Category Archives: Uncategorized

05/09/2011 · 7:51 PM

One Day We’ll Win

Alt. Comics. I know little about them.

I know there’s a MOCCA arts festival, and I know the names Robert Crumb, Chris Ware, Harvey Pekar, Daniel Clowes, and Jeffrey Brown.

That’s it. And I’ve never actually read anything by any of those names. Except Clowes. I read Wilson.

I am fascinated by the scene, though. The personality, the technique, and the “art” keep grabbing at my eyes. But hero comics won’t let me go, so I hold back the full dive into alternative. One day, I figure. For now, I stay where my heart’s at.

There does exist one alternative artist I feel confident in “knowing.” His mini comics found home with me by way of a friend. They were cluttered in with an assortment of items handed off to me. For a while, they lay dormant with the rest of my ‘to read” pile, but at some point the work of J.T. Yost caught my attention. I’ve purchased all of his books since.

The end.

I’m kidding. That would suck as a blog post. So what made Yost’s work impressive? For starters, the generous amount of breasts splattered about his pages made reading quite enjoyable.

Again, kidding. I’m bad at jokes, I know. No, what made Yost impressive came down to a matter of voice. His comics utter something unique and worthwhile in terms of perspective. This may be insignificant in the world of alternative, personable comic books, but I don’t know, voice is hard to do. I’m speaking from my own experience, you know, writing these blog posts. Active voice, points, organization – that shit is cake. Sounding distinct? Whole other game. J.T. Yost, at least from my context, sounds like his own man.

His focus sticks to the everyday man and the idea of bearing witness, and his work captures that focus in a very blunt fashion. Yost has produced several mini comics and one-page stories, but his “Losers Weepers” series speaks the most about his work. The premise of Weepers is part catch, part emotion. Yost builds his story from a handful of random letters and notes he has come to possess. These letters are in no way directed at him, as most have been found on sidewalks, in parks, or on bulletin boards, but Yost looks into the words communicated and does his best to imagine the world of the person writing. From this, Yost hones in on a themes of defeat, perseverance, and stress.

Yost’s true talent resides in his ability to communicate emotion. A certain amount of it comes from the pure subject matter, but another half lies in the technique. His artwork holds an expressive style, and much of its power originates from the roundness associated with Yost’s figures and objects. While I certainly believe emotion can seep through blocky or angular line work, the roundness in Yost’s brings out a soft quality that really drives home the feeling. Everyone appears vulnerable and slightly bruised, and the backdrop, the setting, feels equally worn.  Yost can jump over to generous detail too. At times, backgrounds are completely absent, but at some point a full page splash showcases his printed world. These moments put the story into perspective, and they show you where these characters come from. They suggest an environment which is out to get you, or at least pester you.  

It’s the characters that stand out as well. As Yost uses story to walk in another’s shoes, he crafts characters to work as the men and women we see everyday. A single mom, an ex-boyfriend, and an immigrant – all archetypes in a way. Further connection comes from this element. These are figures we can easily believe in and may even know in our own lives, and Yost’s narrative gives us a little glimpse into that world. He holds little back too. It may come more from the format, but Yost gets right to the events in his story. The pacing can seem a little quick at first. Most characters seem to sometimes spontaneously act out, but after sinking into the narrative it all seems natural. As if, the rules of Yost’s story world dictate a universal bluntness. I like it. The story doesn’t waste time yet moves comfortably and gets to the point. The pacing helps shape these mini comics into short vignettes that stand out.

I don’t know. My knowledge is limited, but I dig J.T Yost’s comics. I probably own most if not all of them, and I will continue to follow his future exploits. This guy has something, and his talent as a story teller is impressive.

Now, if you’re interested, you can listen to me interview him. But. I warn you. This interview is weak. I blame me. J.T. speaks well and has much to offer, but my questions are lame and predictable. Also, as stated, I know nothing about alternative comics, and this is J.T.’s background. The interview sounds like two guys on two separate wavelengths. Listen at your own expense. Here.

You can also buy the dude’s comics. I highly recommend such action. Do it. Losers Weepers #3 is his new one.
http://birdcagebottombooks.com/

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04/16/2011 · 4:45 AM

Let’s Talk Comics

I disagree a lot. My rebellious, youthful anger may contribute to that, or maybe I’m just a dick.

I should stop writing this post. Right now. In the end, these words will do harm and provide a bad representation. I bet most walk away from this post shaking their head. I bet some understand. Maybe one will applaud.

Or everyone just won’t care. (Probably this one.)

Stick till the end, though. The conclusion may differ from the heading. 
 
I care little for characters or plot.  
I care less for continuity or universes.
I read for execution.
I read for craft.
I love art, and I love storytelling.
Their application fascinates me.
Artists and writers applying them well …
… fascinates me more.

Yet, I read mainly Marvel and DC super-hero comics. I should not. My perspective probably flows more with a PictureBox crowd than a Hulk crowd. I might fit right in over there. You know, chatting about page composition and narrative structure and, of course, conversing about how flowers in one specific panel represent the backwards nature of the universe…

Yet, I read Savage Dragon every month, and I enjoy it. I enjoy super-heroes; they embody comicbooks through their basic visual appeal, and I smile at their wackiness and bright colors and punches. I just want to talk about them differently. Why? I tire from hearing everyone else’s discussion or point. Everyone else either fulfills the expected fanboy quota or offers lackluster criticism.

Well, not EVERYONE obviously, but the internet sure feels that way some days.

Everyone lets comics slip to something simpler. They ignore the makeup and construction in favor of price tags and Spider-man joining a team. No wonder the outside looks down on us. We give them reason. We tell them Spider-man and the Fantastic Four are friends, for christ’s sake. We portray these fictitious elements as truth. No wonder they look down. Our conversations doom comics to a poor reputation.

I probably should not care. At all. What stake do I hold in it? None. Comics live on with or without me. I love them though, and I cannot help but feel a burn when I read someone’s poorly conceived notion of critique. If I disagree, I yearn to jump into the conversation and shout, “no!’.

