Carnival of souls

* I’m pretty proud of the latest What The–?! video I co-wrote for Marvel. It’s a Twilight parody. I can’t speak for the rest of the gang, but as for me, I kid because I love.

Also, just to anticipate what I imagine will be a common complaint: Yes, we’ve seen the photoshop of Blade lurking behind the Twilight kids, but it’s not like the idea of Blade killing the annoying vampire character wouldn’t have occurred to us regardless. I mean, we write for Marvel. At any rate, the presence of Morbius, Man-Wolf, Dracula, Werewolf By Night, and Kitty Pryde is all us, baby. (PS: The Blade figure with his awesome Captain Britain & MI-13 haircut is a custom by our animator extraordinaire, Alex Kropinak–yet another Wizard alum, along with me and my co-writer Ben Morse.)

* It’s no Cage Match, but in this case that’s a good thing: Comics Comics’ Dan Nadel, Tim Hodler, and Frank Santoro conduct a Round Table review of Al Columbia’s masterful Pim & Francie. I was particularly struck by Dan’s observation that the way the individual characters and scenes disappear into artifacts of the drawing process–erasures, tears, ink spills, burns, wrinkles, water damage–in effect “animates the page,” creating an illusion of motion and the passage of time that traditional drawing couldn’t match. Great stuff; read the whole thing and keep checking back for more.

* Speaking of Santoro, Chris Mautner found Cold Heat #7/8’s deviation from the series standard more satisfying than I did.

* I’ve seen this YouTube montage of The Wire‘s 100 Greatest Quotes here, there and everywhere, but I didn’t watch it until it showed up at Ta-Nehisi Coates’s blog. I’m really glad I did, because my whole “Deadwood > The Wire” thing has clearly led me to forget just how strong the writing on The Wire could be. That frequently used “If [metaphor], then [some subordinate action related to that metaphor]” structure is really elegant.

Meanwhile, in the comment thread at TNC’s post, I once again go through my arguments in favor of The Sopranos and Deadwood over The Wire, if you haven’t seen them already. Coates attracts a high class of commenters, so there are probably some other worthwhile things to read in there if you’re interested in those shows. Just watch out for True Blood spoilers!

* Curt Purcell is unimpressed with the latest round of Blackest Night tie-ins, the first ones created with the more or less openly stated goal of goosing sales for their respective series.

* There’s pretty much nothing I don’t love about this discussion of how to get the people of the far future to take radioactive waste site warnings more seriously than we take the curses of the pyramids.

* And there’s absolutely nothing I don’t love about CRwM’s test of whether splitting up when pursued by a slasher is a good idea or not. To paraphrase President Clinton, it depends on what the definition of “splitting up” is.

* Matthew Perpetua has re-uploaded his Best of The Best Show on WFMU mix. Matthew also effectively gave me the hard sell on pledging to WFMU last night, so I have him to thank for the Michael Kupperman t-shirt on its way to me.

Comics Time: Archaeology

Archaeology

James McShane, writer/artist

self-published, September 2009

80 pages

I forget what I paid for it. $10, maybe?

I can’t find anyplace to buy it, but here’s James McShane’s website and blog

Wouldn’t be surprised if it ended up in the Buenaventura Press shop

This thick little minicomic does a lot of things right. First of all there’s the format itself: cardstock pages, folded into a fat little brick, then cut, I believe, with a bandsaw. It’s a delight to hold and let your fingers trace the bumpy edges of the pages; it’s like the anti-newsprint. Then there’s the idea for the concept itself, which won me over the second I figured out what it was: a chronicling of the contents and environs of his childhood home inspired by his mom’s moving out of it. Most of the book is just a shot of a room, a door, a lamp, a tree, a driveway, a hose–one small drawing per page, so intimate I wonder if they were drawn from memory. Flipping through the book’s thick stock ends up feeling like opening a tiny door into this house with each turn of the page. Moreover, McShane glides effortlessly in and out of deviations from the standard operating procedure–there’s a funny sequence of him popping up into the dusty attic and wondering what the heck’s up there (turns out to be nothing); an evocatively minimalist depiction of him and his mom strolling through the neighborhood, juxtaposing little suburban landscapes and still lifes with shots of the pair looking around against a blank background. Finally, McShane sticks the landing with a quietly bravura sequence in which his memories of the house begin to blend together even as he rakes its yard, with a tree suddenly appearing in front of a door and an obviously cherished duck-shaped lamp superimposing itself upon nearly everything, a focal point for years and years of lived experience. McShane’s Porcellino-influenced style is a perfectly breezy and simple complement to this perfectly breezy and simple comic, which nails this specific set of circumstances and sensations just about as well as you could imagine. Very well done.

