by Bill
They’re brand spankin’ new series and number one first issues! But are they any good? Worth spending money to buy and time to read?
Included in this round:
How good are these? Decent? Maybe even genius (er...I mean genious)? Read and find out...
• Batman #676 (DC Comics) – by Grant Morrison and Tony Daniel
• Captain Britain and MI13 #1 (Marvel Comics) – by Paul Cornell
and Leonard Kirk
• Secret Invasion Fantastic Four #1 (Marvel Comics) – by Roberto Aguirre-Sacasa and Barry Kitson
Batman #676 (DC Comics) – by Grant Morrison and Tony Daniel
Not a number one, but it is the first part of DC Comics’ months-long campaign promoting Batman R.I.P. so worth the look to whether Part One delivers on the hype.
In general, yes. The issue is jammed with quiet character moments, subtle intrigues to likely serve in subsequent acts, and a few not at all subtle scenes establishing more immediate menace.
Part One also delivers substance for a complaint: readers having not read recent events in Batman will be lost at two points in this.
#1- who is the woman? She was introduced in a scene with no name mention. But as she knows Bruce Wayne is Batman and is in a deep kiss with him, presumably she’s a major character. It would have been nice to have had a name to work with.
As bit of a digression…sequential storytelling tends to penalize the uninitiated. For routine stories a brief recap might serve to remind and give some high-level orientation, and that minimally should suffice. For a major new story to launch and seemingly not care about new participants lacks vision and editorial responsibility. Readers have complained time and again DC Comics’ failures in making their stories accessible to new readers; sadly Batman R.I.P. part one continues this unfortunate trend.
#2- scene setting in the final sequence. Regular Batman readers *may* recognize the setting as Arkham, unfortunately this never confirmed. This is another example of DC penalizing the uninitiated. More egregious is the perspective of the scene: it starts with a omni-present perspective as if walking into the unconfirmed Arkham Asylum, but shifts to another persepctive without explanation to how the introductory could really exist. As conveyed, the opening sequence creates a false tension. Visually it is glorious, Daniel does some exceptional work with each page. Storywise it culminates in something of a cheat.
On the very positive, the Joker as presented is terrifying. Visually he is menacing and truly villainous. His dialogue and demeanor establishes he’s the Crown-Prince of insane. This Joker is unlike any Joker seen before, and worth the cost of this comic to see.
Aside from this terrifying portrayal of the Joker, the double page spread of the Black Glove and Danse Macabre (whomever these characters are – are they new? Recurring?) is a visual treat. Finally, the interaction between Robin and Alfred is brilliantly done. The conversation and tenor is pitch perfect for both characters. Well done.
“Well done” is nothing unusual for Grant Morrison. He sweats ideas. Every blink of his eye generates an idea. The man is a creative force. It is obvious even to one not having read Batman for a few years that Morrison is tapping into something primal with the character’s myth. Any criticism of a reader becoming lost among the story is more attributed to final touch editing than to failure of the story. With the forces in play, this Batman title demands full-time creative support to ensure the little details are not lost among the major. Hopefully subsequent issues will have the DC team bringing their A-game just as Morrison and Daniel and the creative team clearly have done.
As masterful as the storytelling is Tony Daniel’s artistry. Simply: he’s done fantastic work. Hopefully he will be able to maintain the regular schedule for the arc, since he’s really established the visual cue of the characters, notably the villains. Another hand may get the characters drawn well, but not necessarily portrayed correctly. Batman R.I.P. could be the storyline that catapults Daniel to the “next level” of acclaim in much the same manner as Perez (Judas Contract), Giffen (Great Darkness Saga), Quesada (Azrael), Adams (Longshot) among others handling key story-arcs. Nevertheless, it is one thing to write how terrifying the Joker or imposing the Danse Macabre is to be and quite another to deliver that to the page. For anyone who thought that Brian Bolland or Frank Miller portrayed the quintessential Joker, the final four pages of Batman #676 raises the bar.
This is a solid start even with the lack of information provided to new readers. It would have been astonishing if every reader coming aboard had an equal opportunity to understand the environment the story was working around.