As mentioned, I love super-heroes, but I tire of how they are talked about. Continuity and plot need to occupy the backseat for a bit while craft and design grab the wheel. Let’s talk Marvel and DC like they are PictureBox. Let’s talk art or maybe lack of – however you see it, really. More exists on those pages than most let on to believe.

Of course, most stay put in their outlooks and keep comicbooks as strict surface entertainment.

The post may turn around right here. Or dampen.

I cannot argue this, really. I mean, comics do act as entertainment, and they are sold as entertainment. Why shouldn’t people be entertained and be entertained by the plot and surface material provided? That’s why they purchase it. Unlike myself, most people work traditional jobs and have families and obligations. Comics become that one moment in the day where they can relax. Why not allow them that? How can I argue that choice to read in a particular way? I cannot. They have every right.

These people who jump online, though…Obviously they put in extra time so why not read a bit closer? For all the individuals who bitch about price and “3.99,” you may feel a greater satisfaction by spending a little more time with your purchase. For those hitting up the message boards or recording a podcast, do a little homework and make your point worth a person’s time. Just a thought.

I would love more discussion on comics’ craft and execution. I believe it would take us away from the usual “comicbook guy” tropes. It would take us to another level of fanhood. The truth of the matter? DC characters and their magenta rings dominate the discussion and attention. That’s the extent of the reading experience.

What do I know, though? I’m probably a snob because my tastes and outlooks are slightly pretentious. Very few will agree with me. Most will shun me. I guess I will bite my lip, not step on toes, and keep my voice here to my blog. Best I can do.

And there lies the finish. Granted, there be plenty of exciting comics discussion online. Just not the majority. But, for the sake of linkage, here are voices that must be heard.

Sean Witzke, Chad Nevett, Tucker Stone, Tim Callahan, Jason Wood, David Brothers, Peter Rios, Matt Seneca, Derek Coward, Savage Critics.

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04/11/2011 · 12:06 AM

No Clever Title Needed #4

Bits of info that go no farther than this.

I’m expecting to be busy this week, so this post is it for the next few days. But, hey, I updated three times last week. I’m happy with that, especially since my writing made a little bit of progress. At least I felt that way. (Just read the First Wave post and compare it to anything previous). My writing still needs work though, and I’m not afraid to admit it. Most posts I write hold a “clunk” in their flow and my word choice lacks, but I’m working on it. I’m searching for the right flow, I’m cracking the code of verb choice, and I’m finding my voice in the words. I’ll crawl my way there. I hope.

Last week was good, though. The Chemical Box, after a four month absence, finally made its return. For those on the outside, The Chemical Box is a comicbook centric podcast hosted by Joey Aulisio, Just Jean, Chris Johnson, and myself. Why absent that long? Every other time we recorded, the show went sour. Plus, I had a bad case of “radio-Alec,” and I kept taking away from the show by trying to sound pro. Lesson learned. I’m loosening the tie and using podcasting as the escape. As it should be.

Listen in, though. We should be somewhat consistant now. link.

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Erik Larsen took some shit last week. He tweeted a few thoughts on web comics, and people went crazy in true internet fashion. Larsen said:

Every crappy submission can “see print” on the web–every reprint book that would sell three copies in print would work on the web. The web is the great equalizer. Every crappy thing can get tossed up there. If it all went digital nothing separates a pro from an amateur. Print is far more discriminating. There are fixed costs which can’t be ignored for long. It’s not the wild west like the Internet is. That’s why the web doesn’t excite me a whole lot. Every nitwit can put stickmen telling fart jokes up–there’s nothing special about it.

Stickmen telling fart jokes is Watchmen as far as the internet is concerned, @BizzaroHendrix.

I mean–there’s things on the internet that people are willing to read but they would never pay for–and those are the success stories.

It’s an entirely different level though, @NoCashComics– even the worst pro comics have a modicum of professional standards.

I’m not saying everything on the net is bad–no need to take offense, @tsujigo @BizzaroHendrix just that there is no filter.

I disagree and I don’t disagree, @IanBoothby — how’s that for being agreeable? There are plenty of groundbreaking things in print as well.

I don’t think it’s unfair to say that the best online work is on par with good pro comics but the worst is far worse. I don’t think there is a web only comic that’s as good as Watchmen or Dark Knight. Correct me if I’m wrong. There are certainly web comics that are good for a laugh–and better than what’s in the Sunday Funnies–but not at a Watchmen level–yet.

Point being–anybody can do a web comic. There’s nothing preventing a completely incompetent idiot from doing it, @215Ink.

No. Nothing promising falls through the cracks, @drawnunder if you can’t get your proposed book in print somewhere–your book sucks.

Now, this wonderfully organized collection of tweets originally saw “print” here, at Robot 6. The have every right to report on this. I mean, I’m “reporting” on their reporting. I just feel Larsen’s point was unfairly twisted.

“I’m not one for Internet triumphalism, but it seems awfully churlish — and odd, for an artist and publisher — to greet the Internet’s enormous boon to speech and self-expression in this way, quite aside from the question of whether he’s accurately characterizing webcomics to begin with,” the article comments.

First off, I do not feel it is “odd” for to Larsen speak his honest opinion. The guy holds a reputation, so this type of outburst should come as no surprise. I actually champion him for being so outspoken. Why? Bullshit grows old, and a lot of the “opinion” offered by comics pros never rings completely true. I understand why the tongue must be bitten at times, and I would probably follow suit if I too worked at Marvel or DC. Larsen does not work for either, though. The guy creates Savage Dragon and holds a comfortable relationship with Image Comics – who, in terms of quality, is probably the strongest publisher in the business right now. A guy should speak up when in that postion, holding that many years of experience. He will have things to say, and people will listen. The honest voice provides a nice break in the manufactured PR.

As for the point, all Larsen said was that web comics are open everyone, and they lack a professional standard because of that. That’s it. The guy told no one directly that they suck, nor did he say web comics are completely useless. They are just open. And he’s correct; web comics are open. Filters do not exist for quality nor does a professional standard. Sure, any “idiot” with a pile of cash could publish a bad print comicbook, but compared to the workload web comics require how many would go through with a print book? Then there still remains the question of Diamond and distributing your print comic to stores. Print weeds out the unnecessary just through its basic operation.