Carnival of souls

* Well, that’s unfortunate: All that Comics Journal #300 content I linked to yesterday has been taken down on the orders of Gary Groth, leaving me to wonder if it went up on his orders in the first place. (Via Tom Spurgeon.) Dirk Deppey’s passive-aggressive response is a hoot even by comics-Internet passive-aggressiveness standards.

* Italian movie studio Fandango has bought Italian artcomics publisher Coconino. I don’t have much to say about this other than that Coconino’s Ignatz series of deluxe pamphlet-format comics is wonderful. (Via Heidi MacDonald.)

* Tom Spurgeon reviewed Jesse Moynihan’s Follow Me the same day I did. Weird, huh? What’s weirder is that we same almost the exact same things about it but reach different conclusions.

* So in 1993 Marvel launched a ton of crappy characters. Later in 1993, an official Marvel publication made fun of all those characters–and I mean really mercilessly mocked them. They don’t make ’em like that anymore! (Via Robot 6.)

* Curt Purcell loved and hated the latest Blackest Night tie-in issue of Green Lantern Corps. His rationale for the latter reaction makes me wonder who he is and what he’s done with the proprietor of The Groovy Age of Horror.

* T-Shirt of the Day, high-end edition: The great Michael Kupperman has created a t-shirt in honor of the addictively irascible Best Show on WFMU, available to those who pledge $75 or more in the station’s emergency pledge drive today and tomorrow. (Via Matthew Perpetua.)

* T-Shirt of the Day, low-end edition: Look, I’m not gonna lie, I’m attracted to this drawing of a post-apocalyptic Velma by Travis Pitts, available as an $18 Threadless t-shirt. Pale knock-kneed girls, you make the rockin’ world go ’round.

* Happy Birthday to Martin Scorsese, the greatest living American director, whose best film is Casino.

* Finally, Mightygodking’s “Scenes from an Alternate Universe Where the Beatles Accepted Lorne Michaels’ Generous Offer” is really magnificent. I’m not going to spoil a thing beyond that, even though I so, so want to, just to attract certain people into reading it. But if any of the words in the title appeal to you on any level, please go read it, and then come back and we’ll talk about it in the comments. (Via Matthew Perpetua.)

Comics Time: Follow Me

Follow Me (Backwards Folding Mirror #3)

Jesse Moynihan, writer/artist

Bodega, 2009

120 pages

$10

Buy it from Bodega

Buy it from JesseMoynihan.com

This book’s a tough nut to crack, mostly, I think, because it doesn’t work. There are plenty of familiar altcomix elements present here, from slacker/douchebag observational slice-of-life humor, to gross-out gags and dick jokes and sex comedy, to little fantasy creatures having incongruously realistic and vulgar misadventures, to stream-of-consciousness psychedelic transformations and explorations. All that stuff has been done a million times, and in variations of Moynihan’s knowingly ramshackle black-and-white line to boot–you’ll detect echoes of Matt Furie, Mat Brinkman, Brian Chippendale, Lisa Hanawalt, Alison Cole, Theo Ellsworth, and probably a lot more besides. That said, Follow Me doesn’t feel derivative to me, thanks to Moynihan’s strong, winningly lo-fi character designs and “acting.” His main character, a little dude in a gnome hat, is a pleasure to watch as he’s haplessly buffeted by his own venal impulses and his world’s unpredictable metaphysical freak-outs; he gives Moynihan an opportunity for several standout moments, from his convincingly bewildered look as he gets sucked through a vortex to a goofy little dance he does in which his long shadow effortlessly creates a sense of harsh, bright lighting, a very cool effect.

