the very first time, DC UNIVERSE: THE STORIES OF ALAN MOORE TP features sixteen stories including the never-before-collected BATMAN: THE KILLING JOKE and SUPERMAN: WHATEVER HAPPENED TO THE MAN OF TOMORROW.

So, a great big "get bent!" goes out to all the mooks who bought the first edition of the book. Nice. That's class. Granted, I'm not likely to sit down and read Killing Joke again anytime soon, but it's the thought that counts.

Let's see what else we can find worth mentioning...

Oh, right here:

SEVEN SOLDIERS OF VICTORY VOL. 1 TP
Writer: Grant Morrison
Artists: J.H. Williams III, Simone Bianchi, Cameron Stewart, Ryan Sook, Frazer Irving and Mick Gray
Collects SEVEN SOLDIERS OF VICTORY #0, SEVEN SOLDIERS: SHINING KNIGHT #1-2, SEVEN SOLDIERS: GUARDIAN #1-2, SEVEN SOLDIERS: ZATANNA #1-2 and SEVEN SOLDIERS: KLARION THE WITCH BOY #1
224 pages, $14.99 US

Yeah, collecting Seven Soldiers was going to be a pain no matter how you slice it, but would it have killed the editors to consider reprinting complete stories. As complete as these stories are anyways. Since there's a common thread running from the zero issue to the concluding issue, and each mini ends on a cliffhanger--albeit one that will be wrapped up in a single issue and not an interminable crossover.

But stuff like this drives me batty. At least try to make these collections work a little cleanly, people. The stories reference one another, but each one can be read and enjoyed on its own. Reading the others isn't a requirement (as it is with typical crossovers, protestations to the contrary notwithstanding.) This book could easily have been the zero issue, Shining Knight and Guardian, with the others collected two to a volume until the end. This isn't brain surgery. Regular readers are turned off by coming back and picking up the story in another volume as much as most comics readers seem to be turned on by it.

If you want more readers outside traditional comics channels, then give them a little of what they expect, at least. Try to give them a whole story, or something approaching it, in a single volume. I railed against this when New Frontier wasn't given a one-volume collection, and I'm gonna do it here, too.

The work deserves better treatment than this. Granted, it's not likely to be a good gateway book for non-comics readers, but at least give it a goddamn chance.

SHOWCASE PRESENTS: HOUSE OF MYSTERY VOL. 1 TP
Writers: Joe Orlando, Sergio Aragones, Howie Post, E. Nelson Bridwell, Otto Binder, Robert Kanigher, Jack Oleck, Marv Wolfman, Len Wein, John Albano and Jack Miller
Artists: Joe Orlando, George Roussos, Lee Elias, Doug Wildey, Bernard Baily, Carmine Infantino, Mort Meskin, Neal Adams, Sid Greene, Jack Sparling, Sergio Aragones, Howie Post, Bill Draut, Jim Mooney, Win Mortimer, Jerry Grandanetti, Gil Kane, Wallace Wood, Bernie Wrightson, Alex Toth, Wayne Howard, Al Williamson, John Celardo, Mike Peppe, Tony deZuniga, Leonard Starr, Tom Sutton, Ric Estrada, Ralph Reese, Frank Giacoia, Jim Aparo, Gray Morrow, Don Heck, Russ Heath, Jack Kirby, John Costanza and Nester Redondo
Collects HOUSE OF MYSTERY #174-194
552 pages, $16.99, black & white

Now this makes me very happy. Currently enjoying the Superman Showcase edition and can't wait to get my hands on this one.

THE WILL EISNER COMPANION SC
Writers: N.C. Christopher Couch and Stephen Weiner
Artist: Will Eisner
176 pages, $12.99, black & white

I should probably be excited about this, too.

Spencer Carnage

starts a blog. He calls it: Of Course, Yeah!. It's pretty good, and funnier than this here blog. Give it a read.

Whaddya mean "Who the hell is Spencer Carnage?"

Add this to the long list

of things I will never be drinking: Steven Seagal's LIGHTNING BOLT. I can't think of a damn one of these energy drinks that's worth consuming. It's sugar and caffeine, people! You get a bigger charge out of Coke (though you should do as Mr. Parker says and try to track down Mexican Coke as it's made with cane sugar and not corn syrup).