Granted, maybe Larsen could have been more direct in his statement. Someone just glancing at the twitter speech could take it farther than it needs to go. When the entire statement is blogged about though, I would expect people to actually read. People react to headlines, though. That’s the nature of journalism. People skim. I would be surprised if anyone actually read this far into THIS post.

“Now if you’ll excuse me, I’ve gotta go scour eBay for that Dart miniseries…,” the article says.

Oh, and I know it’s not cool, but I do like Savage Dragon. I would happily read that Dart miniseries.

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Matt Seneca writes about comics, and he is quite good at it. The man reviews for The Comics Journal, produces a column for Robot 6, writes for Comics Alliance, and he has a blog. Matt Seneca runs all over the internet, but his recent blog post, entitled “HarmoniComix”, is by far my favorite thing he has written. Matt knows a lot about the medium. I love when he shares his thoughts on it because his voice is so distinct, and his writing feels like a peak into another outlook I would never come up with.

Anyway. Matt wrote a mind blowing piece on color and its function in comics. To Matt, color and music are basically one as they both produce specific sounds and tones. Comics may not look the same to me anymore.

Read. Be Educated.

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Enough. I have other topics and thoughts, but this one is running long. Next time is down the road.

Also, I have a new job – a web editing job. The staff of The Daily Athenaeum, WVU’s student newspaper, has for some reason accepted my offer to care for their website. I won’t question it. I’m excited about the position and the opportunity. Hopefully, I can implement some cool online content in the next year. Plus, I have the option to write, and I plan on taking full advantage. Just another avenue.

Peace.

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04/01/2011 · 7:18 AM

No Clever Title Needed #3

Here are the thoughts that lack a specific home; they are tossed here.

What a week. Honestly, that is all I can say to describe it. Just so odd. Just so off. That was this week. Not terrible by any means, just odd. I guess that is a pretty vague description, right? Oh well.

This week, or at least something I watched this week, did make me want to move to Portland (Oregon) even more, though. This something would be the short and so appropriately named documentary, Portland Comics.

Moving entirely across the country for a comics scene may seem like a bit much, but to me it would be more than comics…Ok, scratch that, it would be all about comics, but it would be for the community, culture, and lifestyle around the medium rather than actual, physical comic books themselves. At this point in my life, I feel comics are, and forever will be, apart of me.  The medium has me at my heart and mind. I feel I know it so well, yet at the same time have many aspects to learn about it. Comics, as corney and possibly messed up as it may sound, have shaped me into the person I am today. Seriously. Without comics, I would never have podcasted, never have choosen a career in journalism, never have taken an interest in writing or storytelling as strongly as I have, and would never be writing this blog. Also, the ways in which I look at the world…those would probably be different too, as well as the group of friends I hold.

To me it makes sense. Portland does. The comics scene, and the people of it, just feel like a setting I need to be surrounded by. It is a setting I need to exist in. It would bring home and strengthen the idea of comics being a piece of me. Granted, I am going completely off a documentary and other word-of-mouth, but I know that I need to at least visit Portland sometime in the near future. From there, well, we will see what happens.

For now though, the land of Portland, Oregon will remain a wishful thought. One that I may possibly work towards.

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Dave Wachter kicks ass. Here is a sweet Galactus piece from him, and it is in color.

Dave’s blog: http://davedrawscomics.blogspot.com/

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A friend of mine discovered this really cool short film called Logorama. It is an animated presentation that depicts a universe of brands.

On the surface, this film works as a cute comedy that provides numerous chuckles, but as expected with the subject matter it does dive into its corner of commentary and subversion. The bit that really impressed me was the use and placement of specific brands, such as the use of Ronald McDonald as the villain in the piece. That, ladies and gentlemen, was no accident. I actually think you could probably spend all day watching this film picking out brands and the comments they make.

It is a visually busy film, and I certianly suggestion taking the sixteen minutes to watch it.

http://vimeo.com/10149605

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New Criminal.

I am always in the mood for Brubaker and Phillips’ Criminal because it feels like the most natural work these guys produce. This promotional image is excellent. I love the colors and the way the women’s red dress contrasts with the blue of the background, and I also love the vertical streaks casting down like long rain drops.

I have yet to read the latest arc of Incognito from this creative team, and from what I understand those comics may be weak, but I am certainly looking forward to this project. I will be buying.

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The Mountain Goats’ latest, All Eternals Deck, is very good, and it has been my playlist of choice over the past two days. With luck, I may actually be seeing them live, in Pittsburgh, on April 12th.

Tracks that impress: Damn These Vampires (1), Birth of Serpents (2), Estate Sale Sign (3), The Autospy Garland (5), High Hawk Season (7), For Charles Bronson (11), and Never Quite Free (12).

Get it.

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The name of Jay Diddilo has become legend to the internet in the past week or two. Why? Well, just blame Rob Granito. If you have not had enough of Jay Diddilo (and really, how could you?), then you must check out the man’s actual website.

Your laugh buds will thank you. Oh, they will thank you. http://jaydiddilo.com/index.php

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Last, but not least, Brandon Graham, the artist and creator of King City, has been providing a great daily column over at The Comics Journal all week. This is a must read. The man provides some great artwork along with  fun, quirky bits of internet goodness. Plus, a cool peak into his daily life.

http://www.tcj.com

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Yep. That’s it. Next week I should post something more substantial. For now, enjoy this post, and if you frequent Twitter follow my ass. I want more followers, so I can feel some higher sense of happiness. You want that, right?

twitter.com/alec_berry

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03/29/2011 · 4:28 AM

Where High Concepts Go Wrong

To anyone who followed me in my Teenage Wasteland era, you may remember my slight enthusiasm for a book called The Unwritten. A Vertigo/DC series helmed by writer Mike Carey and artist Peter Gross that explored the ideas of story and culture and their affect upon the world.  Well, after months of being behind in my comic book reading and a week of open time due to spring break, I finally managed to catch up on a majority of the series I follow.  The Unwritten did not impress as it once did.