And yet never does this self-evidently very personal vision burst through the “bubble” of its author’s headspace and communicate its vision of the world to me. I’m sure you don’t need to hear me repeat how much I enjoy comics whose impact is primarily emotional rather than logical, but in such cases I can at least make emotional sense out of what I’m reading due to visual continuity and a tonal through-line, or conversely a tonal juxtaposition,. Here I can do no such thing. Follow Me‘s elements sit awkwardly and uncommunicatively together. I have no idea what the “I can suck my own dick” gags and poop jokes have to do with extended visual riffs on death and multiple planes of existence. And rather than telling an emotional story, the too-frequent, too-abrupt transitions and extended visual extravaganzas just feel like a repeated “and then, and then, and then, and then, and then…” It feels less like daring and more like formlessness. Meanwhile there’s one out-of-nowhere chapter that’s as ill-advised a meditation on race as I’ve seen since David Heatley’s My Brain Is Hanging Upside Down. Much more so than most of the comics that bear the name, this feels like a diary comic, meaning it’s of value primarily to its maker. Which is fine, but caveat lector.

Carnival of souls

* Today at Robot 6: Follow-up on Marvel’s Hitman Monkey, tracking Al Columbia, and linking the hell out of The Comics Journal #300, currently online in its entirety and as yet completely unread by me.

* Look, it’s Young Hans Rickheit! His photo of himself at age 17 is adorable, and his illustrations from that period are disturbing. That’s our Hans!

* Wanna rile up comment-thread nerds? Write a list called The 10 Longest and Awesomest Movie Fight Scenes of All Time for Topless Robot but leave off [INSERT YOUR FAVORITE LONG MOVIE FIGHT SCENE HERE], like my buddy TJ Dietsch just did.

* Joe Quesada says Immortal Iron Fist/Immortal Weapons is dunzo. 🙁

* Tom Neely has been posting a series of images called “I just figured it all out…”, all of which are headed for an art show in Stuttgart, Germany. Hie thee to Stuttgart, Germans.

* I like The Killing Joke a lot, which is why I enjoyed David Wynne’s apologia for the book for Trouble with Comics’ Alan Moore Month. Wynne defends the book against its critics (including its writer!) by saying it’s a powerful pacifist powerful. I myself like to look at it as a story about people locked in a relationship that brings out the absolute worst in both of them. It’s also a good fucked-up Joker story. And I’m sure someone could (if someone hasn’t already) draw some parallels between the shaggy-dog joke ending of Moore’s book starring a character called the Comedian and the shaggy-dog joke ending of Moore’s book starring a character called the Joker. Something for everyone! (Bolland’s colors > Higgins’s colors, though.)

* Johnny Ryan’s Gossip Girl. ‘Nuff said!

* I have no doubt that this really is how Dan Nadel spends his weekends.

“A meme engineered by trained publicists.”

Wow, the author of the “WHOSE RESPONSIBLE THIS?” entry at KnowYourMeme.com is passionately opposed to WHOSE RESPONSIBLE THIS?. Apparently the idea is that there’s some sort of Heisenberg uncertainty principle attached to Internet nonsense, so that when I and others pointed out the memeworthiness of this phrase, we inherently delegitimized it. This is something up with which author Twyst will not put.

I’m not sure what’s my favorite part of the entry. Is it saying “Sean T. Collins decided of his own accord that this phrase should become a meme,” a move later characterized as “premature declaration”? Is it the assertion that “When fans of ‘Whose Responsible This’ tried to introduce it into the wild, it was killed on sight because of it’s declarative nature”? Is it the use of multiple charts and graphs? I think I’ll go with the repeated insinuation that this is some sort of concerted conspiracy by former Wizard employees. As commenter Chris Menning puts it, “‘Whose responsible this’ was a coordinated media effort.” Our responsible this.

Comics Time: Reykjavik

Reykjavik

Henrik Rehr, writer/artist

Fahrenheit, June 2009

48 pages, hardcover

I got it for the low low price of $5 at MoCCA

Buy it from Fahrenheit…? I think?

FOOM! FWOOOSH! KRAKKA-DOOM! Abstract Comics contributor Henrik Rehr’s Fahrenheit is like the purely visual equivalent of a sound effect. Utilizing chops earned through years of more traditional cartooning, Rehr seizes the canvas of abstract comics with a vengeance, crafting a dynamic and frequently stunning–dare I say it?–page-turner, with nary a narrative element to be found.