$2.99. B+/Brilliant (A+/Astonishing for the art)
Captain Britain and MI13 #1 (Marvel Comics) – by Paul Cornell
and Leonard Kirk
So much was against Captain Britain and MI13 – a book stemming from Marvel’s Secret Invasion major event, a character having gone through multiple incarnations and book launches, a group of relative B-list heroes loosely banding under a (British) Government mandate – among several other hurdles to overcome.
Nevertheless, Captain Britain and MI13 quickly and effectively hits stride. Captain Britain indirectly acknowledged his prior roles and dismissed them without insult with his new intention as being Britain’s Captain America. It is a return to his roots not really seen since American readers were first introduced to the character in Marvel Team-Up. It is an honest and direct approach, easy to accept while returning character credibility. The more convoluted dimensions layered onto Captain Britain in the years since Team-Up offered entertainment but never seemed to adequately build from the foundation of English-myth and national hero. In but a few pages it seemed Captain Britain was finally home.
Equally impressive is the presentation of The Black Knight. The Knight commands some of the best dialogue exchanges with a touch of humor and a dose of self-depravation. More importantly, the character retains a nod to the legacy but a step toward new reign.
Paul Cornell manages these Captain Britain, The Black Knight and several other characters with capability, respect and innovation. It’s impressive to read and ultimately sense a consideration for characters. It will be interesting to learn what is in store with some of the other characters in MI13.
The big star of the book is Leonard Kirk. Kirk pours detail and attention to each panel, with pages loaded with depth and artistry. Kirk skimped on nothing, and even panels with no “all-out” action are loaded with “all-out” activity. Jesse Delperdang had to have gone nuts with what was presented, and no doubt relished the work and contributed to even more eye-dazzling detail. Kirk and Delperdang define what it means to be graphic artists.
The last page is an effective cliffhanger, and the teaser page for issue #2 very effective to entice readers’ return. Captain Britain and MI13 had everything to lose and be a mere footnote in the Secret Invasion mega-crossover. Fortunately and most surprisingly, issue #1 is a fantastic super hero adventure book, with much to look forward to.
$2.99. B+/Brilliant
Secret Invasion Fantastic Four #1 (Marvel Comics) – by Roberto Aguirre-Sacasa
and Barry Kitson
Roberto Aguirre-Sacasa is at his best when he’s allowed to write the Fantastic Four as a family, as more human than super-human or super-hero. His previous work in MK4 presented some of the most touching, human and entertaining scenes between the Family Four of any writer of the characters. As in MK4, Secret Invasion Fantastic Four contains similarly powerful and entertaining scenes.
Ben’s stating “I’m making Coq au Vin for Franklin and Val, Flamebrain, you want some?” followed by Johnny’s “Sue. Dinner. Ben. Cooking. Must. Stop.” is wondrously layered humor based on familiarity of the characters and their own familiarity to fans. Aguiire-Sacasa holds literate command over the Fantastic Four, most specifically for Ben and Johnny, so his return to the characters is welcome and entertaining.
Where Secret Invasion Fantastic Four doesn’t work so well is the involvement of that Secret Invasion and the Skrull conflict. The book is missing half the quartet, a noticeable absence. Aguirra-Sacasa is working with what Bendis left from the primary Secret Invasion series and although he does a capable job with these remnant pieces, the story nevertheless falters a bit while trying to tie into the event.
Kitson appears in step with Aguirra-Sacasa, with their best being the same Ben-Johnny character focused scenes. Every panel with Ben is a treat (both regards the story-scene and with how Kitson draws The Thing), while those with the Skrulls less effective or compelling. There is one exception: the last page. It’s not a shock ending, and in many respects was expected at some point due with the Secret Invasion premise, but having it revealed and out there allows for the story to continue without the distracting questions of “when will…?”
Overall, Secret Invasion Fantastic Four offers fans of the mega-crossover more substance on the Sue/Reed scenes from the Bendis/Yu Secret Invasion, gives fans of Aguirra-Sacasa’s Fantastic Four a refill dose, and provides for an entertaining setup for issue #2.
$2.99. Grade: B/Brainy
Read more!
5.18.2008
Number Ones: Batman, Captain Britain, Fantastic Four
5.17.2008
Number Ones: Sky*Doll
by Bill
They’re brand spankin’ new series and number one first issues! But are they any good? Worth spending money to buy and time to read?
Featured this round is the first offering from Marvel's collaboration with French publishers Soleil Comics, Sky*Doll #1 by Alessandro Barbucci and Barbara Canepa.
