Tagged: comics

Science Friction, by Dennis O’Neil

The following will be about a column I didn’t write and it’s Vinnie Bartilucci’s fault. But that’s okay. I forgive him.

What Mr. Batilucci did was beat me to recommending Physics of the Impossible, by Michio Kaku. This Mr. B. did in a comment on last week’s column which, some may remember, described how awkward I felt being a published science fiction writer who was abysmally ignorant of science and how one of my earliest attempts at remedy of this ignorance was reading One…Two…Three…Infinity, by George Gamow.

My plan was to save recommending Dr. Kaku’s much more recent book – it’s on current best-seller lists, in fact – for this week.

Said recommendation would have come at the end of a blather that would have mentioned yet another elderly book, The Two Cultures, by a remarkable man who was both a scientist and novelist named C.P. Snow. According to the endlessly useful Wikipedia, “its thesis was that the breakdown of communication between the “two cultures” of modern society – the sciences and the humanities – was a major hindrance to solving the world’s problems.” I encountered Mr. Snow’s slim volume in college, probably when I should have been reading something some teacher had assigned, and it must have impressed me. (I mean, here we are, all these years later, and I still remember it.) The unwritten column would have culminated in the reiteration of something I mentioned some months ago, advice from my first comic book boss, Stan Lee. Stan said, in effect, that it’s a waste of space to “explain” comic book “science” because readers will accept what we tell them.

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Review: The Complete Peanuts, 1967 to 1968 by Charles M. Shulz

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The Complete Peanuts, 1967-1968
By Charles M. Schulz; foreword by John Waters
Fantagraphics, February 2008, $28.95

By 1967, [[[Peanuts]]] wasn’t just another comic strip in the local newspaper, it was a media phenomenon. The first TV special, A Charlie Brown Christmas, had won an Emmy amid universal acclaim two years earlier, and You’re a Good Man, Charlie Brown was about to open on Broadway. It was the epitome of mainstream entertainment – on May 24th, California Governor Ronald Reagan and the state legislature even proclaimed it “Charles Schulz Day.” The strip hadn’t quite hit its ‘70s mega-merchandising heyday, but it was getting there.

At the same time, not all that far from Schulz’s Santa Rosa home, Berkley was roiling with anti-war fervor and the Summer of Love had hit San Francisco. Peanuts had been seen as an edgy, almost countercultural strip in the early 1950s, but those days were long past, and Peanuts was the Establishment. In those days, you were with the pigs or with the longhairs, right? And where did Peanuts stand?

From the evidence here, Peanuts stood where it had always stood: on its own, only rarely commenting on specific issues of the day (such as the “bird-hippie” who would become Woodstock in another year or two), but talking around those issues in ways that most of America could laugh at… some more uncomfortably than others. Schulz was never one to declare himself on one side of an issue or the other; he’d just write and draw his cartoons, and let others make their interpretations.

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Happy Birthday: Carmine Infantino

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Flash Fact: Born in 1925 in Brooklyn, New York, Carmine Infantino might have been expected to go into music—his father was a musician, though he also worked as a plumber—but turned to art instead. While still in high school Infantino started working for Harry Chesler’s comic-book packager. Next he became an art assistant at Quality Comics. His first actual drawing job came at Timely Comics in 1942, where Infantino inked "Jack Frost" in USA Comics #3. After finishing high school Infantino continued to work for several places before finally landing a staff job at DC as the regular artist on the Golden Age Flash, Black Canary, Green Lantern, and the Justice Society of America.

He is probably best known for his work creating the second Flash, Barry Allen, and his distinctive red uniform. In 1967 Infantino became an art director at DC, and was promoted to editorial director a short while later. In 1971 he became publisher, but eventually left that position to go back to drawing on a freelance basis. He retired in 2005, though he still appears at comic book conventions. Infantino has won a National Cartoonists Society award and twelve Alley Awards, including a special Alley in 1969 for being the artist who “exemplifies the spirit of innovation and inventiveness in the field of comic art.”

Manga Friday: Done in One

One of the differences – I won’t say “advantages,” since opinion differs on that subject – of manga from Western-style superhero comics is that manga stories all have endings, eventually. Oh, “eventually” can be a long, long time coming – two decades, in some cases – but manga are created by one person or set of people, and all eventually come to an end, unlike corporate-owned characters, who live as long as their revenue stream does.

Some manga, though, end more quickly than others. Some even end in a couple of hundred pages – a story short enough to fit into one volume. And, by luck, I have two stories just like that in front of me this week.