Rehr is working in pure black and white, reproduced on a slick page stock that gives its expansive visuals a deep and expensive look. His “story” is structured primarily from spread to spread, and in each, one can detect a particular visual inspiration: the whorls of a fingerprint, the activity of unicellular organisms, waves, fire, smoke, a jungle, and in the book’s most memorable moment, a shattered pane of glass. There’s even one spread that looked like ghosts to me, though in that case and all the others, nothing is recognizable as such–Rehr deploys just enough visual cues to get the idea across before riffing off into the stratosphere with them. The emphasis throughout is on motion, with the eye pushed, pulled, and even thrown from one end of the spread to the next by wafting forms, exploding panels, or great ribbonlike curves. At times it looks like nothing so much as the stormy sky of a Dore print blown up to unrecognizable size. The context is gone, but the dynamism removes. This book really puts the “action” back in “abstraction,” and at five bucks–less than most minicomics!–it was an absolute steal. Snag it if you see it at a show.

See a preview below:

Carnival of souls

* Today on Robot 6 I shouted out new Nancy art from Seth and new monkey art from Frank Cho.

* Do you want to design the new mascot for Topless Robot? Sure, we all do!

* Vice magazine mustache enthusiast Nick Gazin’s mostly-altcomix review rampages tickled me. Writing like Hipster Runoff’s older brother on purpose gets a little old, but if you’re gonna bang out short lulzy attention-grabbing reviews of comics, at least do it with comics that might actually be worth your time. (Via Mike Baehr.)

* Mark Richardson asks the musical question: Is life really a beach?

Carnival of souls

* Today at Robot 6, it’s back to the front for another Con War dispatch.

* I also tip my hat to Maxim’s very funny list of superheroes who belong on the side of a ’70s van.

* Oh thank God, Stallone’s no longer doing that Rambo: Monster Hunter movie. He’s taking that idea and doing it with a different lead character–presumably a new one and not Cobra–and restoring the fifth Rambo movie to its original “Rambo goes to Ciudad Juarez” concept by the sound of it.

* Here’s the back half of my pal Kiel Phegley’s interview with Dan DiDio.

* Congratulatioins to Paul Pope upon his receipt of the Silver Dildo for Sexiest Art from Fleshbot. An honor just to be nominated, I’m sure.

Gossip Girl thoughts

* Normally I write these things more or less in chronological order. This is because I’ve taken to jotting down notes on each episode as I watch it. (The Missus: “Whatcha writin’?” Sean: “I’m taking notes for my Gossip Girl review.” The Missus: “And that is why this marriage works.”) But, I mean, c’mon, can’t do that this time. You know what you want.

* Now I know what I’m supposed to say: “You call that a threesome?!?! That ain’t a threesome–that’s a threesome” or some shit like that. But that’s not how I feel at all. (Although you should click the link for the awesome threesome comic I wrote.) I mean, realistically, what more would we have gotten on network television? Some nude backs and people kissing each other’s necks with their eyes closed and making moaning sounds? Unless we’re gonna see Hilary Duff’s nipples and Penn Badgley’s rhythmically flexing asscheeks, I am not interested.

* What we got instead was the most erotic part of this particular sexual encounter, and I think of many sexual encounters outside the context of a committed relationship (though more about that later): The moments when the involved parties consciously choose pleasure. Watching the Duffster’s eyes dart back and forth between Dan and Vanessa as she methodically kisses each of them was about a billion times hotter than whatever PG-13 sex scene we might have gotten out of the subsequent scenario. (Shit, I almost feel like they put us through the “OMG she did a sex scene in her vampire movie how can Dan STAND IT” nonsense a couple episodes back as an object lesson in how non-hot that kind of thing is.) Ditto however many years of will-they won’t-they tension between Vanessa and Dan dissolving in, essentially, a dare, in a thought process that would be something like “I love this person and care about them as a friend, but they’re also beautiful, so now we’re going to use each other’s beauty for our mutual enjoyment, and that’s fine.” That’s sexy!

* And of course there’s the added bonus that this went down as it has so many times in real life: In the context of relationships that will no doubt go down in fucking flames because of it. I don’t think Gossip Girl is the place to go for the eroticized misery that these sorts of collegiate affairs engender, I don’t think it’s going to end up being a super-realistic depiction of how the people who’ve given you orgasms often rip your guts out before or after or even during that particular procedure, but the teaser for next week makes it clear that it’s at least a catalyst for upending the Dan/Vanessa apple cart and causing mischief with Dan and Olivia. Should be a hoot to watch if nothing else.

* Okay, the rest of it:

* I don’t buy the suddenness and totality of Jenny’s transformation into Queen Bee of the Mean Girls.

