Monday, February 20, 2017

What I Bought 2/18/2017 - Part 1

I made a trip to visit Alex over the weekend, and took the opportunity to visit some comic shops up there. And was able to get all 5 of the comics I had missed over the previous two weeks. Hooray!

Cave Carson Has a Cybernetic Eye #5, by Jonathan Rivera and Gerard Way (writers), Michael Avon Oeming (artist), Nick Filardi (colorist), Clem Robins (letterer) - Is Wild Dog demonstrating feet of clay there? Falling apart under the pressure of the circumstances?

The thing that caused terrifying visions last issue is some sort of demon trapped within a crystal the Muldroog once worshiped, but now try to keep sealed up. The elder Bornstein, the goo monster, is after it, and used initial interactions between his people and the Muldroog to get someone in to try poisoning their water supply, which reduces the resistance he'll face. he was after Chloe because he needs someone with Muldroog blood to open the vault to the Whisperer. Although he captures her grandfather during an assault on the stronghold, so never mind, problem solved. Most of the crew of the Mighty Mole 2 realize this situation is fucked up and defect, but Cave's plan to call Superman flounders on the rocks of Superman not bothering to send Cave a text that he changed his phone number.

Which is hilarious the more I think about it. That Way and Rivera go to the trouble of saying Cave is buddies with Superman, just to have his attempt to call in the Kryptonian cavalry fall flat on its face. On a different note, I appreciated that there isn't some big scene of Cave and his in-laws arguing and being hostile to each other. There's grief, but there's understanding. Mazra was an adult, she made a choice to go with Cave and live on the surface, no point in a lot of anger about it. It's nice to avoid that mess sometimes.

Oeming and Filardi continue to combine for some strong art. The strange masks Bornstein's people are wearing, with the huge ears and the red eyes remind me of something, maybe an old Golden Age hero, but I can't place it. There's a bit at the beginning where Cave, Chloe, and Wild Dog are listening to the story and eating hallucinogenic pudding, and Cave isn't fully affected because the cybernetic eye's perceptions aren't altered. So half of him has this stretched, yellow outline pulling away, and the side with the eye doesn't. I'm a little concerned about Wild Dog. Between the page showing he's reliving the various misfortunes that brought him to this point, and him having cut off the head of one of Bornstein's guys with a large knife, which seems more visceral than simply shooting them. Plus, the background for that panel is an extreme close-up of his face, like his spirit or something is looming out of control. Cave's getting the opportunity to try and deal with his shit, but I'm not sure he isn't messing his friend up worse in the process.

Patsy Walker, aka Hellcat #15, by Kate Leth (writer), Brittney L. Williams (artist), Rachelle Rosenberg (color artist), Clayton Cowles (letterer) - Fire sneezes or no, I think America is going overboard with an entire sink. Think of the security deposits.

Patsy has convinced all her temps to have a multi-holiday party at the office, which is ruined when Patsy's magic sneezes go out of control. She alters people's clothes, summons America Chavez from bed, apparently, brings forth the physical representation of her childhood imaginary tiger friend, and makes Jubilee tiny. Patsy does calm down Mister Sniffles, but her next sneeze makes him a giant, they say bee, but I thought wasp or hornet. The problem is dealt with, but then she makes the entire building vanish. Whoops.

America's jacket being changed to have the Canadian Maple Leaf on it cracked me up. Canada Chavez was a natural joke just sitting there, and Leth and Williams reached out and took it. Bravo. And this is a great issue for Williams to draw various horrified or stunned faces. Sharon's reaction to a giant bug smashing through the door. Or everyone else's reactions when Mister Sniffles was turned into a giant bug (scowly pink cloud Jubilee is great). Patsy's various looks of illness-induced dementia. I wonder if she's loaded up on various medicines or what. Being sick just makes me grumpy, in addition to being tired.

I have to assume they'll call in Dr. Strange to try and deal with this. I guess they could call someone else, but Stephen and Patsy are old friends, so why not contact him? I'm not sure how he fixes it, but it involves magic, and based on some of what was discussed in the issue about Patsy spending time in Bailey's bag while wounded, it's an illness. So magic illness, who do you call other than Dr. Strange?