How good is Sky*Doll? Decent? Maybe even genius (er...I mean genious)? Read and find out....
Sky*Doll #1 (Marvel Comics , Marvel/Soleil Comics, and Soleil Comics) – by Alessandro Barbucci and Barbara Canepa
January 25, 2008 Marvel and French comic publisher Soleil announced a joint publishing venture. Soleil Publishing was established 15 years ago by Mourad Boudjellal. Soleil is now the third largest French comics group (after Dargaud/Dupuis/Lombard and Glénat/Vents d'Ouest). What makes Soleil a big deal aside from the venture with Marvel Comics is the familiarity several of Soleil’s creators have with American audiences: Humberto Ramos , Skottie Young, Teddy Kristiansen, Francisco Herrera, Richard Isanove, among others.
Sky*Doll is a Mature Content series written, drawn and colored by Alessandro Barbucci and Barbara Canepa. In addition to their comic collaboration, both are also Disney artists and creators of the animated television series W.I.T.C.H.
(an abbreviation of the first letters of the main characters' names: Will, Irma, Taranee, Cornelia, and Hay Lin).
Sky*Doll is a varied offering – a science fiction setting, but with healthy influence by politics, religion, and psychology. The science-fiction tends more toward anthropomorphic aspect of sci-fi. This lends easily to the myth aspect of Sky*Doll as anthropomorphism often refers to the perception or interpretation of the divine in human (or human-like) form. As such, the science is more background and environment with religion, morality and sexuality more prominent to the story.
More subtle, but a critical element of the story, is each character’s own journey of self-discovery and their place in the universe. For the title character, a robot, it is first discovery of more pronounced self-awareness, desire for an identity and self-reliance, but being trapped in a body requiring someone else to power life every 33 hours. As a robot, the life-span is measured in 33 hour bursts, and if someone is not available to place the key and wind power back up, the body will fail.
Permeating Sky*Doll are variations on the conflict of self-sufficiency against more powerful entities exerting control. Whether this is moralistic superiority or political supremacy, the Sky*Doll cast of characters face personal battles as well as larger societal tensions. Barbucci and Canepa are clearly working with a complex canvas of ideology and ambition.
Artistically Sky*Doll is equally complex as whimsical. Each panel is filled with detail, atmosphere and character. A universe has been created and is in full explosive crescendo page after page. Experimental and colorful Sky*Doll is reminiscent with Ralph Bakshi, Heavy Metal, and American Flagg. Barbucci and Canepa restrained nothing and offers readers a tantalizing array of page design, panel arrangement and masterful imagery.
In many respects the kinetic energy of the pictures supports for the ambition of the story, but allows for the reader to not be completely overwhelmed. Certainly many pages require readers to marvel at what has been created, but the pause is pure enjoyment.
Nevertheless, Sky*Doll demands much of readers. Foremost is suspension of belief for the anthropomorphology. Outside of the cute Disney or Pixar talkie-animals, serious literate attempts using non-human characters still defies widespread acceptance. Despite the science fiction aspect which suggests readers are ready to dismiss their ethnocentrism, the sales history of Hepcats, Cerebus, Howard the Duck and even the brilliant Pride of Baghdad never reach the readership numbers the critical acclaim would suggest. Coupled with the sophisticated commentary on religion and politics along with the sexuality and nudity, Sky*Doll offer a lot to alienate even the most willing of readers.
Hopefully this will not the case. Sky*Doll deserves to be read.
As the inaugural launch in the Marvel/Soleil venture, Sky*Doll represents something unlike anything Marvel Comics has published (a close equivalent possibly found within Epic Illustrated Magazine from decades ago). It is also a rare opportunity for the American comics readers to experience a commentary on the human condition in a unique storytelling execution. This is a comic to be savored, re-read, examined, discussed, and allowed to permeate into the thoughts of readers. If future titles are as profound and brilliantly executed as this title, readers will be for the poorer having to buy and the richer in having read.
$5.99. A+/Astonishing; Bad Genius, very highly recommended.
Read more!
5.15.2008
Number Ones: Anna Mercury, Echo, House of Mystery, Iron Man, Kick-Ass
by Bill
They’re brand spankin’ new series and number one first issues! But are they any good? Worth spending money to buy and time to read?
