Tagged: novel

Jen Krueger: The Digital Divide – Reading Comics on My iPad

As someone who has more books than room on my bookshelves to accommodate them, an obsessive collector of cool artifacts of things I love, and a completionist in almost all regards, I don’t think I surprise anyone by saying I love comics. But I have definitely noticed confused head quirks when I admit that when it comes to the question of physical copies versus digital versions, I prefer to read comics on my iPad.

I should preface my preference for comics on a screen by saying this: I hate reading books digitally. On a purely aesthetic level, the size, weight, and smell of a book have always been an integral part of the reading process for me, so an e-book has just never been able to command my focus the same way a physical book does. A progress bar at the bottom of my screen somehow doesn’t give me the same sense of how much is behind and ahead of me that a bookmark in real pages does, and the pagination in general in e-books has always seemed off to me. Hand me an 800 page hardcover novel and I have, with a very small margin for error, a clear idea of the scale of what I’m diving into. In an e-book, the same text seems like it could take up anywhere from 800 to 2000 pages depending on the way it’s formatted.

But the biggest reason I’ve never been able to embrace e-books with gusto is that reducing a book to a file that looks like almost all other e-books takes away an individual book’s character. Hand me an iPad or Kindle and give me a quick glance at a few pages from any two e-books, and I probably won’t be able to easily distinguish them by their author or what work they’re from. Hand me two physical books and give me a quick glance at a few pages from each, and I’m exponentially more likely to be able to not only identify them, but also get a sense of what each book is like. Handing me a physical book is handing me a whole and unique package, and while there’s something tempting about being able to carry around hundreds of texts in one relatively small device, I’d rather sacrifice the space in my bag for fewer works that retain the character of their physical forms.

So if I’m so gung-ho about preserving the character of a book by only reading the physical version of it, why am I okay with filling my iPad with comics? Because the character of a comic is so bold and evident on every page that I don’t feel like I’m losing things in the digital translation. Look at a single digital page from any comic and you’re likely to be able to tell a lot about the work, and the sense of the comic’s character you get by doing that is much more in line with what you’d get from doing the same thing with a physical copy. That makes the big con of e-books moot for me, but this isn’t the only reason I lean toward my iPad when it comes to reading comics. In fact, this con made moot takes a significant backseat to a pro of e-books being made even better when applied to digital comics: I can take hundreds of them with me in one relatively small device.

While I can get by only having a couple books on me at a time, my habit of binge reading means I’d be carrying around an awful lot of trades if I only read physical comics. And since my preference for digital comics doesn’t mean I dislike physical ones, I’ve definitely carried around trades with me before. It takes so much less time for me to burn through a whole trade than it does a whole novel that the benefit of having 5 trades’ worth of comics on my iPad is evident in and of itself, but the volume of comics I’d need to have on me when reading a series isn’t the only problem I found with trying to read the physical versions.

The durability of physical comics, or more accurately the lack of it, is the last big factor in my preference for digital ones. Most trades are an awkward size to fit into the kind of bag I carry with me everyday, and though their size is more amenable to the backpack I take when traveling, they’re often not sturdy enough to stand up to being jostled around amongst the devices and travel paraphernalia I cram into my backpack in preparation for a trip. Where a hardback novel has the heft to take sharing space with a hard-sided headphone case while getting shoved under an airplane seat, and a paperback novel is compact enough to perch in the smaller space on top of the other things in my backpack, I’ve found my trade comic books just large yet just malleable enough to take a beating every time I pack them no matter how careful I am with the bag. But an iPad full of Locke & Key means an entire flight’s worth of reading without giving up the space the physical versions would take up, or the inevitable bummer of seeing them worse for the wear when I get to my destination. So while I’d certainly never turn my nose up if offered a physical trade of a comic, I’ll opt for the digital version if given the choice. Unless the trade is signed or some kind of special, limited edition, of course. That would make it a cool artifact, and I’m still an obsessive collector, after all.

REVIEW: How to Train Your Dragon

how-to-train-your-dragon-6971307When your children grow up and leave home, one of the regrets is that until they give you grandchildren, you have little excuse to go see the fun family films that keep rolling out. As a result, I missed How to Train Your Dragon when it arrived in 2010. I was told by those still with kids that it was a charming, funny film. Thanks to Paramount Home Entertainment, I finally caught up with it now that it has been rereleased today as a Blu-ray + DVD + Digital combo pack.

