Weekend Reading: Multiversity – The Just #1

What a ridiculously awesome read.

Grant Morrison has long said that Multiversity is “the ultimate statement of what DC is”, and this issue really punches things into gear. Or at least, this issue is where I’ve started to notice more of the connective tissue. The main thrust of the book deals with an earth where the heroes of DCs 90s era have won the day, and the current batch of supers has nothing to do. The earth (designated 16 here) is a wonderful mix of dour inevitabilities – if the heroes do in fact win the day, and our current reality’s fascination with celebrity life and culture continues unabated, this is the kind of world that would emerge. Power and responsibility steeping in boredom ’til the point of breaking.

As for the overarching plot, this issue brings the idea that the Multiversity comics that have been, and will be, are missives from other realities, bleeding into existence as a dire warning and/or mysterious doom. This simmers all through out the book as various superheroes pick up the comics and have a myriad of opinions on the ridiculousness of the superhero genre and comics in general. The whole thing is a joy to read, and will be a further joy to go back and parse when all is said and done. A great part of a whole, and a great single issue read, I’d say anyone could pick this issue up and have fun.

Weekend Reading: Catwoman #35

Emerging from the pages of Batman: Eternal, Selina Kyle assumes her role as the queen of Gotham’s crime families in the newest issue of Catwoman.

Since the launch of The New 52, Catwoman has been an interesting book to follow. The first issue kicked things off with a story called “…and most of the costumes stay on…” which started with Selina flying out a window wearing only half of her costume, and ended with her having sex with Batman… also with half of her costume on. For reasons, I guess. Anyway, the title has had some weird ups and downs since then, and has now received a new status quo.

The book sees Selina taking control of the entirety of Gotham’s organized crime scene, something her father had once done. In this capacity, you see her balancing a life of good and bad intentions, just like she always had. Much like Carmine Falcone claims in the first episode of the Gotham TV show, she’s setting out to do right by Gotham – because without a thriving Gotham, there’s no way to make money. She attempts this while dealing with challengers on all sides, from different crime families and from within her own ranks. It’s a phenomenal story by comics-newcomer Genevieve Valentine and accomplished artist Garry Brown, who take a series largely known for weird stories and salacious costuming and build a phenomenal crime book. For the first time in a long time, I’m interested in seeing where this series goes, and will keep checking it out (rather than just checking up on it for time to time for work purposes.) Highly recommended.

Weekend Reading: Lazarus #12

 

The meticulous world building inside Lazarus continues with this issue, wherein the families in power all meet for the first time in years and manoeuvre against each other.

tale as old as time

While each issue of this title has featured a hefty portion of world building, it’s taken me until now to realize just how well thought out this work actually is. Rucka and Lark have taken something that doesn’t exist, and have built it into something that could. Motivations are informed by the temperament of the characters, as well as the location and resources that character (or family) has at their disposal. While the setting bends reality slightly, there’s enough reason involved in the plotting and images that it doesn’t break, creating a story that you feel comfortable with existing, never once pulling on the suspension of disbelief. This makes the book equal parts entertaining and horrifying, as you find yourself lying in wait for this world to arrive, an inevitability more than a dismissible possibility.

This Column Has Seven Days #030 // My Third-Favourite Deadly Sin

This week it’s nothing but comic books that talk about teen feelings and Can-Con music, which makes me pretty happy, all things considered.

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Gilbert Hernandez’ Sloth: Lemons and Angst

Saying that I read and liked a Gilbert Hernandez comic is like saying I watched and enjoyed a Stanley Kubrick movie. The best ones are fantastic, and the worst ones are still at least interesting to digest. Gilbert’s ability to tell a comic-book story is unmatched by nearly anyone in the business today — his moody inks and expressive iconic faces, combined with a knack for authentic characterization and an interest in the darker side of life, have given me some of my favourite comics stories, whether in his Love & Rockets work or in his stand-alone work. So when I picked 2006’s Sloth off the shelf, I had a feeling I was going to enjoy it.