On another note, I just noticed Ian is entirely absent from the episode. Maybe he wasn't in a party mood, or he and Tom needed some time. But I was a little surprised. You get used to a supporting character just always being there.

Sunday, February 19, 2017

Foyle's War 7.2 - The Cage

Plot: A woman, who we'll learn is Evelyn Greene, receives a call at home and vanishes out the door within minutes, no word of explanation or good-bye to her soon-to-be-bewildered husband. Elsewhere, a man we'll learn is known as Palenko reaches a hospital, bleeding from severe wounds. He dies before Dr. Ross can help him, uttering only the phrase "ten-eye". Ross, however, suspects he saw someone lurking outside.

Back at MI5, the new boss is settling in. Not Miss Pierce, but Sir Alec, and he's most concerned with the three Russian defectors who have been garroted in British safe houses recently. Foyle was busy interviewing possible recruits, and had found a promising candidate in Daniel Willis, formerly of Special Operations Executive, but Valentine nixes him. Foyle works his way around to the hospital to speak with Dr. Ross, and they discover the remains of a tattoo on Palenko, the NKVD insignia. Sir Alec leaps to the conclusion he was the mystery garroter, Foyle is not so sure. He speaks to Evelyn's husband, who mentions he tried calling her sister (their parents are dead), to no avail, and that Evelyn was a Communist sympathizer in college. Then Dr. Ross calls, asking Foyle to visit his home tomorrow morning. When Foyle arrives, he finds the doctor shot in his study, to the surprise and sorrow of the doctor's wife.

Intertwined with all this is that Sam has begun working at MI5, and is trying to find her footing. She quickly gets in deep by nosing in a file she's delivering to Valentine on Evelyn Green, who Valentine has heard turned up in East Berlin. She also overhears Valentine telling Charlotte, head of the research section, to keep him informed on what Foyle is up to. All of this is very interesting to Sam because, while Adam was going door-to-door, canvasing support for his election bid, he met an elderly woman living in the bombed-out remains of her home. And this poor woman's daughter had gone missing three days hence. The girl's name is Evelyn Greene. And then Sam tells Adam what she learned, which was not very wise. But then they both tell Foyle, which was a bit smarter.

Foyle has meanwhile learned that Dr. Ross was called out to the scene of an auto accident the day before his murder, at an Army installation called Barton Hall. Foyle is initially rebuffed in his efforts to get in, but manages it eventually. Lt. Col. Galt and Major McDonald lead him around, showing him how they're installation is just to listen to and transcribe Soviet radio traffic, then send it on to code-breakers. And that's all. Which doesn't explain the bars on the inside of the basement windows, or how the listening room which is supposedly always staffed, was empty five minutes after Foyle got walked through. Or why Sam found the bow from a woman's shoe in a place noticeably lacking in women.

And that's why Foyle contacts Daniel Willis, and asks him to break into Barton Hall, and rescue Evelyn Greene. The one whose mother is still alive, as opposed to the actual Russian spy, who was magically alerted the authorities were on to her, and was then somehow able to make it to East Berlin. Which still leaves the "who", and the "why" of that, plus the reason for the murder of Dr. Ross.

Quote of the Episode: Sir Alec - 'Unusual background for intelligence - police.'

Does Foyle go fishing? No. I fear he won't be granted much time for it either, with all this espionage.

Things Sam can do: Snoop in files. Tell her husband top secret information. Those are really more things she shouldn't do, though. She can type 20 words per minute. Cripes that's bad. I know she's using a typewriter, but that can't slow things down that much can it?

Other:  Spoilers of some sorts.

Michael Kitchen looks even mour dour in the new opening than he did in the old one.

I suppose I should feel bad for Miss Pierce. I imagine she expected she would succeed Chambers after his ousting, only to be left playing second banana to another puffed-up white man. On the other hand, she's been involved in so much devious, morally questionable shit that keeps harming innocent people, I kind of think she deserves it.

Of course, it could be she doesn't want the big chair. It lets her move about in the shadows, and puts somebody else's neck on the chopping block. If she can manipulate them as she likes, great. If they get in her way, she can deal with them like she did Chambers, and take her chances with the next guy.