The unfortunately named Hiccup (Jay Baruchel) is a young Viking growing up on the island of Berk. His father, the better named Stoick the Vast (Gerard Butler), is the tribe’s chief who insists that the youngsters are taught how to fight the fearsome dragons that share the island. Hiccup is destined for greatness – at least that’s the hope; he’s actually skinny and weak and prone to accidents — when fate shakes things up as he saves an injured young beast named Toothless. They bond and Hiccup is handed a new destiny: he has to convince the tribe that their ways are wrong and that the dragons are really allies not dinner.

It’s an uphill battle complicating with the distracting affection he has Astrid (America Ferrara). She, of course, sees him as annoying, clumsy boy. Their friend Gobbler (Craig Ferguson), a blacksmith. supplies support, crazy mechanical inventions, and even more comic relief.

Directors Chris Sanders and Dean DuBlois do a fine job adapting Cressida Cowell’s young adult novel. They make it heartwarming and funny, charming and goofy without tripping over the line and getting excessive on any account.

The current high definition disc is a visual treat for young and old alike. The 1080p transfer is pristine, keeping all the color bright and vibrant. Coupled with the wonderful 7.1 Dolby TrueHD lossless soundtrack, the viewing experience at home is superb, matching the film’s entertainment value.

This edition comes with a sticker on the slipcover offering $7.50 off a movie ticket for June’s obviously named How to Train Your Dragon 2. There are a bunch of extras carried over from earlier editions of the film such as the filmmaker’s commentary, a trivia track, the PiP feature “The Animators’ Corner”, and the featurettes “The Story Behind the Story” (7:40), “The Technical Artistry of Dragon” (10:13), “Viking-Sized Cast” (11:44), and “How to Draw a Dragon” (10:52).

New additions, and welcome ones, include “Frozen” (22:41), billed as an “exclusive episode” of the TV show Dragons: Defenders of Berk; “Book of Dragons” (17:38), a short that provides additional details about the fire-breathing dragons; Ultimate Book of Dragons, an interactive feature; and, Gobber’s Training Secrets” (2:10), a series of short vignettes about dragons.

Two more extras — the short film “Legend of the BoneKnapper Dragon” (16:33), and deleted scenes (7:33) – can only be found on the DVD.

Longmire Season 1-2 Come to Blu-ray This Month

longmire-blu-ray-2433147The Walt Longmire book series from award-winning author Craig Johnson has spawned a fine adaptation on A&E and in the coming weeks, fans are in for a treat. First, the first two seasons are making their Blu-ray debut on a combo set from Warner Archive followed by season three premiering on June 2 and then two days later the eleventh novel in the series arrives.

Here are the formal details with some thoughts from Johnson.

BURBANK, CA (May 5, 2014) – Few television dramas have captured the intense cinematic nature of the Southwest like A&E’s hit mystery series, Longmire. Warner Archive Collection is proud to bring those stunning visuals – and equally enthralling stories – to full 1080p HD presentation with the Blu-ray™ release of Longmire, Seasons 1 & 2, on May 27, 2014 via WBShop.com and many online retailers.

longmire2-e1399412557330-5685419Warner Archive Collection’s presentation of Longmire, Seasons 1 & 2 on Blu-ray™ includes all 23 episodes in a six-disc set, as well an interesting array of bonus content, highlighted by three fascinating featurettes and two “director’s cut” extended episodes with introductions from the executive producers.

longmire1-e1399412590641-3995864Long shadows of secrets and murder hang over Absaroka County, Wyoming, jurisdiction of the tough and brooding Sheriff Walt Longmire (Robert Taylor), in the spell-binding series, Longmire. Struggling since his wife’s death a year ago, and at the urging of his attorney daughter, Cady (Cassidy Freeman), Walt knows he must turn his life around. Aided by a new female deputy, Vic (Katee Sackhoff) and his oldest friend, Henry Standing Bear (Lou Diamond Phillips), Walt becomes re-energized about his job and running for re-election – even though his ambitious younger deputy Branch (Bailey Chase) is a rival candidate. The unraveling truth about Walt’s wife death will astonish the stoic lawman and his daughter. While shattering storms darken the skies, Longmire doggedly solves the big crimes of “Big Sky” country.

longmire3-e1399412628638-6220829In addition to the cast regulars, Longmire has featured guest performances from such notable actors as Peter Weller (Robocop), Gerald McRaney (House of Cards, Simon & Simon), Xander Berkeley (24, Salem), Shawn Hatosy (Southland), Tom Wopat (The Dukes of Hazzard), Jim Beaver (Supernatural), A Martinez (L.A. Law, One Life To Live, Santa Barbara), Charles Dutton (Roc, Alien3), C. Thomas Howell (Southland, E.T.) and Stephen Culp (Revolution).