Included in this round:
How good are these? Decent? Maybe even genius (er...I mean genious)? Read and find out...
• Anna Mercury #1 (Avatar) – by Warren Ellis and Facundo Percio
• Echo #1 (Abstract Studio ) – by Terry Moore
• House of Mystery #1 (DC Comics / Vertigo) – by Matthew Sturges , Bill Willingham, Luca Rossi, Ross Campbell
• Invincible Iron Man #1 (Marvel Comics) – by Matt Fraction and Salvador Larocca
• Kick-Ass #1(Marvel/ Icon) – by Mark Millar and John Romita Jr.
Anna Mercury #1 (Avatar) – by Warren Ellis and Facundo Percio
Disclaimer: Warren Ellis could jot random words on paper and I’d more than likely eagerly read each considering it brilliant work.
The first few pages of Anna Mercury made me nervous. Not nervous in the way an idea or concept is unsettling, but rather with wondering if Ellis had maybe hit the wall of originality. Facundo produced some strong layout and artistry page after page, but equal artistry in words from Warren were lacking. When dialogue was present it lacked being something uniquely Ellis. As the end closed in, Anna Mercury had established atmosphere but did not yet hook. Until the final page, when Ellis’ atmosphere and story had baited the hook which was subtly tossed out from page 1 and let to drift until the reader bit on it with the dialogue on the last page.
Armed with the cliffhanger ending, a reread of the issue provided greater insight to the depth of the concept and layering of the story. In getting to that final page, minimal wordsmithing served to strengthen the shock and give the heroine greater dimension. What at first reading appeared to be something of a routine story became poised as a series of questions the reader is left clamoring for.
Anna Mercury serves as textbook for a launch issue: introduce character, give character some identity, set up reader to form a preconception, yank the rug in the last second leaving the reader seeking more.
$3.99 (wraparound cover). Grade of B+/Brilliant (with that ending positioning to an A/Astonishing)
*****
Echo #1 (Abstract Studio ) – by Terry Moore 
Terry Moore did not make Echo an easily read first issue. He used a few conceits that challenged the reader to pay attention to words and pictures. Moore was mostly successful, with only a few instances where the art didn’t reinforce the notion of the story. This may be deliberate on his part, but it’s a dangerous plan since it can frustrate the reader rather than hook them.
Moore equally demanded a significant amount of disbelief from the reader. Echo is a blend of military technology, science, science fiction and realism. To establish a relatable world, Moore infused background elements such as bill collectors and deteriorating relationships amidst the more prevalent science/technology gone mysteriously awry. Nevertheless, the reader must believe the first five or so pages, the recklessness of the military on those pages, and “the viscoelasticity of the suit is similar to an inorganic polymer…I’m no rheologist but, I’d say we may have just created the thixotropic liquid of nuclear weaponry.”
The cumulative effect is to give enough intrigue for a return visit to Echo, be that to resolve the question from the last panel or to understand how the opening sequence and the final sequence relate. Moore’s not developed an overly complex beginning in Echo #1, so subsequent issues appear to be creatively challenging so to avoid answering these initial questions too soon while avoiding making them more complex than the setup allows.
$3.50. Grade: B/Brainy
*****
House of Mystery #1 (DC Comics / Vertigo) – by Matthew Sturges , Bill Willingham, Luca Rossi, Ross Campbell
Initial descriptions were reminiscent of James Owen’s Starchild series in which patrons would share tales in exchange for beverages. Admittedly, this conceit plays back centuries (notably Geoffrey Chaucer’s Canterbury Tales) so to accuse Vertigo’s new series of plagiarism or idea theft from Starchild would be inappropriate.
Reminiscence aside, it’s the execution that is important. Sturges, Willingham and company had much to work with and a lot against their being successful. With many incarnations of the House of Mystery, several renown and recognized for their achievement, the newest incarnation had to overcome the title’s brand and legacy, reader expectations and ultimately whether the work was successful on its own merit.
I am pleased the House of Mystery team is successful and the first issue is fantastic.
House of Mystery takes a page from many of the previous series and works them as individual stories as well as part of a larger tapestry. The familiar Cain and Abel, complete with obligatory murder of Abel nods to the caretakers and hosts of yore. Which are then thrown into a mystery of themselves that appears to be playing out with subsequent issues. This offers the shorter two tales a reason to exist as stories within the mystery.