Sloth starts off as the story of teen angst in the suburbs, the bleak horror of a mundane existence with the existential dread of being an adolescent. Just before his third month of Grade 11, Miguel Serra apparently wills himself to fall into a coma to escape his daily depression and stress. A year later, he has willed himself out of his coma, and he tries to get back to his life in high school, including getting back together with his band Sloth, which is made up of Miguel, his girlfriend Lita, and his best friend Romeo. Miguel’s return to regular life starts out fine, especially with the care of his loving grandparents and a lot of lost time to make up for with Lita, but soon the reality of his life starts sinking in again, as he meets up with his incarcerated drug-dealing father and Miguel starts wondering what really happened to his mother when she disappeared all those years ago.

Then we find out that while Miguel’s been “away,” Lita has become obsessed with urban legends, and one night the three friends go out to investigate one in particular. The Goatman is a creature who lives in the lemon orchards just outside town — the orchards that Miguel believes his mother is buried in — and if anyone catches a glimpse of him, they change places, with the Goatman taking over that person’s life. After Miguel, Lita, and Romeo return from the orchard, Miguel’s dreams get more intense, and life in the suburban town gets more bizarre.

Sloth is a fascinating examination of identity and relationships, and how the horror of the everyday can spill over into the horror of a different, more shadowy kind. It’s not a brutal or terrifying book; more moody and introspective, and it hit me right in the sweet spot. If you thought that Dawson’s Creek would have been better if it were more like Twin Peaks, or had never thought that until this moment and now can’t get the idea out of your head, then I recommend checking out Sloth as soon as possible.

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It hasn’t been all mysterious suburban dread this week, though; as promised, I have more Canuck rock and comic books to talk about.

Music: After seeing Sloan live in concert for what is probably the seventh or eighth time, I came home with their new album Commonwealth. It’s an odd record for Sloan, as it’s an exercise in isolation — the concept for  Commonwealth is that it’s a double LP, with each side highlighting the songwriting of a different member. It makes for an interesting listening experiment, as instead of moving through the different moods and tones that each member brings to the group, there is a solid 15 to 20 minutes of each member’s personality, in a row. It’s not going to convert anyone who’s not already a Sloan fan — though I have other albums that might serve that purpose — but there are some really good numbers, including Patrick Pentland’s “13 (Under A Bad Sign)” and Chris Murphy’s “Carried Away.” And Andrew Scott’s side is an 18-minute odyssey called “Forty-Eight Portraits,” which has to be heard to be truly understood.

Comics: Anyone who isn’t reading The Wicked + The Divine should really think hard about what they want in a comic book. It’s got gorgeous figure art, breathtaking colours, clever one-liners, effective and sharp characterization, a fantastic sense of design, and a mystery that keeps getting more intense with each passing issue. This is the story of 12 gods who come down to Earth every 90 years, and as this incarnation takes place in 2014, of course the gods are internationally famous pop stars. The Wicked + The Divine could be seen as just a book for young people who are in love with the gods of celebrity, but it’s so much bigger and more all-encompassing than that. It is my favourite comic book currently being published, and Kieron Gillen, Jamie McKelvie, and Matt Wilson are doing some of the best work of their careers. The worst thing about the book is that the team is only five issues in — I want it all and I want it now, and being forced to wait for another installment is a sweet kind of torture.

Music: The new Rural Alberta Advantage album, Mended With Gold, is a strange one for me. It hasn’t grabbed me from the first listen like Hometowns, nor am I wallowing in non-stop re-listens like I did with Departing. It’s taking a slow hold of me, with a new appreciation of a different song every time I go back to it. One song, however, had me from the first listen: the rocking “Terrified” is a tribute to the power of love and fear — or is it love as fear? — and the little bit of a snarl at its core makes me love it that much more. Paul Banwatt’s drums go from frenetic to subdued and back again, and I could sing along to the soaring “oh”s on the chorus for hours. The RAA might not be the most musically adventurous band, but their delivery and enthusiasm more than make up for it, and “Terrified” is a perfect example of them at their best.

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That’s all or me this time around. Until next time, embrace the teen angst within you and listen to some sweet Canadian rock music. It’s good for the soul. I’ll see you in seven days.

Elsewhere: The Fantastic Four Are Definitely Going Away Forever. Yep. Forever and Ever.

Fantastic Four by Mark Waid and Mike Wieringo

First, the fact that they’re calling the “final” arc Fantastic Fourever is both wonderful and horrible, and I’m pretty sure the autocorrect on this computer will prevent me from ever properly reporting on this fact without meticulous care.