Longmire, the TV series, has its roots firmly embedded in the best-selling Walt Longmire book series from award-winning author Craig Johnson. The latest and 11th in the series of novels, A Serpent’s Tooth, arrives June 4. A current resident of Ucross, Wyoming (his bio proudly states “population: twenty-five”), Johnson is an avid fan of the A&E television series, which returns for its third season on June 2. Johnson particularly enjoys the dedication everyone involved with the show has taken in bringing his characters and stories from page to screen.

craig-johnson-e1399412660538-7321290“I think the thing that’s been the most amazing to me is the way the producers, directors, actors, designers, and crew have been able to capture the feel of the novels” Johnson says. “It’s not easy to translate perception from one artistic venue to another, but I think Longmire has amplified the integrity, the humor, and the edginess that have made the books a success. There are elements that you can rely on in doing a true western, like the epic romantic quality, but the show goes one step further in portraying the west as it is today; the characters are complex, and the plots not only credible, but compelling – it ain’t your daddy’s western.”

Johnson also notes that Warner Archive’s presentation of Longmire Seasons 1 & 2 on Blu-ray™ will further enhance the cinematic beauty of the series.

“The thing about Longmire is that at its core, it’s a western, and filming a western indoors doesn’t make much sense,” Johnson explains. “Most crime procedurals are shot on a couple of sets – offices, apartments, and such – but Longmire embraces the challenge of being outdoors and does an amazing job of allowing the scenery to speak for itself; you can almost hear the landscape breathe as it becomes a major character in the series. The landscape creates a mood in this show – it’s not perfectly lit and coerced like a lot of television. Visuals are something that Hollywood can do better than a book, and the images that Longmire invokes match up magically with those I have in the novels.”

Longmire, Seasons 1 & 2, on Blu-ray™ extra content features include:

Featurette – The Camera’s Eye: Realizing the World of LongmireLongmire is against a backdrop where every turn of the camera is a perfectly composed frame, mixing nature against the world of Cowboys, Indians, Lawmen, and Villains.  The world Walt Longmire calls home and where the story takes place would not be possible without the skilled artisans behind the camera. This documentary film proves that story may start on the page, but what lands on the frame is what ultimately counts.

Featurette – Longmire Justice: Exploring the Cowboy Detective – Longmire is a bit cowboy, a bit detective, a bit American Indian, and even a bit of the human drama. But the one consistent element that serves the broadest audience, and central to the core of Longmire’s popularity – is the passion we share for carefully crafted stories.

Featurette – Testing Courage: The Storm Defines the Man – Longmire adeptly captures, from episode-to-episode, the subtlety of what it means when a man is challenged to be consistent in his ideal.  It’s a unique piece of entertainment that calls to attention one of the over arcing themes of Season 2.  Can Walt Longmire survive his test of courage?

“Director’s Cut”: Sound and Fury Extended Episode with Introduction by Executive Producers Greer Shepard and Hunt Baldwin.

“Director’s Cut”: The Election Extended Episode with Introduction by Executive Producers Greer Shepard and Hunt Baldwin.

Pre-orders are now available for the Warner Archive Collection presentation of Longmire, Seasons 1 & 2 on Blu-ray™ at shop.warnerarchive.com and wbshop.com, as well as a host of online retailers. Warner Bros. Home Entertainment is also releasing Longmire, Season 2 on DVD on May 13, 2014.

 

REVIEW: Son of Batman

son-of-batman-7035527Way back in the 1970s, there was a fun little one-off story by Denny O’Neil where Batman was pitted once more against Ra’s al Ghul, but the unique element was that he was drugged and by the time he woke up, he had been married to Ra’s’ daughter Talia according to their customs. The Detective, as Ra’s called his son-in-law wanted to make his daughter happy but also entice the man to father an heir. By story’s end, it was clear Batman wasn’t interested and ignored the betrothal, which never really came up again.