Luca Rossi in the opening and bridge scenes serves up a masterful texture of shadows while offering depth to Lee Loughridge’s colors. Luca is stylistically similar to Eduardo Rizzo, but offers his own distinctive structure and layout. Ross Campbell takes a slight nod to Richard Corben or Mike Ploog but equally provides his own individuality. The comparisons serve to reinforce the House’s published legacy and still give readers a distinctive visual experience. Ross gets props for a visually stunning and stomach churning sequence in his and Willingham’s “The Hollows” story, which serves to firmly establish House of Mystery’s supernatural environment in a very creepy, captivating full page shocker.
As with any anthology, whether the whole is effective from its parts is with each reader to determine. All of the stories were effective in the inaugural issue, and they seemed to introduce regularly featured characters which offers readers a bit more value in anthology than simply a 8-page standalone piece. It makes for more complicated storytelling, forcing the creators to keep track of multiple different stories told and untold, but it provides a lot more substance for readers to work with. Hopefully later issues will remain as dedicated to keeping the overall book relevant of itself while offering different creative experiences. If so, House of Mystery will deserve regular reading.
$2.99. Grade: A/Astonishing
*****
Invincible Iron Man #1 (Marvel Comics) – by Matt Fraction and Salvador Larocca
Fraction does not waste any time with Invincible Iron Man #1. He’s got Tony Stark in billionaire playboy mode, high tech science to Ellisonian degree, a frightening antagonist with Ezekiel Stane, and lots of effective cuts from scene to scene playing off into a larger than life cliffhanger.
More importantly, Fraction appears to be having a great time page after page. This enthusiasm offers readers a fun book. Salavdor Larocca delivers equally fun pages, although those more action-oriented present far more successfully than some of the more establishing scenes.
The real star of Invincible Iron Man #1 is Ezekiel Stane. In a few pages Fraction has introduced an antagonist as dangerous as Stark, both in genius and in power. When Stane said “I used your money and a lot of your lab equipment to upgrade my hypothalamus. See how the projects relate?” the reader was cued to not only Stane’s relating his work but how the origins of Stane and Stark are parallel. That Stark’s was heroic in nature and Stane’s more narcissistic defines the character’s more confrontational conflict of “good” versus “bad”.
It was also nice to see Pepper Pots in more than “Girl Friday” supporting role. Hopefully Fraction will keep some attention on her, as she’s always been a valued but woefully underused character in the Iron Man mythos.
Invincible Iron Man effectively and decisively answers the question of whether two Iron Man series were necessary: certainly, so long as both maintain quality. Fraction’s series earns its shelf-space and a regular buy without question.
$2.99. Grade: A-/Astonishing (close to an A, really)
*****
Kick-Ass #1(Marvel/ Icon) – by Mark Millar and John Romita Jr.
Millar and Romita Jr. appear to relish in the cruelty they subject on characters in Kick-Ass, be that in the opening sequence or the final page. Whether it is the pubescent fantasy and frustration of the nebbish main character or a random hit-and-run, Kick-Ass savors every painful, embarrassing and real-world intrusion on the hero-fantasy.
Readers knew Kick-Ass to be an irreverent book (if not previously initiated by early reports) with lines such as “That was just some Armenian guy with a history of mental health problems who read about me in the New York Post. I’m the guy with electrodes attached to his testicles” and “The first time I ogled myself in the bedroom mirror I realized how far off the mark the comic books had been. It didn’t take a trauma to make you wear a mask.” Kick Ass would explore in so many other ways just how far off the mark comics had been with several agonizing, brutal, and painful sequences.
Every one of these scenes are glorious.
Made more the glorious with Romita Jr. going all-out on the art (with Tom Palmer, who gives respect to Romita’s style while giving the pencils weight in the manner Palmer’s renowned for). The pages in Kick-Ass are as brilliant as anything Romita’s produced, switching from tough to tender without demeaning the visuals. These are strong pages and worth the price of the issue alone.
Kick-Ass works best when there is a small flame of hope. When it appears the characters will overcome, maybe win against the odds and the reader is inclined to cheer on the protagonist. When hope is dashed, one both feels for the character and is entertained at just how far the fall is.