We're two episode into this season, and I've yet to see anything out of Valentine that suggests he's of any use whatsoever. The man is a putz, and what's worse, he's a putz who thinks he's hot stuff, the worst kind of putz to have to work with (great to work against, though). Also, whenever I look at Tim McMullan (who's playing Valentine), I think that if he'd been an actor in the '30s or '40s, they'd have pegged him to play Charlie Chan. You know how they would give some white guy that role, Werner Orland or whoever, and add tape at the edge of his eyes to stretch the skin because they thought that made him look Chinese or some shit. McMullan seems to have that naturally, just very squinty, narrow eyes. Although he was in The Fifth Element!

I think the implication is Galt took the pistol and shot McDonald, although I'd have much preferred McDonald's final act to be to at least kill one person worth killing. I doubt Foyle would have walked away if he expected McDonald to kill Galt, and McDonald was boned anyway.

I chuckled at Foyle briefly chiding Sam for sharing top secret information she wasn't supposed to be looking at, anyway, then asking her what else she learned. He doesn't really care. As he observed in last week's episode, MI5 doesn't seem to have any regard for the law. Why should he worry about their rules? Just remind Sam there's a risk, and go from there.

Dr. Ross dies fairly early in the episode, but there's a subplot running forward from that about Katrin, his wife. Or once wife, now fiance. It's pretty depressing. They met and were married in Germany, then forced to divorce, and she lost her license to practice medicine. Because she was Jewish. Ross wrote some pieces against the Nazis that got him booted. She was stuck in Germany, and survived the concentration camps. Now she makes it to England, they're going to be remarried, and he gets murdered. She's going to get kicked out of England, but her family in Germany are all dead, and there are other people living in her home. It looks as though Foyle can pull some strings to help her remain in England, but that's going to be of limited comfort.

There's a lot of people not being able to go back to where they were before the war in this episode. Katrin, Palenko, who most likely just doesn't want to go back to the Soviet Union. Evelyn's mother, living in the remains of her home, waiting for her turn to get a new one, at which she'll probably never be back to this one. Maybe even McDonald, who seems to want to recapture something from earlier days. Adam and his campaign manager, Glenvil, have a disagreement about how to engage voters. Glenvil thinks they should try to invoke wartime spirit, Adam and Sam disagree, arguing they need to be looking toward the future. That they can't go back to how it was before the war, and that people don't want to. Some might quibble with the second part, but the first is correct. Things are different, and going back isn't an option.

The shift towards more espionage has brought an uptick in the action component. Willis' infiltration of Barton Hall was pretty cool. Since Sir Alec suggested to Foyle they should get Willis to apply, perhaps we'll see him next season.

Adam Wainwright may never have been able to win a Cy Young Award, but at least he's won a seat in Parliament. That's something, I guess.

Friday, February 17, 2017

What I Bought 2/15/2017

The last two weeks I've had 9 comics come out, and only been able to find 4 of them thus far. Very frustrating.

The Unbelievable Gwenpool #12, by Christopher Hastings (writer), Gurihiru (artists), Clayton Cowles (letterer) - Boy Gwen, I bet you wish you were a hero now. Give you much better odds against Arcade.

Gwen wakes up in a strange castle, with no memory of how she got there. Fortunately, her old merc crew is there as well, to help battle through this dungeon. Gwen quickly surmises that's it's like a game, with traps and tricks to get around battles, strange old men who sell weapons in the middle of places no one would have a shop, and repeated warnings of an "unkillable, talking beast". While you can no doubt guess who created this deadly environment based on amusements because he's on the cover, can you guess who the unkillable beast is?

C'mon, it's someone who likes Death, can't die, and never shuts up. Yes, next issue Gwen, Batroc, and Co will somehow defeat Thanos! I wish. Thanos would be so humiliated he might actually stay dead. Jim Starlin would cause a time paradox by writing a comic declaring it was not really Thanos so fast, it would have been released last month. No, it's actually another character.

Anyway, Arcade! This blog is staunchly pro-Arcade, and I like the idea here that Arcade has decided to try his hand at killing mercenaries rather than heroes. Gwen would obviously know Arcade's poor track record at killing good guys (though he maintains his impeccable success rate capturing targets). Which would in theory give her a big edge. But she, Batroc, and our special guest star aren't good guys, so the rules quite possibly don't apply to them (although they will almost certainly escape).