In 1989, DC published its first original graphic novel featuring its heroes and here, Son of the Demon, saw the romance between Batman and Talia result in a night of passion which resulted, unknown to him, in a son, who were last saw left for others to care for. The comic books never acknowledged this turn of events and O’Neil, then editing the Batman line, let his writers pick up on this juicy thread.

talia-e1399212697458-8281413It wasn’t until Grant Morrison came along and was given carte blanche to incorporate every Batman story ever told into his crazed mythos that positioned the Dark Knight for a new century. Talia was there at the outset of his stories so Morrison was planting seeds that resulted in the stunning arrival of ten year old Damian, his son. The story arc was interesting to read since this was a kid trained in everything and was apparently a genius at it all along with his self-entitled, obnoxious attitude, making him a far cry from the well-behaved parents (Talia by training, Bruce Wayne through love).

That initial story arc has been adapted by Warner Animation in the just-released Son of Batman animated feature that veers wildly and not entirely successfully from the source material. Despite the preceding film, Justice League: War being the first in a new internal continuity series of films, using the New 52 model, this one already is set beyond that world. We open with an extended look at Ra’s (Giancarlo Esposito) League of Assassins under attack from overwhelming forces resulting in his death just inches from the Lazarus Pit that revived him so many times before. Talia (Morena Baccarin) is left to spirit Damian way and bring him to Gotham City for a long overdue meeting with his father (Jason O’Mara).

batman_damian_07-e1399212727353-1139858Comic veteran James Robinson provided the story which was turned into a script by Joe R. Lansdale, solid choices that raised expectations only to be handed disappointment. They chose to graft Deathstroke into the story, making him the force behind the attack. As luck would have it, the next phase of the plan involved kidnapping scientist Kirk Langstrom with his unproven Man-Bat formula and then turning Deathstroke’s minions into the army of Man-Bats as cleverly introduced by Morrison in the comics.

While that’s going on, Bruce is struggling with the existence of his son. The movie’s best lines go to Alfred (David McCallum) who is delighted to have the acerbic, annoying Master Damian now underfoot. Of course, after mocking the Robin outfit, he accompanies Batman on the case leading to an all-too-brief encounter with Commissioner Gordon (Bruce Thomas). And just when he’s needed, Nightwing (Sean Maher), Damian’s predecessor (the film skips any mention of Jason Todd or Tim Drake) turns up. Here is where more should have been done between rival “sons” and how Bruce interacts with them, but the film hurries thigns along to get back to the action. At least they pause to have one poignant conversation between Damian’s parents which helps emotionally center the story.

langstrom-calculations-e1399212757524-9480854One of the film’s faults is shared with the inspirational comics in that a ten year old’s skills cannot rival adults’ simply through size and the fact that Damian is still growing and learning. He should not be a rival to Batman, or even Nightwing, but still learning. His impetuousness and smart mouth are the only things that feel right with him.

The final fight with the Man-Bat army is over-long and the number of recruits impossibly large so is unconvincing.

Phil Bourassa’s character designs are good although he veers toward too-many people with pointy chins including Damian’s parents so Damian’s round-faced look makes little sense. His figures, notably Deathstroke, are too bulky and appear to have elongated torsos that look wrong. And I wish he captured Talia’s Middle Eastern exotic look that Neal Adams established and was reinforced by other artists including Jerry Bingham. Instead, she’s a generic-looking busty brunette. The budget-conscious animation also felt more limited than usual.

Overall, it’s entertaining if you buy Morrison’s take on Batman at all (I never did).

The 75-minute film is accompanied with some excellent bonus features.  We start with “The Fan and the Demon Head: The League of Assassins” (10:00) with Morrison, historian Alan Kistler and others providing some context. “Strange Blood Ties: Damian Wayne” (15:00) looks at Ra’s, Talia, and Batman in the comics leading to Damian’s introduction. “Designing the Characters with Phil Bourassa” (10:00) is an interesting look at how the comic sources were adapted for the film’s specific look. Finally, there are episodes from the various television series including Batman Beyond’s “Out of the Past”;  “The Knights of Tomorrow!” and “Sidekicks Assemble!” from Batman: The Brave and The Bold; and, finally “Showdown”  from Batman The Animated Series. There is a sneak peek of the next offering, Batman: Assault on Arkham, featuring the Suicide Squad and based on the video game series not the New 52 animated universe.

The affordable combo pack comes with Blu-ray, DVD, and Ultraviolet copies.