* And yet I do buy the suddenness and totality of Chuck’s transformation into the mature voice of reason.

* Maybe it’s because the former development is annoying whereas the second is totally awesome? What else can you say about a guy acts more like Batman and dresses more like the Joker with each passing episode? His increasingly purple, sleepwear-based wardrobe is a joy to behold. And the second Serena and Blair got on the elevator, I knew he sabotaged it, I knew it! But the booze and cookies was a touch not even I anticipated. I guess that’s why I’m Sean Collins and he’s Chuck Bass. “If you two want to kiss, it won’t count as cheating.” Oh Chuck, you’re my hero.

* Hey, that reminds me, I believe this episode contained our first real, mutually satisfactory same-sex kiss, correct? I know it was in the context of a trendy threesome and everything, but I’m still down with it because I don’t think either girl was doing it for Dan’s benefit. So good for them. Still, and perhaps therefore, every scene with Erik and Jonathan just pissed me off all the more. Make out! Make out, goddamn you! I’m so sick of these chaste kiss-less network-tv gay relationships. I wanna see some dudes swap spit for Chrissakes. I want the slap and tickle.

* Speaking of Erik, while I do support an Erik/Blair alliance centered on blackmailing some kid about shenanigans after lights-out at camp, Erik’s behavior in this episode was even tougher to swallow than Jenny’s. His instantaneous recourse to lying to both the mousy girl and to Jenny during the whole escort situation was not only out of character, it was indicative of how overused that device is by the show’s writers. They do have the decency to expose the lies pretty quickly at this point–I don’t think the “I’ve already got a date” text-message ruse lasted longer than one commercial break–but it’s annoying and increasingly tough to swallow when even the good eggs start doing it as a matter of course.

* Regarding the escort, though, why is Nate such a coup? I love the kid, but did no one remember him publicly disgracing himself a week ago when he went on television and took the fall for attempting to rig a congressional election by staging a fake drowning on Election Day?

* What self-respecting male geek likes Twilight? You frakked up, writers.

* My favorite cut of the evening was from the nascent threesome to the Empire State Phallic Symbol.

* “Falafel at Mamoun’s”! There’s a Mamoun’s up where I went to school too, and whenever I think of it I remember the time when one of my roommates was wandering around drunk as a lord at 3am with a couple of other people when he got the munchies. They were passing by Mamoun’s and though it was dark, there was a light on in the back and the door was unlocked. Drunk enough to be undeterred by a closed sign, my buddy wanders through the darkened dining room and stumbles into the kitchen, where he sees a dude with slicked-back hair and a wife-beater, looking like a young Johnny Depp, counting out stacks of money. My friend apologizes for intruding and heads back out the way he came. “Hey!” yells the guy from the kitchen. “We have everything but falafel…” Just before my buddy can reply “Great–I’ll have some baba ganoush!”, his companions, who’ve by now come into the restaurant to retrieve him and realized just what kind of offer was being made here, thank the gentleman for his time and escort my friend out of the premises. Thus, when I heard Dan read this item from the list of things to do in college, I instinctively heard it with quotes around ‘falafel.’

Comics Time: Funny Misshapen Body

Funny Misshapen Body

Jeffrey Brown, writer/artist

Touchstone, 2009

320 pages

$16

Buy it from Amazon.com

It’s a simple but effective tactic: Jeffrey Brown almost never draws his action straight-on. We see his autobiographical adventures at a three-quarter angle, or from slightly above and behind him, or with cuts to close-ups. When you factor in the seeming rapidity with which his tiny panels flash by, the effect, rather than one of sitting there watching actors, is like peering into a world, the space described with POV shifts and glimpses of corners and floors and rear walls and “extras.” I know I’m sounding like a broken record here–I’ve reviewed a lot of Jeffrey Brown comics and said this sort of thing in most of those reviews–but it just feels necessary to point out as often as possible that there’s a lot more going on, visually, than what’s let on by even the back-cover blurbs of his own books, let alone by people who’ve got a special monogrammed hatchet they break out in his honor.