Now, The Unwritten had already fallen off my radar prior to the spring break catch-up. I was no longer grasping for the next issue. I was no longer reading and re-reading the issues already in my possession. I was no longer playing along, digging into the comic looking for clues or themes. That reaction I had toward The Unwritten died months ago – probably around issue twelve if I were to guess. I did still enjoy the book on some level, though. I thought it was a good series, one that I would certainly gain a likable experience from once reading it in a stack of three or four issues. Not the case.

The Unwritten, the most recent issues, read like a story that had lost its steam. The giant questions and mystery of the series seemed to be gone or on their way to a halt. There was nothing propelling the book anymore. Tom Taylor’s father had been dealt with, Lizzie Hexam was no longer a question to us, Tom seemed to be comfortable with his role: where was the conflict?

I guess there is the question of the map and the world hopping as Tom Taylor, our protagonist, uses the wonderful, little map in his possession  to travel across fictional worlds using a mystified door knob, but this new direction or focus feels very much like some video game – ified version of a comic book. Each setting feels like a new level in a larger scheme of some goal oriented quest, leaving the conflict in a very two-dimensional fashion. The series’ beginning had many subplots buzzing around, and Tom Taylor’s own existence was constantly bombarded with new questions and ideas. Now, it’s world hopping, in video game fashion, to discover this thing titled “the source.”

I don’t know. I am not thrilled or fascinated by it.

The subplots also feel lackluster. Savoy, Tom’s compadre, seems to be turning into a vampire after suffering a bite from the series’ villain, Count Ambrosio, Tom and Lizzie seem to be sexually attracted to each other, and the big, bad organization out to get Tom is applying new management, but none of this compares to the tension the first ten issues of The Unwritten supplied. Big things were happening in those early issues. Questions of perception, presentation of media and the intrusion it makes upon our lives, Tom Taylor being a scared, little man on the defensive, the Frankenstein monster, murder, prison, Nazis, a scary hit man with a bad ass mustache: these things do not compare to what the series focuses on now. Not even close.

Maybe the book has just hit a lull as most ongoing series do, and maybe the blame is all on me as my outlook on comics has changed in the past few months. I think the book has just lost its shine, though.

Or blown its wad.

Here is the thing. The comic book, The Unwritten, is built off a pretty cool high concept. The idea of a fictional character living in our world, fiction and stories crossing paths with our reality, and the idea of dictating truth with fiction are concepts that have been dealt with before, but the Unwritten fused all of this together in an exciting, explosive way that required you to dive full in. Carey applied a piece of the Lost method of storytelling, providing more questions than answers and building a sense of something major lurking in the backdrop. This, along with the high concept, was the hook. As described though, the Lost-like tension has left, and well, the high concept is not exactly as intriguing as it initially was.

Up front, the book’s premise was really attention grabbing. It gave the book some real balls in a sense, making the reader feel like it was possible to get some big answers, big ideas from this 22-page monthly.  How does fiction affect us? What other magic is there to explore? Are we better or worse off with the amount of narrative in or daily lives? I was grinding on this stuff. Then the magic of the premise goes away. Then it just feels like something expected. Then is becomes standard.

The point here is: high concepts are wonderful tools to create initial excitement and interest in the story you wish to tell. High concepts can also provide great starting points or settings for your narrative. Honestly, high concepts are pretty essential to the art of story, as the concept usually is the origin point. I mean, where is Jaws without the giant shark? Where is Homer’s Odyssey without the long trip home? Where is The Pit and the Pendulum without the fucking pendulum? The high concept defines the narrative in a sense, but the narrative needs more than just the high concept. The narrative needs characters, needs conflict, needs suspense, needs subplots, needs dialogue, needs theme, and in the case of comics, needs art – good, or even better, GREAT art.

The Unwritten has a few of these things. The Lizzie Hexam character is still pretty interesting, easily the most compelling cast member. The book certainly has a theme or themes it is exploring. The conflict is there in a sense, just not as fascinating as originally shown. Peter Gross is a good artist, probably one of the better working at Vertigo.

With this selection of elements, though, the comic still dangles. The writing is not strong enough to match or carry on the enthusiasm instilled by the first contact of the premise. The sharp decline in quality is actually more noticeable because the premise grows standard. As a reader, loving this book, you finally look past the high concept and make judgment that the series does not really have a whole lot going on for it. It almost feels like a takeaway, making you question whether the book was really ever something special or just something average covered up by a catchy idea.

I am not completely sold on that idea, though. I do feel the early issues of The Unwritten were something worthwhile. The writing there was worth reading as the early issues had more to them narrative wise. The surprise and energy of the high concept did have a large effect on my enthusiasm, though. That’s what kept me reading. That’s what kept me talking and praising.

When it all died down, though, The Unwritten just did not have the backup quality to ensure my continued interest. The writing was not all there, and the investment it put into its high concept just did not pay off to keep me buying for the entire series run.

I feel that’s the threat of the high concept: they can easily get in the way of a writer actually writing a strong story. It seems like an author could easily forget to check for all the elements a strong narrative requires and instead piggy back on the premise.

In a world where “independent” comics continually strive for the next big high concept gold mine, trying harder and harder to appear more mainstream, you can see where this threat of the high concept could appear worrisome. Writers looking to take this approach need to realize that the premise alone will not keep your narrative strong. The other elements are need; the other elements make the story strong and memorable in the end.

The lack of the other elements is why I am dropping The Unwritten.

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03/28/2011 · 2:20 AM

Location, Location

What’s up? It is back to the grind of academia as spring break has come to a close, and I am now once again sitting in my dorm room, preparing for the onslaught of class. I, for one, can’t wait! (That’s fucking sarcasm.)

Anyway, I have this writing assignment due in my journalism class tomorrow, and I just wanted to post it to share. I kind of liked how it turned out. The assignment was to pick a location and simply observe it; then, I had to record my observation in some sort of romanticized prose piece. I, of course, picked U92FM (the college station I work for) as my location.

It’s short – meant to be – but I hope you will give it a look. I probably could have actually told you about a few of the posters if I took better notes, but yeah. I guess there is always next time. Peace!