Jen Krueger: Binge Reading Comics

stack-of-comics-3741951

A friend of mine has multiple subscriptions at multiple comic book shops. He gets excited for every new issue, and has been consuming comics this way for most of his life. Try as I might, I just can’t understand this, though not because this fervor for comics is foreign to me. It’s the issue by issue thing that I’ve never been able to come around on.

Maybe some of this stems from the way I was introduced to comics. Years ago, I saw Neil Gaiman do a reading of short story and poetry material at the Printer’s Row Book Fair, and the first booth I stopped at afterwards had the The Sandman graphic novels for sale. It was the first time I’d seen the name of an author I knew on a graphic novel, and having been so entertained by that author only minutes before, I figured I’d give this foreign format of storytelling a shot. I read it in one sitting and couldn’t get my hands on the next trade fast enough. By the end of the month, I’d devoured the whole series and become interested in finding other comics I’d enjoy even half as much as I had loved The Sandman.

But even as a comic book convert actively looking for more to read, I just couldn’t bring myself to start with anything short of a trade or graphic novel because single issues of comics have always struck me as unfulfilling, just bite-sized bits of big stories. (more…)

REVIEW: Beware the Batman Season 1 Part 1

1000x1000_bewarethebatmans1-e1397424318907-8050370As much as there has been a fascination with Batman since his debut 75 years ago, lately, the trend has been to examine those vital origins. This began back with the Christopher Nolan Batman Begins and will most likely be on display next fall on Fox’s Gotham. In the comics, Scott Snyder is wrapping up his own take on that first pivotal year in the cape and even Cartoon Network took a stab at it with Beware the Batman: Shadows of Gotham. The latter debuted last July only to be unceremoniously yanked off the air in October after 11 episodes. A total of 17 are known to exist out of the 26 ordered but despite promises the show remains off the schedule.

Meantime, Warner Archive recently collected the first 13 stories onto a two disc Blu-ray set billing it as Season One, Part One. From a content standpoint, the idea of looking at those early days is ripe for exploration in any form. Interestingly, under Executive Producer Sam Register, the production team led by Glen Mirakmai, Mitch Watson, and Butch Lukic proclaim this is Batman (Anthony Ruivivar) after being in action five years. He’s no novice by then and depending upon which continuity you follow, he’s clearly a veteran hero. That length of experience puts him at odds with how he’s portrayed, somewhat unsure of himself, somewhat error-prone.

And unlike his one-man crusade as seen in the superior Year One animated film and graphic novel, he was on his own. Alfred was reluctantly aiding him but here, he’s a willing and very active participant as his one-0time experience as a secret agent handily comes into play. James Gordon (Kurtwood Smith) is still a lieutenant at the outset, graduating to commissioner during this season. What doesn’t work at all, for me, is the adding on of Katana (Sumalee Montano) as Alfred’s goddaughter and Robin surrogate. Batman should remain a loner if you’re exploring those first days and years and if he gets a sidekick, it should certainly not be someone from another culture with her own baggage but someone more organic to the story, such as Barbara Gordon, who merely crushes on the Caped Crusader here.

That said, the series gets kudos for avoiding the tried and true villains in favor of a wide assortment of lesser lights starting with Grant Morrison’s silly Professor Pyg (Brian George) and Mister Toad (Udo Kier). The second episode introduces a darker, more malevolent Anarky (Wallace Langham) who is the meta villain for the arc and has eschewed his comic book-based philosophy in favor of being a criminal mastermind. We also get a deadlier and less silly Magpie (Grey DeLisle-Griffin). On the other hand, we get Ra’s al Ghul (Lance Reddick), Lady Shiva (Finola Hughes), and the League of Assassins so the Dark Knight certainly has his hands full.

The series is also rich with other elements of the DC Universe such as Michael Holt and Simon Stagg; and if Stagg is on hand, you can bet Rex Mason (Adam Baldwin) is here, too. In fact, “Toxic” is one of the stronger stories as Mason becomes Metamorpho and is first seen as a threat dubbed the “Golem of Old Gotham”. There’s also Jason Burr, introduced in “Safe” but who recurs and sharp-eyed readers know he is destined to become Kobra.

The series looks different, with the figure work being more angular and distorted than one expects. The CGI-animation is somewhat off-putting but better than the last straight Batman series but nowhere near as good as the original Animated Series or The Brave and the Bold. The strong writing makes you overlook the odd visuals which is a benefit.

