* Jog takes a look at one of my favorite comics of the year, Yuichi Yokoyama’s Travel.
* Leigh Walton makes the case for Rorschach’s tough-guy voice, The Watchmen, and other fan-lamented aspects of what we’ve seen from Zack Snyder’s Watchmen thus far. Bonus points for making the retrospectively obvious “Have a Cigar” connection.
* I’ve tended to think of Brian Michael Bendis’s New Avengers as follows: A strong, exciting opening arc full of solid action beats (Hydro-Man floods the basement, the Sentry tears Carnage in half) provides an interesting mix of A-listers and potentially interesting also-rans with a solid raison d’etre and mission statement, i.e. fate threw them together just like the original Avengers; now they must track down all the criminals broken out of a super-prison while finding out who’s responsible for the breakout and the subsequent massacre of slaves in the Savage Land. The book then gets sidetracked almost instantly by storyarcs devoted to explaining who the (it turns out) not terribly interesting after all also-rans are (the Sentry, Spider-Woman), messing with continuity in a pretty unsatisfactory way (House of M, the Xorn/Collective stuff, Illuminati), and the demands of outside titles and external crossovers (dropping Daredevil from the team before he could even join, splitting up the team for Civil War), all despite occasionally impressive character work (particularly with Luke Cage, who really has become a leading player in the Marvel Universe thanks to Bendis’s great work with him). Jon Hastings’s critique is a simpler yet somewhat more fundamental one: Bendis never learned how to write action scenes for large numbers of characters. True enough, whenever I think of a big Bendis team-book/event-comic action sequence, it’s a two page spread of people punching and stabbing and shooting in every direction, accompanied or followed by cutaway panels highlighting indistinct individual bits of action–just like Jon says. (Meanwhile in the comments Jon takes a swing at the basic reason for the team to exist, but I’m not ready to go that far.)
* Over at my favorite new TV show of the season, Bruce Baugh continues to explore what’s up with World of Warcraft. One thing that strikes me anew with each new post is just how many major factions are involved. My fantasy background is almost solely Tolkien, where for all intents and purposes it was a strictly bipolar world; intra-faction strife (Dwarves vs. Elves back in the Elder Days, Saruman vs. Sauron in the “present”) tended to be of limited scope and duration. I don’t recall other fantasy series I enjoyed (Susan Cooper, Lloyd Alexander) deviating from that model overmuch. (Ursula K. LeGuin kinda eschewed bad guys iirc.) By contrast, WoW is lousy with rivals on every side, and it seems like part of the fun of the game is that you really never know where the next big story-driving assault will come from, or whether the alignment of powers when the next big thing is resolved will in any way resemble the current alignment.
The multiplying of factions is basically a genre convention for MMOs. An MMO is profitable when people keep playing it, and particularly when they’re willing to do some things repetitively. The “rep grind” is doing something that way, to earn favor with a particular group – say, collecting tokens found on the bodies of some of their enemies in strongholds, so you go kill ’em a bunch and scoop ’em up to turn ’em in. Done well, as in WoW, it feeds into good world-building too.
Interesting take on the Rorschach voice thing. I guess my issue isn’t that it’s gravely, but that it has too much emotion, too many inflections.
Here’s some stiff reading from the series, and he pretty much nails the dead-flat delivery thing I always heard in my head.
http://www.youtube.com/watch?v=1FS60iN0g2I
Not sure about that guy’s accent, but kudos in the Smith’s song in the background. Go Johnny Marr!
Bruce: Ah! That makes a lot of sense. I’m really ignorant w/r/t the mechanics of gaming, so I appreciate the info, which in retrospect makes perfect sense. One of the things I find so fascinating about WoW is how the logistics affect the narrative.
Sean: In addition to the grimngritty parody element of what is potentially the rationale behind giving Rorschach the voice he has in the movie, I also think the monotone would get really grating and/or boring after a while.
Perhaps…but it might have been quite chilling as well(Just look at HAL in 2001. Or anything with Paris Hilton ‘acting’). Then, when he has his whiney explosive outburst at the end, it would have been like a bomb going off. No point musing over it though…they didn’t ask me…they simply don’t care…*sigh*
One area where the gravel might work well is during the scenes with the psychiatrist. Imagine that voice coming out of an average schmo and it will either be a very compelling bit of characterization, or a laff riot. In either case, will be interesting.