But then, I didn't believe in Smart Drinks, either (one of the more embarassing then-contemporary fads that resurfaces in the pages of The Invisibles upon rereading.)

And just...Steven Segal, man! Steven Segal! The Glimmer Man, stooping to putting his face on a can of energy drink. He signs every can! Every can!

But if you're in need of entertainment, head on over and click randomly on any link there. It's bound to be funny.

October 10, 2005

Gray Areas

Dark, But Shining -- Horror, Fantasy, Sci-Fi, and Christ Knows What Else.: Guest commentary: Gray areas

I finally get in on the All Hallow's Month festivities over at Dark, But Shining with a longish piece about the unsteady relationship between horror and science fiction. Go ahead and give it a read if you need some distraction at work.

Strangeways #4



Originally uploaded by .
Just putting the solicit together now, but I wanted to post the cover. Steve really outdid himself on this one. If you want to complain about the minimalist coloring, then gripe at me. That's my fault.

October 09, 2005

Founder



Originally uploaded by .
Some work that I put together for the new site. Much as I'd like to run it full size, I'll have to shrink it down.

Yes, I like duotone effects. Yes, I'm predictable.

The Layman also rises.

Emperor Layman in the Hiz-Ouse of the Rising Son

Courtesy the Mighty Layman, images of his triumphant Conquest Tour of the Land of the Rising Sun. Many Happy Joy Joy Super Fun Love Instant Time Sharing Joy Moments await!

Scroll down to Saturday's entry to see the monster spider sculpture that he grabbed a pic of. If that's public art in Japan, then get me a plane ticket pronto!

Creepy!

Cribbed from Hisham's post at The Great Curve: Creepy Magazine: Issues 1-40.

There's some really lovely stuff up here, by masters of comics and horror both: Frazetta, Davis, and Sutton all on the first page. Some of the work just screams 60s/70s, but a lot of it is timeless, and artists working on covers today would serve themselves well by taking a look.

Neat!

I really should be sleeping, but instead I'm up and blogging about only marginally useful stuff like this: The British Library puts up a collection of some intriguing historical texts up for browsing online.

Really, I'm just blogging this so I don't have to add another bookmark to my already-bursting bookmark file...

October 06, 2005

"The fugushi are harmless."

Is it so wrong to declare my boundless love for Seth Fisher?

If it's wrong, then I don't wanna be right no more. Just finished reading Fantastic Four/Iron Man: Big in Japan after going through a relatively sucky work day and now I can't wipe the grin off of my face. Part of that has to be attibutable to the droll scripting by Zeb Wells, but the larger part of my glee is fueled by Fisher's imagination unleashed. Yes, there's been a lot of comparisons between his work and that of artists like Geoff Darrow and Jim Woodring. Though Wells is cleaner by far than the former and more frenetic than the latter.

He's certainly not a typical superhero cartoonist. I'm sure his lack of twitchy musculatures and heroic poses and pneumatic females does a lot to turn off the average cape fan. But the his determination to not do the Same Old Thing pleases me to no end. And it's odd, because there's not a lot of variation in his line (which is something that I usually keep an eye out for, and why I like a lot of the expressionistic superhero cartoonists like Darwyn Cooke and Cameron Stewart), but there's character. Man is there ever character on the page! His design sense is pretty flawless, too.

Chris Chuckry's colors should get a shout-out, too. Nicely modeled, but not overly fussy, and matching the tone of the artwork perfectly. And he managed to get a sense of dimension, which complements the flatness in Fisher's work quite well.

All in all, a pleasant surprise. Looking forward to more of this. And maybe even checking out some of his other work in the meantime.

October 05, 2005

Hulky goodness

Over at Comicon Pulse, as they preview Eric Powell's pages for the inevitable Hulk/Devil Dinosaur crossover.

Like I needed an excuse to pick up this book. I really love how Powell is taking the hulk to troglodytic extremes that we haven't seen since the first issues of the book, where there was much more a Frankenstein vibe to the character. Looking forward to this (and to getting Goon #14, which I missed somehow.)