The Blu-ray disc looks and sounds just fine, as one has come to expect. And being from the cut-rate Archive arm, there are no extras.

Mindy Newell: Reading Is Fundamental

Dorothy: What kind of a horse is that? I’ve never seen a horse like that before!

Guardian of the Emerald City Gates:  And never will again, I fancy. There’s only one of him and he’s it. He’s the Horse of a Different Color you’ve heard tell about.

—The Wizard of Oz, 1939

I love to read.  I read every chance I get, including always bringing a book with me to read on my lunch hour.

I don’t get people who don’t read.

They make me crazed.

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REVIEW: The Book Thief

the-book-thief-blu-ray-release-e1395091478206-6521706The Coming of Age book has become fodder for dystopian science fiction and fantasy while some of the toughest Worldbuilding is done right here, on the planet Earth. Things don’t get more dystopian than growing up in Nazi Germany during World War II. As captured by Austrian author Markus Zusak, The Book Thief is a harrowing, sorrowful tale about life during wartime. The 2005 novel is amusingly narrated by Death and tells of his fascination with Liesel Meminger (Sophie Nélisse), who comes to his attention when collecting her brother.

The novel has been justly feted over the years and the inevitable film adaptation arrived in November and is now out on disc from 20th Century Home Entertainment. The film is faithful without fully capturing the novel’s tone, aided by some solid performances, excellent production design and a John Williams score that justly earned an Academy Award nomination without imitating his Schindler’s List, which covered much of the same time.

Liesel winds up handed over to Hans (Geoffrey Rush) and Rosa (Emily Watson) Hubermann for safekeeping and she has to make new friends and form new attachments in an unfamiliar environment. While Hans quickly grows to like Liesel, Rosa is upset that the brother and the money to care for him has vanished and seems to take it out on the ten year old. When it appears she is illiterate, slowly Hans teaches her to read and books become precious to her. She also becomes the object of fascination to the boy next door, Rudy (Nico Liersch).

Life is further upended when Max Vanderburg (Ben Schnetzer) shows up, obligating Hans to pay a debt stretching back to World War I – in this case, honoring Max’s father for saving Hans’ life. The scenes between Max and Liesel are among the book – and film’s – best.

The rest of her life in the small community is a varied bunch and you can’t help but wince to watch the children inducted into the Hitler Youth. This includes the ritual book burning where she rescues The Invisible Man and keeps it, despite the mayor’s wife, Ilsa Hermann (Barbara Auer), knowing her secret. Her bravery is later rewarded when Liesel is tasked by Rosa to bring the Hermann’s laundry to Ilsa, opening a new chapter for her.

The book is nicely condensed and is serviceable for those who haven’t read the book but once more, the richness of voice in print is absent from the film. While Rush and Watson do nicely, they can’t carry the whole film which is at time disjointed and lacking in the Zusak magic.

Overall, the transfer to disc is fine and worth a look. The extras that accompany the Blu-ray include a handful of mostly superfluous Deleted Scenes (6:34) and an assortment of  featurettes on the making of the adaptation,  A Hidden Truth: Bringing The Book Thief to Life (31:05). I appreciate that Zusak is well represented here but overall this is a perfunctory set of short pieces.

 

REVIEW: Cleopatra in Space

Cleopatra in Space: Target Practice
By Mike Maihack
169 pages, Scholastic Graphix, $12.99

cleo01_frontcover-e1395074030387-3389456The allure of Cleopatra VII has endured over the millennia and continues to be a source of fascination for people young and old. As a result, she is an easy subject to inject into novels, plays, and unfortunately, this graphic novel. What could have been a fun, interesting, character-driven fish out of water story became a by-the-numbers young adult graphic novel that bears no resemblance to the source.

Mike Maihack is a talent and clever storyteller and the art and color make the book a fun, if irritating, read. He has an open style that is expressive and a restrained color palette so you’re not overwhelmed. He’s been producing this as a webcomic since 2010 and the first cycle of stories is being collected by Scholastic’s Graphix imprint in April. A second volume is already promised for 2015 so they’re expecting great things.

Fifteen year old Cleopatra (or Cleo to her friends) is snatched from Egypt by a piece of technology that sends her far into the future where she has to attend an intergalactic school in order to fulfill her destiny of saving the universe. Her teacher Khensu, a talking cat, tries to mentor her, tempering her youthful exuberance and adolescent ways with exasperating results.