Also, I enjoy how weary her friends have gotten of Gwen insisting their world is a comic book. Someone doing crazy stuff that they involve you in because they are sure your world isn't real and operates on a specific set of rules they claim to understand, that could get old fast. Beyond making them question their existence, it's watching a person constantly succeed despite no discernible talent or intelligence, just stupid luck they insist is knowledge. But there's no arguing with results, I guess, so Trust the Process.

I like the little scarf Batroc is sporting. It's stylish, and it's something to flutter when he leaps around kicking things. Also, Arcade's long hair works better with the Gurihiru art team than it has with almost any other artist I've seen. It makes him look like one of those pretty-boy manga characters, and he's being drawn in a style that more closely matches that. And the design for the way Arcade initially tries to present himself, as the burning, enormous shadow, is very cool. It actually disappoints me a bit Gwen no-sells it so completely. Come on, points for effort at least, Gwen! I am curious why Gwen has this constant pink tinge on her mask across the bridge of her nose. It isn't there in the first couple of panels she appears in, but it is after that. I'm used to that being shorthand for being tipsy, but I'm certain that isn't the case here, so who knows.

Thursday, February 16, 2017

Always About Appearances

I can't recall discussing The Tin Star previously, although it seems I should have at some point. I haven't watched it in a few months, but I'd seen it several times prior to that.

In general terms, Ben Owens (Anthony Perkins a few years away from playing Norman Bates) is the new sheriff of a small town, still struggling to figure out how to do it, but driven by a belief in serving the community to try. Morg Hickman (Henry Fonda) is a bounty hunter who brings his most recent bounty to their town, dead. He receives a chilly reception, which doesn't bother him much. See, he was a sheriff once, until he lost his family and decided the life wasn't worth it.

Still, he needs Perkins to stay alive until he can get authorization to pay the bounty, so he steps in at one point when perkins has to confront the the local drunk bully Bogardus for murdering another man. At which point Perkins begins trying to learn about being a sheriff, and Fonda reluctantly teaches him. Things kind of spiral from there, as a couple of brothers (one played by Lee van Cleef) kill the beloved town doctor, and Ben quickly loses control of the posse to Bogardus. There's a whole big confrontation to be had there, and Morg has to decide what he wants to do.

That's not really what I'm interested in. What's curious to me is the attitude of the townsfolk. They picked Ben for sheriff, or he volunteered, because there was no one else. Well, Bogardus wanted it, but as Morg notes, Bogardus just wanted a license to kill. And the townsfolk want prisoners brought in alive (so they can kill them after a trial and the joys of jail chow).

So they've got Ben. Upright, pliable Ben. Ben has no actual idea what he's doing. He doesn't know how to handle drunks, or when to use his guns or not, or that he can't get bogged down with macho posturing. Here's Morg, who was a sheriff for years, who survived the profession, and is willing to educate him. Probably because it's just too painful to watch the hapless dope flail about in the dark. And none of the townspeople are helping. He has no deputies, and all the support he gets is a bunch of platitudes from Doc McCord about how some people walk through the briars picking flowers for others. So helpful.

Of course, even the platitudes run out once he starts spending time with Morg. Quickly he's told that the "leading" townsfolk aren't encouraged by him hanging out with this killer. When he tries explaining to McCord that Morgan was a former sheriff, McCord laughs at him like he's a silly child. He tells Ben his one failing is being too trusting, a little naive. But that's why they wanted him, because he'd do what they wanted. They told him he could do this, and it needed doing, and he went along with it like a schmuck. And if he kept going the way he was, they'd have needed another sheriff shortly. So he tries to get some training, to do the job they picked him for properly, and now they've got concerns.