The book is not for everyone. It’ll offend the hero-worshippers and those needing to cheer the hero to victory in every scene. For those wanting something scrappier, a story kissing both the real and fantasy worlds of comic heroes, for those willing to relish in the abuse – Kick-Ass is captivating and an excellent read.
$2.99. Grade: B+/Brilliant
Read more!
5.11.2008
Gene Colan: Call For Action
by Bill
As reported at Newsarama and other sites, Gene Colan is ill. His liver is failing.
There’s an auction being prepared for Mr. Colan’s behalf, details are forthcoming.
As reported on Cliff Meth the industry is galvanizing already with Stan Lee, Neil Gaiman, Mark Evanier and Peter David immediately pledging their support. Many more will certainly join the list over the next few days.
Gene's brought his passion, skill and genius to Daredevil, Howard the Duck, Iron Man, Night Force, Dr. Strange and Tomb of Dracula among dozens of other titles and hundreds upon hundreds of characters.
Everyone give hopes, prayers and support for this genius (cannot state this word enough in relation to Gene Colan's skill) storyteller and artist.
Gene, all possible wishes for the speediest of recoveries and health to you.
Read more!
5.05.2008
Dave Sim is Not a Misogynist
by Bill Ritter
I’ve started a few letters to Dave Sim over the years, and when Cerebus issue 300 came out actually made it through about half a letter before it drifted away into a folder of “finish someday” projects I keep on the hard drive. Email I have no problem writing (and sending) but there’s something about printing the page and enveloping and stamping and post box and all that which has always seemed too much work. A terribly negative disposition, and there is a question the recipient of letter would derive any enjoyment for which I am never too certain would be the case.
Ultimately, this establishes I’m a poor excuse of a letterhack. I’ve tried to be a more rounded fanboy, but lose interest pretty quickly in the letter concept. I’ve written about a dozen letters (and made it to print). There was the 1 to Conan way back in the early 1980s, 1 to Time Magazine, 2 to Comics Buyers Guide, 1 to The Comics Journal, and 4 to Cerebus among those I recall. 3 of the 4 to Cerebus made print, and when that 4th did not reach publication I mostly withdrew from the letter writing. But this entry is not to reminisce on my letter days.
I believe Dave Sim to be one of the pioneers of the industry. That he is as much a craftsman, author, storyteller, and artistic genius as are Kirby, Lee, Eisner, Steranko, Miller and more among so few others. For years I’ve read the proclamations that “Dave Sim is a misogynist” and barely whispered a “No, that is not correct”, opting to let the slight slide. In my non-involvement, I failed to consider the effect of the constant drone of the claim would have on Dave or the imposition on his life responding (because really, such a claim is not something one could ignore when it comes up in every interview, discussion or interaction).
In recent days, Dave’s had enough. He’s established a Petition to which fans and supporters are “By "signing" below I confirm that I don't believe that Dave Sim is a misogynist.” I’m #25. I’m kind of grumpy at missing out on being #26 since I was first exposed to Cerebus with issue #26. But #25 will work. I’m hoping for being in the lower numbers of hundreds of signatures of support, because aside from my respect for Dave and admiration of his work, I do not believe he is anything of the sort a misogynist.
If you agree, I encourage you to make the clicky clicky above and sign. If you’re uncertain, drop me a line at wtritter@gmail.com and I’ll try to convince you. If you’re positive, well, I can only hope you keep your thoughts and opinions to yourself (as you’re wrong and I’d hate for you to come across ignorant or stupid in social functions expressing such idiocy).
So this is my belated, long-overdue official cessation of my non-involvement on the matter. I’m standing up and saying that Dave Sim is not a misogynist; that he is not the lowest, subhuman form of life in our society. I hope others join me.
In case you blinked and missed the link above: Petition
Read more!
4.20.2008
Star Trek: Insurrection
by Bill
It’d been closing on 10 years since I’d last seen Star Trek: Insurrection. My recollection was vague, although I was pretty certain I’d not really enjoyed the film. I’m really more an original cast devotee, never really connecting with the ST:TNG cast or series. Of all the incarnations, only the middle and latter years of Deep Space Nine did anything to really interest me. So, in an effort to put the new Verizon FIOS 80 gb DVR through its paces, I set the TiVo to record the film.