Second: when the rumours about the team’s demise first started floating around the internet, I wrote a piece about it over at Comics Beat, which still applies. An excerpt:

… if Marvel is going to take the Fantastic Four off the publishing schedule for a while, you can be sure it has nothing to do with the status of the team’s life in movies – or if it does, the team’s out-of-house status means Marvel actually has the luxury of putting the team’s book on hold. Stick with me here.

That’s the thesis. The story’s a few months old, but all the points still stand, and giving it a read will add context to this whole ordeal. Suffice to say, the cancellation is probably the best thing to happen to the team in a long time.

This Column Has Seven Days #028 // Doom Trombone

This Column Has Seven Days

 This week I have prepared four short reviews because I took three days to fully recuperate from the bicycle pub crawl I went on this weekend. For those of you thinking about doing a bicycle pub crawl, my advice is to definitely do it, unless you haven’t been on a bike in almost 15 years, in which case definitely do it but maybe wait until a long weekend so there’s extra recovery time. And while you’re recovering (SEGUE!) you could do worse than to entertain yourself with one of these selections.

This Column Has Seven Days #027 // Poor, Unfortunate Souls

This Column Has Seven Days

It’s autumn! Beautiful, blessed autumn. I am pleased as pumpkin pie, a treat that I will soon be enjoying because it is traditionally eaten in the fall and did I mention that it is autumn?

Ahem. I feel that I have been overwhelmed by my exuberance. It’s just the change in the air that does it to me. Or maybe it’s because I read a truly beautiful comic book this past week. Possibly both.

This Column Has Seven Days #026 // “Chefs Do That”

This Column Has Seven Days

This week I subjected myself to a number of things that ended up being tolerable at best and disappointing at worst. I was honestly thinking I wasn’t going to have anything to write about this week. And then I remembered: there was one truly fantastic treasure from last week that I would be a fool not to rant and rave about.

This Column Has Seven Days #025 // Turn On Your Magic Beam

This Column Has Seven Days

This past weekend I finished an exhaustive re-cataloguing of my book collections after my original web-based system went kaput earlier this year.

(Yes. I have an extensive cataloguing and rating method for my pop culture reserves. You don’t cram a house’s worth of books, albums, comics and movies into a one-bedroom apartment without a system.)

At the end of it, I found myself with a lot of books that I’d read but hadn’t rated, which means — joy of joys! — that I have some targeted comics and prose re-reading ahead of me over the next year or so. Some of those re-reads will likely be making appearances in this column. Like, for instance, this one right here.

Sandman Mystery Theatre, Volume One: The Tarantula

Sandman-Mystery-Theatre-Volume-1-The-Tarantula

I have a soft spot for the Golden Age heroes of the Justice Society of America. The original Flash and Green Lantern, Hourman, Starman, Doctor Fate, and of course, Wildcat: there’s something about the old guard of DC’s superheroes that strikes a chord in me. As much as I like the characters, though, I don’t generally like the Golden Age comics they appeared in. Rather, I like the stories that more modern writers have told about them. Much like their contemporaries Superman or Batman, the original JSA character concepts have a resonance that generally outshines the books in which they first appeared, and a talented creator can see that resonance 50 or more years later and make something wonderful with it.

In 1993, Matt Wagner and Guy Davis did just that with Sandman Mystery Theatre. Set in the 1930s, it stars the Golden Age Sandman, Wesley Dodds, as he investigates crimes in a very realistic New York City. Wagner and Davis eschew a lot of the historical comic book trappings, toning down the traditional vibrancy literally and figuratively to make The Sandman more of a pulp character along the lines of The Shadow or The Green Hornet. This Sandman isn’t a square jaw in a bright green suit and purple cape; he’s a slightly pudgy man in a much more drab suit and overcoat. He still wears a gas mask, though. Not only does it come in handy when one is in the habit of toting a gas gun, it’s a great way to conceal one’s identity.

In The Tarantula, Wesley Dodds is caught up in the investigation of a series of kidnappings of young women on the streets of New York, all committed by the eponymous Tarantula. In the course of Dodds’ investigations he uses his Sandman identity to get information through less-than-legal methods, but as the wealthy Wesley Dodds, he also gets information through a variety of high-society contacts, including District Attorney Larry Belmont. It’s during one of those meetings that he meets the D.A.’s daughter, Dian Belmont, a smart and determined young woman stifled by the atmosphere of the 1930s. Though Wesley and Dian don’t end up as partners, romantic or otherwise, by the last page of this first volume, it’s nice to see the two of them at the beginning of their relationship. The way Wagner writes their interactions reminds me of The Shadow’s Lamont Cranston and Margo Lane, or The Thin Man’s Nick and Nora Charles, except in this story the man and the woman are on much more equal footing.