It's just kind of interesting, that the doctor, the mayor/banker, whatever, are more concerned with having a manipulable incompetent than someone who can do the job, but might not always do exactly what they want. They figured he was a decent person, are they really afraid picking up a few tips from the bounty hunter will turn him into Dirty Harry? That he's somehow going to become worse than Bogardus? It's more about maintaining the appearance everything is nice and normal, rather than actually having someone who can protect the populace

Wednesday, February 15, 2017

Bandette Volume 3 - The House of the Green Mask

This collection came out last fall, and normally I immediately jump on Bandette collections, but I was preoccupied. Job, moving, the complete collapse of all hope in decency, the usual shit. But now I have it, hooray! (Before we start, I want to say the colors in the book look much better than they will here. I took the pictures without using the flash, so as to avoid the glare that so often mars the pictures I use here, but the counter to that is how dark the pictures are)

In Volume 3, a mysterious criminal known only as The Voice is abducting people to interrogate them about a House of the Green Mask. One of the people abducted is Daniel, the delivery boy who is one of Bandette's associates (and completely smitten with her). So Bandette sets out to find and rescue Daniel, by drawing in basically everyone she can. Her friends, the police, various politicians and socialites, dogs. She does find him, they rescue the others, we are given a tantalizing hint towards Bandette's backstory, and the Voice is now a potential threat (and source of creative henchmen) going forward, with Absinthe being taken off the board in Volume 2.

But with Bandette, it's less about the plot, and more about how Bandette moves through it, her reactions, the jokes. So there's an extended sequence where she's trailing The Voice across town through a parade, with the aid of her various Urchins. This is played out over several nine-panel grid pages of Bandette in pursuit of his black car, checking in with her friends via walkie-talkie, while sporting a different disguise in each panel. In one, it's Lincoln's hat and beard. In the next, she's dressed like the Man with No Name. And she's wearing this over her usual outfit, while claiming to be in perfect disguise.

Or Le Monsieur, the only possible challenger to Bandette's title as World's Greatest Thief, thinks he's on the trail of the Green Mask, after watching a film about Madame Presto (which Bandette stole and screened for her friends). And that doesn't go how anyone might expect, either.

Paul Tobin's writing is light, and funny, both in terms of sight gags which Colleen Coover ably draws, and some well-delivered lines (which are also aided by Coover's illustrations). Bandette re-positioning a pigeon while telling it that it is interfering with the drama. Tobin's able to write so that, even when Bandette is being serious - for example, when she's advancing on Dart Petite and mentioning how they're going to discuss how Dart harmed 'her Daniel' - the voice is still recognizably her. It felt silly, but also perfectly in character for Bandette to call up her friend in the police, Heloise, simply to tell her she was stomping, then hang up. That should seem stupid or pointless, but the creative team sells it, so it's cute? Charming?

As mentioned above, Coover uses a lot of nine-panel grids, which allows for a deliberate pacing. Jokes can be drawn out over 3 or 6 panels. We can see a sequence, be it a chase, a fight, or simply a conversation with a flow to it. Things don't seem rushed or crammed together. Coover knows what information needs to be in each panel, and doesn't waste space on stuff that doesn't need to be there. Which is kind of key when working with nine panels, since they isn't going to be much room in each one.

Also, Bandette almost seems to use the pacing of the grids as a chance to disappear at the top of the page, then reappear at the bottom. What I mean is, Bandette likes to surprise people, appearing suddenly behind or above them, seemingly from nowhere. But between where she was and where she ends up, we were following someone else across and down the page at the steady pace of the grid. Like in the page above, where we see her in the upper right corner, then we follow Daniel methodically to the right and down, only to be met by Bandette, who has taken some more direct route. But of course a thief would have no time for for the normal narrative flow of the page, and cut simply to the part she enjoys.

As with the previous two volumes, I highly recommend The House of the Green Mask.

Tuesday, February 14, 2017

The Ultimate Cardinals' Record Book - Dan Moore

I asked for this for Christmas because I enjoyed Moore's work when he wrote for the Viva El Birdos website, so I figured I'd enjoy this. A choice based on writing style, more than any specific need for the book.

My dad opined it's fairly small for an "ultimate" record book, which is fair, but Moore's approach is to look at a general area of statistics, say single-season hitting records, and then pick a particular record and player, and discuss those in depth. So he spends a chapter discussing Mark McGwire hitting 70 home runs, or talking about the double-header where Stan Musial hit 5 home runs. Or Bob Forsch somehow managing to throw two no-hitters, despite generally striking out no one.