Haridama: Magic Cram School
By Atasushi Suzumi
Del Rey Manga, May 2008, $10.95

Kokuyo and Harika are childhood friends who both ended up at the Sekiei Magic Cram School – named after its founder and apparently only teacher – studying to be magicians (who, once they’ve climbed the magic ladder as far as they can, we’re told are qualified to open cram schools of their own, which makes the whole thing seem like a pointless pyramid scheme). They’re “Obsidians,” people with only Yin or Yang power – instead of both, like proper magicians – and so they need swords with stones in the hilt to channel their lesser powers.

The other two main characters of this story are Sekiei, their young teacher – there don’t seem to be any other students in the school, in fact – and Nekome, a third-level sorcerer who recently graduated from the rival Torame school. Sekiei pushes Kokuyo and Harika to work harder and achieve more, while Nekome mildly torments them and puts down their abilities. (more…)

‘Dungeon Monstres, Vol. 1: The Crying Giant’ Review

The “Dungeon” series has gotten so full of stories, so complicated, that there’s a diagram on the back of this book to explain how all of the sub-series relate to each other.

Up top are the three main sequences – The Early Years (the creation), Zenith (the height), and Twilight (the downfall), as it says here – and below that are explanations of the other three clusters: Parade, Bonus, and Monstres. All are set in a giant castle in a standard fantasy world – the castle was set up by “the Keeper” as a habitat for various monsters, who could kill and devour the inevitable wandering adventurers. (So it’s a hack-n-slash D&D campaign turned on its head; the monsters win every time.)

Dungeon Monstres, Vol. 1: The Crying Giant
By Johann Sfar, Lewis Trondheim, Mazan, and Jean-Cristophe Menu
NBM, June 2008, $12.95

 

This particular subseries focuses on, as the back cover says, “great adventures of secondary characters.” So Monstres is the Cable & Deadpool of the “Dungeon” world, I guess…

The other different thing about Monstres is that the stories are illustrated by guest artists, not by series creators Johann [that’s how he’s credited on this book; though I’ve never seen the “h” in his name before] Sfar and Lewis Trondheim. In this case, the first story, “John-John the Terror,” has art by Mazan while the title story is illustrated by Jean-Cristophe Menu, head of the alternative comics publisher L’Association.

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Comic Book Cameo: Green Lantern on ‘Bones’

In the season finale episode of Bones, "The Pain in the Heart," an upset Doctor Brennan burst into her FBI partner’s bathroom and made a startling discovery. Special Agent Seeley Booth likes to relax in a hot tub with a beer helmet and comic book. In this case, Green Lantern. Booth is played by David Boreanaz, who previously played the brooding vampire Angel in Joss Whedon’s celebrated TV series Buffy the Vampire Slayer and his solo spin-off series, Angel.

Macho tough guy, and ex-Marine Corps sniper, who would’ve guessed Booth is a closet geek. But there you have it:

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Of course, that wasn’t just any comic book he was reading, either. It was Green Lantern #33, a Silver Age comic of Hal Jordan fighting Doctor Light. The issue featured a Gil Kane cover and a story titled "Wizard of the Light-Wave Weapons."

Booth explained the hat by saying, "Cold beer plus hot tub equals warm beer." But no defense was offered for the comic — or for the unreported crime of exposing that old comic to steam. That’s a definite no-no.

ComicMix Six: The Best Movies Adapted From Comic Books

In a previous edition of ComicMix Six, I set forth my picks for The Worst Movies Adapted from Comic Books. Now, because a "worst" list is nothing without a "best" list, I’ve assembled another one for you. This time around, I’m casting the spotlight on the opposite of bad movies and highlighting The Best Movies Adapted from Comic Books.

In contrast to the worst films, these stellar examples of cinematic goodness are not only great comic book adaptations, they’re great movies, too. From brilliant direction, exciting visuals that enhance rather than obscure the story, to compelling peformances, these six films deliver in a big way.

They alse showcase adherence to, and reverence for, their source material and represent what happens when talented people who appreciate comics get together to make a movie. Plus, they’re just plain fun to watch.

So now, without further ado and in no particular order, here is my ComicMix Six list of The Best Movies Adapted from Comic Books.

 

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Hereville, Thereville and Everywhereville, by Elayne Riggs

Oregon has become the latest state to garner the national spotlight in this Democratic Presidential campaign "silly season." Just about every liberal blog I read had effusive reports of the huge turnout at last weekend’s rally for Barack Obama in Portland’s Waterfront Park. Now me, I can’t think of Oregon without thinking of two things: the annual Stumptown Comics Festival, which I’ve never attended but which sounds pretty neat; and the person who first introduced me to the idea of Stumptown, my friend of many years, Barry Deutsch.