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Voices raise in the other room. The station’s sports staff begins, what seems, a usual series of bickering and debate, shouting off the results of last night’s competitions and statistics in order to prove some sort of point. Underneath their speech, light music drifts and resonates from the open DJ booth. A mix of alternative rock, electronica and David Bowie sound to be the sound. It casts upward and travels to as many ear drums it can land upon.

This duo of sound is present, rocking to life the college radio station, but the back room of U92FM remains still. No one is there, and it appears to be a place to escape. Upon entering it though, you find you are still surrounded.

The room is small with box-like proportions, yet four office style chairs, ones with dark leather covering and bold, rolling wheels, pack the room as they wait for their inhabitants to return. Posters hang all along the walls in an onslaught of visual sex and pop culture identity.

Debris scatters about the music director’s desk, indicating an existence and an activity. Boxes and stacks of CDs pile in an adjacent corner, towering over the carpet below, casting a shadow that is sure to touch your feet as you cross the threshold of the door.

A magazine rack showcases old Rolling Stones and College Music Journals as if championing some message. Two Dell Desktops hum their electric notes as they lock up and wait for their next Facebook visits.

There is life in this room. Life in the objects. Life in the culture. Everything about the U92 DJ staff is expressed, and they are not even there.

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03/21/2011 · 3:00 AM

No Clever Title Needed #2

When thoughts cannot stand on their own, they are tossed here, into a blog post that can go anywhere. More random thoughts for your soul! Or your brain. Or something.

I travelled to Pittsburgh, Pa this past Thursday in order to take part in Norma Jean’s recent tour. For those on the outside, Norma Jean is a pretty sweet metal/hardcore group, and I enjoy them very much. Now, while this was not my first show, or “concert” as the old term goes, it was the first one where I was actually a big fan of the performer. Granted, KISS and Anamanaguchi (whom I have both seen) put on fun, exciting shows, but there is something extra when watching a live performance and you know the exact moment to nod your head or pluck your air guitar. I had that experience, and I totally lived it, pushing my way to the front of the crowd, taking part in the pushing and shoving as the music drilled on. The time was great, and Mr. Smalls Theater, the venue hosting the show, definitely holds a cool aesthetic quality as it still showcases a few stain glass windows from the times when it was a church.

Here are a few (blurry) pictures of the show:

Norma Jean at Mr. Smalls

Norma Jean at Mr. Smalls

Norma Jean at Mr. Smalls

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A year ago, my opinion on Brian Michael Bendis was not very positive. Today, I cannot get enough of this guy. Why the sudden shift? I have learned to look past the “evil company man” reputation and see Bendis’ work for what it really is. Yes, the guy’s work does dictate the Marvel line of comics to some degree, and, yes, he does cheerlead for Marvel quite a bit, but I feel these acts now geniune rather than cycnical. His recent activity shows me that this guy is still very much an artist first and a sales man second. The Bendis Tapes, over on the Word Balloon Podcast, have been pretty straight forward the past few months, and the guy has been launching a whole slew of new creator-owned projects while also making his main line Marvel work shine.Bendis is the real deal, as he probably always has been.

Most may complain that his Avengers talk too much, but that is the take, and I for one find it very interesting. Not because they are talking necessarily but because Bendis is using the dialogue to explore the super-hero genre in a different light, showing these characters as the people they really are, wrapping their lives in a Mighty Marvel drama while backdropping against time travel, Civil Wars, and Norman Osborn.

So, I am on “Team Bendis” as you may call it. At least, that is what my buddy Joey Aulisio calls it. I am picking up a majority of his work right now, and I am excited about what this guy is doing in comics because I feel Bendis still have things to say. He is not a hack nor does he phone anything in.

With this recent positivity, I have even returned to titles such as Avengers and Ultimate Spider-man. Books I loved at one time and then dropped due to my “anti-corporate comics” phase, I am now back with, rapidly picking up any and all backissues I can find from the time I have missed. So far, my actions have been successful, nearly having all the books I need to read the entire sagas of Bendis’ Avengers and Spider-man work.

So, the point? I like Bendis again.

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I know not much of Jim Shooter, the one time editor-in-chief of Marvel Comics, but I really enjoy his new blog.

It is basically Jim Shooter chronicled as he, by way of his handy computer assistant, relates to us his own history in the comics industry. And hey, he is detailing the events chronologically.

Jim Shooter can be a guy with a bad reputation, but if you are not already, read this guy’s blog. I am learning a lot.

http://www.jimshooter.com/

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Mark Waid on Daredevil, eh? To be honest, I was really looking forward to the announcement of the new Daredevil creative team, but when I first heard Waid I figured that would be a book I skip. Now, I am not so sure. Waid has given an interview discussing his plans and take, and I like what he has to say so far as he looks to bring back the “swashbuckling,” high-adventure Daredevil. Granted, he says the book will still retain some of its crime elements, but I could go for a Daredevil fighting Stilt-man. That is a Daredevil I have never actually read while in comics because the DD title has been consistantly noir ever since I began. Waid’s take could prove to be a nice change of pace. Plus, the guy has Paolo Rivera and Marcos Martin at his disposal. Those are good artists.

Daredevil by Marcos Martin

As for Greg Rucka on Punisher? I feel like I am skipping that. I like Rucka’s writing well enough, but from what he described it sounds like another Punisher book that delves into the dark and gritty environment of street crime and guns. That stuff is cool, yeah, but I have read it before, and Rucka is not high enough on my list to make me excited about that take on the Punisher.
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I have other thoughts, but I want to turn those into full blog posts of their own. So, as usual, thanks for reading and comments are always welcome. I see the numbers for this thing, so I know people read it; I just need to hear from you.

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03/04/2011 · 8:34 PM

The Digital Thing

The future, right? I’m not sure.

This week Bleeding Cool (as reliable as it may be) dropped word that one of my favorite comics, Savage Dragon, was going to now follow a day-and-date digital release plan through Comixology.