As is usually the case with Brown’s nonfiction and memoir work, Funny Misshapen Body‘s carefully curated selection of topics and anecdotes belies the surface-level meandering and structurelessness of its narrative. Brown’s basically telling two stories here: the stories of his physical and artistic/intellectual development. That in itself is a revelation, because it’s not like the two intertwine or inform one another in any real way in the segments we see here. But to Brown, clearly his lifelong love of comics, his long and losing struggle to find a fulfilling artistic outlet, and the eureka moment(s) that bridged the two are just as fundamental to his physical existence as his Crohn’s disease, his physical fitness or lack thereof, even going through puberty. (I get the feeling the sex stuff in here would be much more fleshed out if he hadn’t already done several books on the topic.)

Maybe it’s this focus on the basics that enables him to depict the events of his life with such a winning blend of dispassion and good humor. Brown tackles a lot of material here–middle-school bullying, romantic obsessions, creative triumphs and rejections, the onset of sex as a going concern, inebriated and intoxicated collegiate shenanigans–that quite frankly loom on my own personal mental landscape like fucking Stonehenge. It’s almost bizarre to read a memoir that tackles these things from a seemingly undamaged place. But the two parallel narratives complement each other in such a way that it’s quite convincing. Brown’s story is one of seeking a compromise with the demands of his body and seeking no compromise with the demands of his art. He got to the finish line in both cases, and I guess I’d be pretty settled too, then. That it makes for perhaps his best book to date is just gravy.

Carnival of souls

* Take a gander at the art of Isaac Moylan. Isaac and I are working on a comics project that’s near and dear to my heart.

* Congratulations to my chum Kiel Phegley, who is the new News Editor of Comic Book Resources. Kiel kicks the gig off officially with a big interview with DC’s Dan DiDio.

* Loving Chris Mautner’s new “Comics Cavalcade” feature on Robot 6, and not just because the fucker originally stole my “Comics Time” title for it. It’s a regular-ish round-up of notable comic strips and stories posted online.

* Stephen King, you do not need to write another Dark Tower book, I promise you.

* Hey, there’s a new ToyFare out, and with it a new Twisted ToyFare Theatre comic strip, so check it out.

* Sean Belcher solved the mystery of that cool “frost kraken” image from yesterday for me: It’s by this fellow.

* I will probably like this Clash of the Titans remake. 300 with monsters? Sure, I’ll eat it.

* MY GOD IT’S FULL OF STARS

Carnival of souls

* Robot 6-in’: Brian Michael Bendis is teaching at Portland State University.

* Hey, Deadwood fans: Did you know that the great Todd VanDerWerff of The House Next Door’s Lost recaps spent all summer re-watching and reviewing Deadwood for the AV Club? Well break out the fuckin’ canned peaches and kiss your evening goodbye, because that’s what he did. For all eternity: Deadwood makes The Wire look like Hawaii 5-0.

* Tom Spurgeon loved Joe Sacco’s Footnotes in Gaza. He also loved Johnny Ryan’s Prison Pit Vol. 1. Make sure to take advantage of Tom’s return to reviewing, y’all.

* Jon “The Forager” Hastings has a new criticism blog and this post I’m linking to from it is very flattering.

* I haven’t been following the weekly-ish Amazing Spider-Man comic, although I gave it a shot circa the John Romita Jr.-illustrated New Ways to Die arc and will do so again next week as the umbrella-event-whatever onslaught of classic Spidey villains The Gauntlet begins. Therefore I enjoyed Matt Wilson’s lists of the 5 Best and 5 Worst Post-Brand New Day Spider-Man Villains at Topless Robot. The concepts are breezily hokey in the fashion of most of Spidey’s rogues gallery, and though they’re not all winners, they’ve at least showcased some gutsy design choices and lovely art by the likes of JRJR and Marcos Martin.

* Speaking of Topless Robot: You know, the end result of all the Watchmen DVD shenanigans is that I have yet to purchase Watchmen, a film I greatly enjoyed, on DVD, and don’t really have any plans to do so. Last time this happened was with Let the Right One In and its shoddy subtitles. Did the version with proper theatrical subs ever come out, by the way?

* He hasn’t posted one in a bit, but I just discovered Corey Blake’s weekly round-up of new-reader-friendly comics. Very nice idea.

* And speaking of weekly comics round-ups, I enjoyed Jog’s this week just as I tend do. As usual he sneaks a juicy digression or two in there, this time around a post-mortem on Grant Morrison and Gene Ha’s abortive Authority revival.