The future world is made up of species and races from around the galaxy, all of whom are looking to Cleo to save them from the Xerx War that threatens life as they know it. Additionally, they have no way of sending her home so she can fulfill her first destiny, to be the last great pharaoh of Egypt’s classic period.

History shows Cleopatra was fourteen when she was named co-regent with her father, Ptolemy XII, until his death when she was eighteen. So right here, the book makes little sense. Secondly, she arrives in the far future and at no point does she appear confused by the languages, the knowledge there is life beyond Earth, the technology, etc. Sher arrives, is assigned classes, and settles into dorm life where she is a slacker student but a deadly shot.

This is not the Cleopatra of history, the wily, tough leader who charmed two Roman leaders and oversaw her people after prolonged battle.  None of what we know of her personality is here, instead we’re given a modern day plucky teenager and we’ve seen that. We’ve seen the “savior” storyline, we’ve seen ti all before so plopping Cleopatra into this does nothing but trade on her name.

There is little explanation about why the organization that recruited her is acronymed .P.Y.R.A.M.I.D. or why there are Egyptian touches, such as her sphinx sky cycle, so far into the future on another world. Similarly, the Xerx is reminiscent of Xerxes, the Persian, conqueror of Greece as immortalized in 300 while their leader is Xarius Octavian (the surname being that of Caesar’s son who wound up with Egypt after Cleo killed herself).  The supporting cast is visually interesting but woefully under-utilized. What could have and should have been something different is a cookie-cutter approach to a young adult graphic novel, so it’s all the more disappointing that her 8-12 year old readers will know nothing of what the true Queen of the Nile was like.

Dennis O’Neil: How Long Can You Go Without Faking It?

Story ideas are pretty malleable. I once presided over/rode herd on/sweated out an 1,100+ page continuity that began as a plot for two 15-pagers.  Hemingway is credited with writing a story in only six words.  (Go on. Google it.  I’ll wait.)  I did something a while back, just a bit over 500 words, that, I think, qualifies as a story, though some might disagree, (and because we cherish the First Amendment, if for no other reason, we welcome their dissent.)

Slick magazines, back when my mother was reading them, featured stories complete on one page.

Superman’s origin, which, you might recall, involved an exploding planet – we’re not talking small, here – was originally told on one page and the first Batman story ran a mere six pages, but it was very close to a Shadow novel that must have been in the neighborhood of 45,000 words.

[[[The Great Gatsby]]], often cited as a great novel, is 47,094 words. [[[War and Peace]]], ditto on the great novel label, goes 587,287.

So, is there a point to all this?  Let’s try to find one.

Story ideas, and literary forms, might be malleable, but that doesn’t excuse scriveners from the labor of plotting and structuring. You can’t just plunk yourself down at the keyboard, decide you’ll do an 1,100-pager and begin to perpetrate the opening of this Sahara of a continuity. No, check that: you can begin the aforementioned perpetration, but a prudent person might advise against it. The danger is that, toward the end, you might find a lot of loose ends that defy knotting, or you might have given your characters problems that they can’t solve and still stay true to whatever else you’ve established.  Or you might just run out of plot. Then, you begin to improvise. You fake it. You pad. Are you, by now, boring the reader? Admit the possibility, anyway.

It happens.  A person far wiser in the ways of Big Media recently confirmed what I’d read somewhere.  Sometimes, writers and producers of television entertainment begin a protracted and complicated storyline with no clear idea of how they’ll get from A to B. They make it up as they go along.  Sometimes they get away with it.  Sometimes.

I know that some Nineteenth Century literary luminaries – Charles Dickens and Fyodor Dostoyevsky to name two – serialized their novels before publishing them in hard covers.  I wonder: did they make it up as they went along?  Did they do outlines?  Plot summaries?

What we did, my comic book colleagues and I, was make pretty detailed outlines, in consultation with our freelancers. We all knew what story we wanted to tell and had a reasonably firm idea of how it should end.  There was a few small disagreements: some of my merry men wanted the outline to be detailed; I wanted to leave wiggle room and preserve the option of someone having a better idea along the way.  But we generally knew where we were going and how to get there.

One more thing: that outline assured us that we had enough plot to justify the number of pages we were planning to occupy.  We could and did permit side plots to run in parallel with our central story, but we wanted none of that padding stuff.

Is here any padding in the preceding 551 words?  Well…