Artwork from Savage Dragon

It is always at least interesting to see a comic book series go forth to test the day-and-date digital market. The decision is a step forward toward this “utopian” concept held by a majority of the online comics scene. The idea of new comics digitized the day they drop in print is the ideal model for most people, the model scribbled on almost all notepads describing peoples’ desires. The plan sounds so well on paper; comics can once again flourish. The ready availability and the scent of future make digital comics seem limitless and offer the chance to once again reclaim a large comics reading audience. Day-and-date only increases this with the excitement of new books every week, the ability to follow the form, and hell if the price can drop below the print price…digital is unstoppable.  

So, Savage Dragon, or any book for that matter, adopting day-and-date brings the ideal a step closer. At least the ideal for most people. I’m not so sure if it’s my ideal, or that I really buy such a belief that digital comics will have such an effect. Why? Well, digital comics clearly already exist, and I’m not feeling much of an effect so far.

Granted, the numbers Comixology, or any digital comics distributor, may do are not available. The information on downloads is mostly unknown to the general online perspective, so for all I know maybe digital comic downloads are totally insane and comics are blossoming again in the mainstream. The publishers, Marvel and DC, do not seem to be giving off this impression though. For all it’s worth, I think they are both still trying to figure this digital thing out. If Comixology’s numbers were so high and so consistent and digital comics were strengthening the industry would it not be believable that Marvel and DC might speed up their push for digital, putting out more day-and-date digital releases rather than the random mini series here and there? I would think so, but they are not. Marvel and DC are still playing it safe with this digital thing, charging still high prices on digital editions in order to keep the print and local comic shop market intact.

Digital is an uncertain ground as of now even though it has existed prominently for about a year. Remember the iPad dropping and how the Marvel Application was at the attention of the media, even making a splash on the iTunes Store home page? That was plenty of attention for comic books, but if the digital numbers are not as strong as people hope after all that…well. Yeah, the selection was sketchy at the beginning you may argue, but the digital products available at that time were still comic books – comic books that most people probably had no knowledge of and would not know if they were good or bad until read. Drop the argument that day-and-date will change all, bringing people in, and I still have to question it. Again, people who are new to comics and know nothing of what is new or old will not be persuaded by day-and-date.  That is an incentive to the current readership. Even then though, day-and-date is only an incentive when the price of digital is cheaper than print which is not happening because digital numbers are not as strong as they need to be to persuade Marvel and DC to go that direction. See that, a cycle. In order for digital to become cheaper than print, digital must outperform the print market but how does that happen when the current readers buy print and no new audience comes to buy digital?

Marvel App Screenshot

Maybe it will just take time for everything to grow and for digital comics, or comic books in general, to latch their teeth into a larger audience. That is always a possibility. My own personal opinion though says that the problem is not availability or price or day-and-date but interest. I do not believe the interest in comic books, or really reading as a leisure, exists with many people today. Too many alternatives to reading exist, and for most these alternatives carry much more of a flash and sex appeal than text on a white page or a book filled with illustrations. Reality TV, Xbox, drugs, alcohol, sports, the internet…those are America’s past times in the 21st century; reading carries more of a hard work connotation. The use of books and idea of concentrating on words runs along with the thoughts of school work, lectures and other dull activities. People do not want that. Not saying reading will die away – reading will always have a place in the world – , but I can see reading for leisure becoming more of a counter-culture activity rather than a tradition practiced by most. And that is just reading in general, not even comics. With comic books I think the problem is even a bit bigger. It is still lack of interest, but the lack of interest stems more from I think the general perception people have of comics. The medium is not seen as something artful or sexy but more as something surrounded by the odd interests held by the geek and nerd culture: Comic-Con, cosplay, the Hulk vs. Superman argument. That reputation holds a strong connotation that I feel most look at negatively.

So if the problem is interest, how does digital fix that? I do not believe it does, unless digital suddenly makes comics attractive and not nerd fodder. I’m not saying suddenly try to make comics “cool” by ditching our geek attitudes and such. I actually feel like that counter-culture identity is a part of the grand aesthetic that makes comic books what they are. Maybe we should just go with that? The idea of comics culture being this small, intimate understanding – why not use that to the advantage? Instead of worrying so much about digital and making comics widely available, why not keep them kind of obscure and in print? As the world goes to pixels, would a print comic book not stand out and automatically attract interest?  Instead of conforming and following the digital media revolution why not stand aside and have comics follow their own path? Instead of catering to an invisible, potential audience why not quit worrying, make good comics and party with the community already present?

I just think it’s kind of fucking stupid to be so worried about digitizing comic books when they are already their own cool, unique thing in print. Sure, the numbers are drifting downward as sales slump, but it’s a bad economy to use the typical excuse. That doesn’t mean print suddenly sucks and we need digital. It just means people are broke at the moment, not being able to buy print or digital comic books. People will come back though, and those interested by the uniqueness of print comic books will catch the bug and start reading. The new generation audience will come. Comics will continue. Let’s just stop trying so hard to keep them going and instead enjoy the party.

But, hey, Savage Dragon is digital, which is cool I guess. Another alternative, which is what digital should be at the end of the day. An alternative, not the only option. I do like my Dragon in print, you know. It’s cool that way.

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02/25/2011 · 2:06 AM

No Clever Title Needed

No specific point to make nor any actual essay, but instead a general blog post containing a handful of random thoughts. Everyone does one of these at times. Why not me?

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Dwayne McDuffie passed away this week. I’ve never been a fan –  not that his comics were bad, I just have not read many of them – but I still felt an effect. We all did, really. That’s the thing about comics and the industry and the community around it. It is so intimate.  When an event occurs or news drops, we all respond in some manner. We all look around at each other through the various internet outlets, expecting a few words. Creators communicate with other creators. Critics to critics. Fans to fans. And all of these words, these respones are visible to everyone around. The culture of comics is tightknit. I may not be familiar with the work of Dwayne McDuffie like most are, but I still felt the impact of his loss. Twitter blew up (rightly so) with many very kind thoughts. The responses from industry professionals had to be the hardest to read. I quickly gained a sense of the man in a short period of time. He was loved by many, and he truly did add to the creative landscape. The most interesting bit about him passed a long Twitter that day had to be this video.