* Jason Adams presents five frames from Tim Burton’s Batman. I liked The Dark Knight but there’s still hardly anything in it that holds a candle to something like this:

* I love the metal-up-your-ass imagery of the tumblelog Obsidian Obelisk, but like many Tumblrs (including my own!) it frequently doesn’t credit the images it reposts. (I always used mine as basically a file folder you could display online.) So therefore I have no idea who created this wonderful image. Any help?

* As someone who’s long felt hugely popular pop music should look and sound more like Mechanical Animals-era Marilyn Manson, I fully support Lady GaGa’s “Bad Romance.” This may be the moment where I became a GaGa Believer.

Carnival of souls

* Today on Robot 6 I became a one-man campaign for putting Geoff Johns on a He-Man comic and summarized some salient points from Brian Michael Bendis’s mass interview-by-Twitter over the weekend.

* Wow, that library worker who refused to allow a kid to check out Alan Moore and Kevin O’Neill’s Black Dossier was a grade-A asshole.

* My Twisted ToyFare Theater co-writers Justin Aclin, TJ Dietsch, Jon Gutierrez, and Rob “Topless Robot” Bricken were guests on the ISB’s War Rocket Ajax podcast. Go listen to them explain how to be funny.

Comics Time: Refresh, Refresh

Refresh, Refresh

Danica Novgorodoff, writer/artist

adapted from the screenplay by James Ponsoldt

based on the short story by Benjamin Pierce

First Second, 2009

144 pages

$17.99

Buy it from Amazon.com

Beware of those epiphanies! They’ll get you every time. Like Novogorodoff’s previous book Slow Storm, Refresh Refresh creaks under the weight of meaning with which every scene is imbued. Every email from its latchkey-kid teenaged protagonist to his soldier father abroad is a poetic reverie about the emptiness of lives touched by war. Every conversation between his friend and his friend’s kid brother is an object lesson in how violence and hierarchical power relationships infect those raised around it. Every bully, every cute girl, every wild animal is a metaphor first and foremost. Once again, there’s a belief-beggaring twist involving violence that dances up to the edge of murderousness in a way that simply doesn’t flow from what has come before, and in this case is actually difficult to parse logistically. And once again, there’s one last desperate night where visions are had and this topsy-turvy world almost makes sense before it all fizzles out and fades away. By the end, I found I didn’t care whether the book’s trio of teen leads ever broke free of the stultifying pressures that were slowly crushing them, but I sure as heck wanted the author to!

That said, one thing that really surprised me about this book was the art. When I saw that Novgorodoff had (with the exception of one key sequence) subbed out her memorable gray watercolor washes for a more traditionally drawn style, complete with acidic colors by hired guns (“Color by Hilary Sycamore and Sky Blue Ink; lead colorist: Alex Campbell”), I shook my head in dismay. Here was the most distinctive thing about Novgorodoff’s earlier book, and now it’s gone? But Novgorodoff’s got the chops for her pencil-and-ink work to stand on its own without the more dramatic painted style supplementing it. It makes for a fluid read, and in such cases as the predatory Army recruiter who intersects with our trio of heroes at several key junctures, it’s a fine conveyor of character information.

I just wish it was being deployed in service of a story a little less beholden to the set-up of literary fiction at its most obligatorily portentous. You know what’s a good point of comparison here? Gipi’s Notes for a War Story. Both are bildungsromane about three teenage boys caught up in the moral, financial, and physical uncertainty of war. Both are drawn in a thin-line style that emphasizes the characters’ awkwardness and vulnerability, but also makes moments of violence that much more impactful. Both are published by First Second. But one feels like a comic, while the other feels like a short story with drawings. Perhaps it’s the “adaptation of an adaptation of a prose short story” set-up that’s the problem, I dunno, but I do know the problem’s there.

Carnival of souls

* Art-heavy day at Robot 6 yesterday, as I linked to Kevin Huizenga’s Sherlock Holmes

Jon Vermilyea’s He-Man

…and Alvin Buenaventura’s Believer Art Issue.

* Eve Tushnet loved The Descent. It’s a lovable film!

* Let’s hear what Guillermo Del Toro has to say about designing the creatures of The Hobbit. All this “you’ve never seen a dragon like my Smaug design” stuff is making me nervous. There might be a good reason why!