Any book published under the Vertigo imprint generally implies that it’s for “Mature Readers,” and Sandman Mystery Theatre is no exception. There are all manner of dark goings-on in the first four issues of this series, which is a huge strength. The tone of the story feels very much like a Dashiell Hammett or Raymond Chandler novel, which is a perfect setting for this Sandman. In the shadowy world of New York City after the end of Prohibition but before the start of World War II, ambiguity and moral relativism run rampant. Most of the characters in The Tarantula walk some line between right and wrong, including Wesley; dressing up like a vigilante and attacking people with sleeping gas is, at the very least, a questionable way of going about one’s business. It’s nice, though, to see The Sandman solving crimes using his brain more often than his brawn. In Sandman Mystery Theatre, he’s one part Sam Spade, one part Batman.

The art by Guy Davis and colourist David Hornung is very strong. Davis hardly alters his line at all, often using line shading and cross-hatching to indicate shadows where other artists would bring out the big ink brush. It’s a bold choice to use that style in what could read like a noir book with heaps of shadows, but for this story and this character it works. It almost reminds me of engraving or woodcut art, in a way. Hornung’s colour palette is pale without being bland, as he knows when to use a splash of pink or lavender or fern green to add a little sparkle to the page.

I liked The Tarantula much more on second reading than I remember liking it the first. If the only thing you think of when you hear the name “The Sandman” is the Neil Gaiman series or the guy with the black-and-green-striped shirt, then I highly recommend this book as a first introduction to the character.

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I’ve done more than just dabble in Golden Age reboots this week, though. Here’s a sampling of what else I’ve enjoyed over the past seven days.

Comics: This week I got three-quarters of the way through my copy of All-Star Comics Archives: Volume One. Although I’ve already said that I am not the biggest fan of most Golden Age superhero comics, reading them more for historical reasons than aesthetic ones, I have really been enjoying the work of a couple of the artists in the collection. Howard Sherman’s Dr. Fate strips are a little staid in their presentation but the cartooning is sometimes so good they remind me of Jack Cole, especially in some characters’ faces. Sheldon Moldoff’s Hawkman strips, though, are dynamite, definitely influenced by (or ripping off) Alex Raymond — Moldoff does amazing stuff with figures, shadow and action, and even experiments very effectively with page layouts. In what is otherwise a generally mediocre book, the works of Sherman and Moldoff shine out like diamonds.

Music: I’m going to embrace my inner 13-year-old boy and proclaim that yes, I bought “Weird Al” Yankovic’s final studio album, Mandatory Fun, and I am glad I did. Sure, the parodies may be a little too mainstream for this old man to immediately identify (apparently there is a real band called Imagine Dragons?), but the highlight of the album is the original song “First World Problems,” which sounds more like a Pixies song than anything off Indie Cindy. I don’t care that “First World Problems” is supposed to be a comedy song — it rocks like an Earth 2 version of “Debaser” and that’s good enough for me.

Movies: The fluffy romantic comedy For Love or Money is an easy sell for me, as I am a fan of the great Kirk Douglas. He’s known for his dramatic chops but this rare opportunity to see him do light comedy is a real treat; he manages to contort his handsome mug into some surprisingly comic facial expressions, and his delivery of the admittedly slight dialogue is always on-point. The film is supposed to be a satire of some of the follies of 1960s life (fitness crazes, modern art, psychologically applied advertising) but it’s not hard enough to bite and not clever enough to be really funny. Instead, my enjoyment came from the hoops Douglas’ lawyer character jumps through as he plays matchmaker for three beautiful sisters — Mitzi Gaynor, Leslie Parrish, and a pre-Catwoman Julie Newmar — and the film works best when it tries to be more farce than satire. Watching Douglas and Gaynor slowly fall for each other is worth the price of admission for me; not only are they gifted performers, they’re beautiful human beings who are incredibly easy to look at. For Love or Money is incredibly slight but I was surprised at how much I ended up enjoying it.

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That’s all for me this week. Until next time, try to get a good night’s sleep. I’ll see you in seven days.