For someone like myself, who knew his name to a degree but not much else, this video really does a great job of telling you what the man was about. A guy after a good story and diversity in comics. Two concepts I can certainly get behind. From what most professionals said about the man, it seemed McDuffie was the type to speak up for what he believed in, yet he could also walk the walk as he did actually do the work, bringing what he believed to life. Milestone, the comics publisher he help found, was the key example of that. McDuffie seemed like a classy dude.

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The Mountain Goats are close to releasing a new LP entitled All Eternals Deck. Last night they preformed a new song, “Birth of Serpents,” on Lettermen. It was a cool performance, and I am excited for some new Mountain Goats. Check it out.

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I usually grow tired of the “physical media is dead” conversation (Print Still Cool), but PopMatters ran an interesting enough piece this week. I simply just want to reccommend reading the article; a conversation cannot really take place unless it is read. I will say though that what makes this one different is that the author of the article tends to stay away from the “future arguement.” Rather than claiming CDs as dinosaur stuff, he takes more of a critical approach, pointing out the flaws of the format. Oddly, I found this an interesting enough arguement for the death of CDs. The author had a few valid points. Plus, the criticism was not limited to only CDs or Vinyl; MP3s were dissected too.

Overall, it contains a few points worth a thought. Check it out here.

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A great column from Mr. Tim Callahan this week over at CBR discussing Ray Bradbury’s “Fahrenheit 451” and Tim’s thoughts on comics as a reader. I feel Tim brings up some points I have felt myself before. The idea that the world just throws way too much at us anymore. All of this media constantly being thrown in our face, wanting to be consumed, and because of this a question comes to mind: do we fully appreciate anything anymore? Do we ever slow down and focus?

As for the idea of whether or not everything produced (comics wise) packs substance, I do not feel I could say comics are necessarily lacking. There are more than a few books coming out currently that I feel offer more than the typical cliches. Comics still suck me in more than anything else, and that is because of the substance I find in their stories and artwork.

It’s a good read, whether you’re a comics fan or not. Read here.

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I’ve been having fun with this blog so far, and I hope anyone reading has found it at least some what interesting. I know I am certainly not one of the best bloggers online and that my skill as a writer probably lacks, but I have enjoyed this experience and will continue to do so as long as it continues. I’m not sure how you the reader feel about it, so if you are reading this please feel free to leave a comment. I would appreciate it. Again, I know I’m not a cool site like iFanboy or something, but I feel I am offering something here. I would like to hear from you.

Peace.

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02/20/2011 · 7:44 PM

Missed Opportunity: Nick Spencer Writing Supergirl

Supergirl #60 is certainly a tease.  At least it was for me because I have become a pretty big Nick Spencer supporter over the past few months.

 Early on though, I never paid him much attention, and I even kind of disliked Nick Spencer. He was this guy who hit the scene with all of these mini series from Image Comics, and most of them just gave off this vibe of “movie pitch.” At least to me. I saw a book with a Nick Spencer credit on it, and I immediately rolled my eyes. Who was this guy? He just popped up, playing in the medium I treasure the most, and in very little time he picked up a movie option for his Existence 2.0/3.0 series.  What the hell? Was this guy just in it to score Hollywood deals? I had to investigate. Sadly after a purchase of Shuddertown, my opinion did not brighten. The writing was fine looking back on it, but the artwork? I am sorry, but Adam Green did not help me love a Nick Spencer comic. More like it, he only strengthened my “Mr. Hollywood” idea. Green used a lot of photo reference, making Shuddertown a book staring Keanu Reeves, James Gandolfini and Giovanni Ribisi. Maybe that idea would be cool if done intentionally, but I was not feeling that intention. Shuddertown dropped low on my list, and Nick Spencer followed. Boom, shut the door – I was done with Nick Spencer.

Page from Shuddertown #3

But then came Morning Glories, and like the rest of the internet my ears perked up. It was a book that certainly hit hard because of its mystery appeal, but what I found most important was its voice. Right out of the blue, from a guy still relatively new, came this comic that sounded so bold. The first issue packed this excellent vibe of generational confrontation, and Spencer amped that through his style of storytelling. It was like this guy just showed up and said, “Hey, I love Grant Morrison and Bendis.” I mean, that’s how his comics read, but even still I am seeing some other angle to his work as it progresses. Like there is this bit of “Spencerism” emerging. I cannot describe it, but I just find it absolutely exciting to see a guy come into comics and with only one year under his belt already carry a strong authorial voice. He is not just another comics writer producing the standard; he is a comics writer who has things to write about. That is refreshing and important because I feel most comic book writers just come in to tell a story. Nick Spencer certainly tells stories, exciting ones, but the guy also lines his stuff with actual ideas. For one, there is that generational divide. The concept of the youth wanting to do things their way, to prove the adults wrong and show them how it is done, but find that task not so easily accomplished. I see that idea in Morning Glories, but also T.H.U.N.D.E.R.Agents. Technology and its hold on our daily lives? Look toward Infinite Vacation. Granted, it is early in his career and some of these books have only just begun, but I seriously already see these concepts as Spencer’s ground of interest. It is a nice touch, and it makes his books feel important but also interconnected.

Cover of Morning Glories #1 - 4th Printing

I cannot remember why I actually pre-ordered Morning Glories – as typed, I was done with Spencer – but I am so glad I did because that first issue went FAST.  Without my act of pre-ordering, Morning Glories probably would have been lost on me, and I think that would also be the case for Spencer’s T.H.U.N.D.E.R.Agents, Infinite Vacation and this issue of Supergirl.

Which would be a total shame because all those comics are great, even yes, this ONE issue of Supergirl.

What makes it great is what I highlighted above: the Spencer voice. When I think back on it, Supergirl has never been a character to hold my interest. I doubt I have ever picked up a book because she was in it, nor have I really read much of her. Why? To me it did not seem like the character had much to offer. For the time I have been reading comics, Supergirl has been through many changes and her book really has not held a definition. The Supergirl title has just been a part of the Superman line, offering nothing else really. Granted, I know the Sterling Gates run is held rather positively, but I have not read it and really I do not feel inclined to. From what I have heard, it kind of seems like another superhero book. I have read plenty of those. When Nick Spencer was added to the equation though, I was all ears. Again, he is a writer with a voice, and after hearing him talk about his plans for the book on Word Balloon and CBR, I was really excited because what he described seemed like an excellent approach to Supergirl. Plus, the Spencer interests I noted earlier…those would work well on an adolescent superhero.