Comics Time: Mome Vols. 14-16

Mome

Vol. 14: Spring 2009–Kaela Graham, Adam Grano, Derek Van Gieson, Laura Park, Olivier Schrauwen, Gilber Shelton, Pic, Dash Shaw, Ray Fenwick, Ben Jones, Frank Santoro, Jon Vermilyea, Sara Edward-Corbett, Conor O’Keefe, Emile Bravo, Lilli Carre, Hernan Migoya, Juaco Vizuete, Josh Simmons, writers/artists

Vol. 15: Summer 2009–Kaela Graham, Andrice Arp, Tim Hensley, Sara Edward-Corbett, Ray Fenwick, Conor O’Keefe, T. Edward Bak, Gilbert Shelton, Pic, Nathan Neal, Noah Van Sciver, Robert Goodin, Dash Shaw, Paul Hornschemeier, Max, writers/artists

Vol. 16: Fall 2009–Kaela Graham, Archer Prewitt, Ted Stearn, Dash Shaw, Lilli Carre, Conor O’Keefe, Ben Jones, Frank Santoro, Jon Vermilyea, Nicholas Mahler, Laura Park, Nate Neal, Renee French, Sara Edward-Corbett, T. Edward Bak, writers/artists

Eric Reynolds, Gary Groth, editors

Fantagraphics, 2009

Vol. 14: 120 pages

Vols. 15-16: 112 pages each

$14.99 each

Buy them from Fantagraphics

Buy them from Amazon.com

Things kinda went off the rails here, no?

Like, looking at that list of contributors, you can see some standouts: The Cold Heat material from Jones, Santoro, and Vermilyea is not the strongest Cold Heat material in the world but it’s imaginative and, particularly with Vermilyea at the drawing table, sharply delineated, as is Vermilyea’s delightfully sick solo material. Josh Simmons impresses with his blackly comic strips, particularly a memorable number involving homunculus-sized versions of Tom Cruise and Michael J. Fox grinning soullessly at the assembled paparazzi. Tim Hensley kills it as always with the concluding chapters in his Wally Gropius saga, featuring peerlessly communicated body language perhaps the greatest anti-climax in comics history. I think this is some of the tightest material we’ve seen yet from Sara Edward-Corbett–I love her white-on-black trees and her Ice Haven-esque children-adults. Lilli Carre is alarmingly good at depicting male lust. Nate Neal’s not-so-instant-karma piece in Vol. 16 is explicit and haunting. Dash Shaw is a restless talent, albeit so restless he never seems to settle down even in the middle of any given strip.

But what is Mome at this point? Gone is the “recurring cast” model. Also gone is the Saturday Night Live style approach that replaced it–recurring cast featuring a couple of breakout stars with a celebrity guest each issue. Now it’s just all over the place. Here’s Gilbert Shelton’s unfunny rock epic, here’s Ray Fenwick and Archer Prewitt and Ted Stearn’s unfunny funny-animal things, here’s an astonishingly hamfisted political comic from Emile Bravo, here’s some comics from Spain that are stiff and disjointed, here’s some Conor O’Keefe stuff that’s gorgeously McKay-ian but sort of amorphous, here’s some awkwardly self-referential stuff from Laura Park and Nicholas Mahler, here’s a T. Edward Bak cover version of Dan Simmons’ The Terror and a Renee French piece that just get buried under the accumulated other, lesser contributions. I’m not sure what Mome is supposed to deliver anymore, and I’m not sure how receptive I am to whatever it is delivering.

Two items of note

* In the SPX Critics Roundtable transcript, when I wrote that Rob Clough and Chris Mautner’s last names are pronounced “Clow” and “Mowtner,” I meant that as in “rhymes with cow or Mao,” not “rhymes with glow or mow-the-lawn.” I’m gonna fix it so it’s even clearer, but I’ve heard enough excitement over people finally learning to properly pronounce those dudes’ names that I want to set the record straight.

* I have a Twitter account that you can follow: @theseantcollins.

Carnival of Sean

* Just a couple of big Robot 6 posts and then I’m out for the day.

* First, I transcribed the Critics Roundtable panel from SPX. Get ready to wallow in the wisdom sprayed all over your computer monitor or iPod Touch screen by Rob Clough, Gary Groth, Bill Kartalopolous, Chris Mautner, Joe McCulloch, Tucker Stone, Douglas Wolk, and yours truly.

* And here’s an alarmingly comprehensive round-up of the past week’s Con War/Wizard/Gareb Shamus developments. You’re really gonna wanna follow the links on this one. Hours of entertainment.