Barry and I go back so long that, like ComicMix commenter Vinnie Bartilucci, he knew me before my first marriage. As I recall, he visited me a few times back when I worked in the East Village, we probably even shopped at St. Mark’s Comics together, and he was an utter delight to be around. He still is, whenever he comes back east to visit. But he currently makes his home in the wilds of Oregon, so I pretty much see him around MoCCA time and that’s it. Fortunately, I get to see his art whenever I want to.

Barry’s been sketching and doing comic strips for awhile now. His political work reminds me a lot of Matt Wuerker’s style, the way it relies on gentle caricature and well-thought-out illustration to get his points across easily and without straining the reader’s credulity. He’d been bending my ear for awhile about a special long-form project of his, and that project has finally come out. It’s called Hereville.  You’ve probably seen lots of reviews about it online already. Here’s another one. (more…)

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Review: ‘The Facts in the Case of the Departure of Miss Finch’

finch2-6975608Neil Gaiman has been too busy lately to write much for comics unless it’s an event — like 1602 or his curiously pointless Eternals miniseries — but there’s still an audience for his stories in the direct market. So what’s a poor comics publisher to do? Well, if it’s Dark Horse, what you do is get various folks to adapt Gaiman stories into comics and publish them as slim trade-paperback-sized hardcovers. So far, Michael Zulli did Creatures of the Night, John Bolton adapted Harlequin Valentine, and P. Craig Russell tackled Murder Mysteries. And now Zullis is back again for:

The Facts in the Case of the Departure of Miss Finch
By Neil Gaiman, Michael Zulli, and Todd Klein
Dark Horse Books, May 2008, $13.95

Now, for most writers, “[[[The Facts in the Case of the Departure of Miss Finch]]]” would be by far their longest title ever, but Gaiman is not most writers. He’s also responsible for “[[[Being An Experiment Upon Strictly Scientific Lines Assisted By Unwins LTD, Wine Merchants (Uckfield)]]]” ” [[[Forbidden Brides Of The Faceless Slaves In The Nameless House Of The Night Of Dread Desire]]],” ” [[[I Cthulhu: Or What’s A Tentacle-Faced Thing Like Me Doing In A Sunken City Like This (Latitude 47º 9′ S, Longitude 126º 43′ W)?]]],” and ” [[[Pages From A Journal Found In A Shoebox Left In A Greyhound Bus Somewhere Between Tulsa, Oklahoma, And Louisville, Kentucky]]].” So “[[[Miss Finch]]]” may just be one of Gaiman’s more punchy and terse titles.

According to the Neil Gaiman Visual Bibliography — and why should we mistrust it? — “Miss Finch” is one of Gaiman’s more obscure stories, showing up in the program book for the convention Tropicon XVII and a magazine called Tales of the Unanticipated before turning up in one of his collections — though in a different one depending on which side of the Atlantic you live on.

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Women in Comics, Through the Eyes of Five Creators

There continues to be strong debate about the equality (or lack thereof) between female and male comic book creators, and a recent online panel discussion shines much light on the situation.

Hudson Phillips — screenwriter, designer, fellow Atlantan and all-around good guy — hosted the discussion on his blog. He spoke with artists Rebekah Isaacs (Hack/Slash, Drafted) & Amy Reeder Hadley (Fool’s Gold, Madame Xanadu), journalists Johanna Draper Carlson (Comics Worth Reading) & Angela Paman (Comic Addiction), and Web-comics creator Julia Wertz (The Fart Party).

It’s a wide-ranging chat, with a wide variety of viewpoints that give a lot of perspective to the many issues facing women in comics:

IN WHAT WAYS DO YOU THINK CREATORS & PUBLISHERS CAN BE MORE “FEMALE-FRIENDLY” WITH THEIR BOOKS?

Angela: I think if they came out with more books similar to the format like the Minx line but had topics or stories catered to not just one specific age group but for different age groups. Comics got me to loving reading again and I think to myself, “if comics got me into reading at my age, what more someone younger than me”. Publishing more books for the younger audience would also help as well.

Johanna: The biggest gap still remaining is work that adult women can find interesting and appealing. Manga is mostly teen-targeted, and many “indy/alternative” books still reflect a male perspective.

Rebekah: I truly believe that so much of what’s being published today IS female-friendly, but is not being marketed towards females in any way. I don’t believe that simply adding strong, “empowered” female characters to a book makes any difference, since women with enough good taste to appreciate a well-written story will equally love books with both male and female-dominated casts. So doing such can come across as condescending. Publishers just have to find a way to get their ads and press out there to a more diverse audience. And comics readers, suggest your favorite titles to ALL of your friends, not just the ones who also read comics.

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