Issue number sixty of Supergirl brings all of that excitement to life. You read it and it certainly is Metropolis and Kara Zor-El, but it is also very Nick Spencer. Those interests, those concepts Spencer seems to play with are all in that issue and they blend so well with the subject. Supergirl is that youth figure Spencer likes to focus on , but what makes her even more striking is the symbol she represents. The character, wearing the “S” shield and being a part of the Superman family, has something to live up to. That sense of pressure but also responsibility inherently makes her a figure of youth who has something to prove. I think Spencer really shows this well by pitting Kara against four fairly well-known Superman villains. Rather than providing the character with joke threats, Spencer puts her in front of guys capable of knocking Superman down. Kara puts up a fight though. She may not completely succeed, but she does get in a few good hits. Which is important because it shows that the character is trying to be influential or at least that she’s not a push over. Spencer makes Kara this character who wants to represent the “S” symbol well, and show that she is capable of doing the job well.

Panel from Supergirl #60

I also like the roll of technology in the issue, which is again another Spencer interest. Yeah, it’s very Social Network-y, but I think the main attraction of the Alex character is his use of technology as the villain. For one, Alex is a very cool, kind of “I know all”, quiet bad guy. For the most part, every time we see him he is just sitting at a dinner table, tapping on his cell phone, but when the character speaks Spencer shapes his dialogue in a very “Aaron Sorkin/Mark Zukerberg” way. Every line the character drops is spot on, and it always feels like the character is manipulating the situation, or that he is almost more aware of it than the other characters. It is affective, but more important than that is the tech aspect. I just really dig the idea of Supergirl against technology. Why? Supergirl is an adolescent, and it is the case nowadays for adolescents to be constantly bombarded by computers and the internet. Really, the same thing is happening to Supergirl in this issue; a villain is basically using his iPhone against her, to manipulate her. I think that is very much a social comment by Spencer, but it is also an interesting angle at which to explore the superhero genre. What if superheroes had to fight the internet? Or better yet, what if the internet was giving superheroes privacy issues? I just find that an exciting idea for a sense of evil in a superhero comic, especially when it is applied to a teenage character because then I feel it is even more relevant.

So there it is. My excitement and expectation was met, maybe surpassed. In that one issue, I felt Nick Spencer made Supergirl matter, and he brought along his bag of interests to throw around the character in able to explore them a bit more. More importantly, Supergirl #60 was a superhero book with a voice rather than just a collection of the usual story pages.

But wait? Nick Spencer did not write the next issue, number sixty-one. Oh yeah,  he left the book…

Or was it more like DC took him off? I mean, I do not really have any substantial evidence that DC actually took him off rather than him leaving on his own, but the vibe I get suggests to me that they did. For one, Spencer did offer two tweets the day the announcement of his leaving was made, and those tweets did not read like it was his decision.

@nickspencer Okay all, breaking some bad news today– I won’t be doing SUPERGIRL after all.

@nickspencer But hey, nobody cry for me! All kinds of cool stuff coming up in 2011, so stay tuned and all that.

(For the actual tweets, click the above links.)

The word choices of “after all” and “nobody cry for me” suggest to me that leaving Supergirl was not his decision. Plus, there were no other comments from Spencer about the situation. If he had decided to leave on his own, would you not think he may have come out and explained that? The entire situation just rang odd to me, especially when Spencer was just talking about his Supergirl run the day before on CBR. The guy sounded excited for this run.

Cover of Supergirl #61

But yeah, for some reason Nick Spencer only penned issue sixty, and I think that is very disappointing because issue sixty-one is a bit below the standard of awesome set in the previous issue. Honestly, I was not even going to bother with the first James Peaty issue, but for the sake of writing this post I wanted to at least give Peaty’s take a chance. I picked it up, went into it with a clear head, but still I kind of found the disappointment I expected. Granted, it is not bad. The issue has some enjoyable moments, Peaty does carry over some of the “Spencerisms” I mentioned earlier, but the voice and style of it all is just missing. The key example has to be the Alex character. As typed previously, Alex of issue sixty was a quiet, manipulative villain who carried a vibe that he was cooler and more sophisticated than the traditional comic book bad guy. James Peaty takes all of that away though and turns Alex into the traditional villain. His version of the character talks much more, and I half expect him to just off on the usual rant about “how he will stop Supergirl!”

To be fair though, there was one scene in Peaty’s issue I did enjoy and that was the Lois Lane/Supergirl scene. Spencer did setup Lois in his issue to have more of an active role. He brought out the journalistic side of her, reminding us of the “go get’em” attitude the character can have and using that to create an extra force of good in the story. Peaty does carry that over, and I felt he wrote it fairly well. He keeps the journalism aspect tied in through Lois discussing research with Supergirl but also having Lois show up in the book in a news helicopter. I really liked that bit. Like some superhero, Lois shows up out of the sky carrying this sense of mission. Like Supergirl, Lois also represents something. It may not be the Superman symbol, but it still is the media or more importantly the freedom of the press and the duty to inform the people. So, I have to give James Peaty a little credit. It was a nice scene.

The issue overall does not compare to Spencer’s though, and it is because Peaty’s issue lacks a voice. Again, it is not a bad comic book, but it does not stray far past the standard. When I look at the situation surrounding this title, I just shake my head and wonder “why?” If DC did remove Nick Spencer, what were they thinking? No offense toward James Peaty, but Spencer is a pretty hot up-and-comer in comics right now and his writing is certainly stronger than most. I mean, DC had him. They HAD him. How could they just loose him? Did they not want their Supergirl book written by someone who has that much attention on them right now? Or better yet, did they not want such a distinct voice writing one of their books?

It is just so odd to me, especially when one issue of Spencer’s run does exist. Just compare the Spencer issue to the James Peaty issue and feel that new found perspective you gain. The thought of what could have been is kind of  unsettling.

Oh well, I guess another general superhero book cannot hurt anything.

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