Insurrection was the ninth film in the series, directed by Jonathan Frakes with story by regular ST contributors Rick Berman and Michael Piller. Insurrection is a simple, straight-forward story: “When the crew of the
It is this simplicity which diminishes the film. Right from the first credit the production seemed less than Big Budget Film, and scene after scene reinforced that the film was not an Event. The Star Trek characters are icons. Stories of icons demand conflict and scope far larger than routine or simple.
Insurrection worked best when it is challenging the fundamental ideals of the characters rather than the humanistic aspects, but there were far too few of these scenes. As examples, Picard debating Admiral Dougherty about forced relocation and importance of the Prime Directive is captivating; Picard, Data and Worf singing from HMS Pinafore ridiculous. Equally as ridiculous is the inclusion of Klingon acne, Crusher and Troi commenting about their boobs firming, Picard’s dalliance with a Ba’ku woman, Riker and Troi’s playful antics and Riker’s smirkish glances, these and several other snippets reduce the film from what it should be.
Frakes seemed to give attention to Stephanie Niznik’s character (including a few near-flirtish glances between Riker and Perim). That I’d notice this in the midst of the film more than suggests the story is not fully engaging me. Nevertheless, I wonder if there was anything more to the story. The intrigue...)
Star Trek as a genre is at its best when it takes the icons and spins their sensibility on its head. Khan’s seeking revenge on Kirk in the midst of Kirk’s despair on aging; Deep Space Nine’s isolation and guerilla warfare in the midst of the Federation ideals; Cochrane’s true character in contradiction to his canonization by the 23rd Century’s Federation – these represent true characterization conflicts far better than Data’s tin-man journey or the Riker-Troi love affair.
Insurrection embraces the human-aspect of the icons at the detriment of the fantastic. Picard has a line early in the film “Remember when we were explorers?” Had Insurrection embraced this question, to challenge the definition of explorer or push the characters outside their comfort zone, Insurrection might have been a remarkable film. Unfortunately, at nearly ever opportunity to explore something more, the film lurched back to the familiar and the routine.
Rating: C (commonplace)
Read more!
4.19.2008
Judenhass, By Dave Sim
by Bill
I always claimed if I was ever inclined to stop reading comics, it would not include Dave Sim’s Cerebus
I was sold from issue #26. Decades later with the release of the final issue #300 I knew my tether to comics was broken were I to ever be inclined to stop reading. More profoundly, it meant the semi-regular fix of Dave Sim work was ended with no real details on what might be next. If anything were to even be next.
Judenhass is Dave Sim's stand alone graphic novel (developed with Lou Copeland doing layouts) exploring antisemitism, predominantly from the perspective of German/WWII Holocaust although not entirely. Sim has explained making Judenhass a 48 page comic book intended:
“I wanted to make it as accessible as possible to as many people as possible. I’ve heard that schools in
Sim is producing photo-realism work (with Judenhass and also with Glamourpuss). Photo-realism is when artists render subjects with sharp, photographic precision, often using photoreference as basis. Finished works of art look as if they are a photo, even though several photos may have been combined to complete the work of art. Al Williamson and Alex Raymond are among the masters (and looking at some of the Star Wars comic-covers from the 70s and 80s you can see some of the reference).
Judenhass is an achievement in thought and in art, although the production seemed more obvious on some of the layouts/pages. Sim appeared to be trying to have repetition of the image reinforce theme or message, but in some instances this was a bit too obvious in execution. Despite this (small) criticism about the production, Judenhass is well researched and contains many revelations about history which many people may not realize.
Midway through reading Judenhass I thought wouldn't it be interesting to create a similar 64 page book for different religions or cultures. Something of a library of hate (although this was not the intent of Judenhass and I cringe at this titling concept). Some of the quotes in history were surprising (TS Eliot, Martin Luthor, Jonathan Swift among others), and I thought it might interesting to have similar efforts commenting on Christianity, Mormonism, Buddhism, and so on.
Ultimately Sim's work got me thinking, questioning and wanting to know more about more. If a 64 page comicbook can inspire someone to want to explore something thought informed well-enough with, then it’s a comic worthy of wide-circulation and acclaim. Judenhass deserves similar recognition to the comics art-form as Art Spiegelman's Maus, Gene Luen Yang's Chinese Born American, or Chris Ware's ACME Novelty Library among many other notable, seminal works.
Judenhass is $4.00. 64 pages. Highly recommended. Grade of A.
Read more!
Posts