Interspersed in each chapter are small sections about other Cardinals' notable for one reason or another. Like Vince Coleman, who had one tool as a ballplayer - he was really fast - and used that to steal over 100 bases each of his first three years in the league, playing under Whitey Herzog. Or a section on Jim Bottomley, who was a great hitting first baseman on the Cardinals' teams of the 1920s (when the franchise first managed to actually be good after 25 years of flailing about).

Moore's style is easy to read, and he reined in the literary metaphors and references I was used to from his online writing*. Which was disappointing for me, personally, but understandable, and probably a smart choice in the larger picture. People are going to have certain expectations for a book about baseball team records. And Moore still seems to be having fun with it.

He worked in a sub-section about Ray Lankford, who I think is Moore's favorite player, and is underappreciated by Cardinals' fans, since his best years were wasted on mostly mediocre teams. I keep expecting him to get elected to the Cardinals' Hall of Fame in these games my dad and I attend, but I don't think he's even been listed as an option to vote for yet. I mean, Lankford is Top 5 in home runs for the franchise, ahead of even McGwire, he at least needs to be getting listed as a candidate.

'The no-hitter was impressive enough, but the story got more improbable still 10 days later when Jimenez beat the eventual Cy Young winner 1-0 again, blanking the Diamondbacks with a two-hitter. That year saw Jimenez post a 0.00 ERA against Randy Johnson and a 6.58 ERA against everyone else.'

* Moore wrote a post once about Skip Schumaker moving to second base, as some kind of Shakespearean play. Which didn't serve to make me any more enthusiastic about the Cards trying that, but was still a solid piece of writing.

Monday, February 13, 2017

What I Bought 2/8/2017 - Part 2

Might as well cover the other comic I have at the moment. On another note, John Wick was on Syfy for some reason, and I notice they got their commercial break out of the way before the big nightclub fight scene that I love so very, very much. Thumbs up.

Ms. Marvel #15, by G. Willow Wilson (writer), Takeshi Miyazawa (artist), Ian Herring (color artist), Joe Caramagna (letterer) - Oh no fair, she can block the axes? Dang it Mario, why couldn't you be more like Kamala Khan?

Kamala is doing her best to try and track down this mysterious hacker who has figured out her identity. She thought she'd managed, even defeated the surprisingly powerful foe at a construction site, but immediately after losing, the apparent villain became very confused. Because Kamala is actually up against a self-aware program, one that can control people as well as machines. It's goals are unclear at the moment, maybe even to itself, except that it enjoys attention. The only way something with no corporeal form can feel like it has a real presence?

I'm not sure about the virus' assessment of the situation. He says she froze because he knows her secret, but she was at that construction site because she thought she'd tracked him down. She was in the "fight" half of "fight or flight" But was that because she thought she'd figured out his secret and restored equilibrium? I'm wondering if this is going to be the point when she reveals her identity to everybody, as a way to unmake the sword dangling over her head. She's seemingly lost Bruno because of Ms. Marvel - she was the one Danvers entrusted with this predictive justice thing, which is why they put a detention center there, which is how Bruno got hurt - and it's hard telling how the rest of her friends and family are going to react if the secret is blown. Nakia being extremely pissed would seem a certainty, probably Mike as well. She's possibly as scared of that as the whole "villains know where my loved ones are" (which, considering HYDRA Cap probably knows her secret i.d., is too little too late. Man I'm sick of HYDRA Cap being a thing that exists).

Miyazawa draws a pretty good "kicked in the stomach" face. I'm surprised Kamala is still carrying a bag with Carol Danvers' old logo on it. I know Kamala has kind of appropriated the logo, but I expected her fandom to have cooled. I like the shade of red Herring's using in this arc. He probably uses it a lot and I don't notice, but it's working real well here. He shades it towards purple in the lower half of a couple of panels during the big fight, down towards where the violence is taking place. In the panels where the virus is talking that he uses it, it's either all red, or it goes to black at the top of the panel. For the latter one, it's when it begins to dawn on Kamala she's got no clue how to deal with this threat. Either way, the red's a real attention-getter, although I feel almost feel like it's cribbing of the whole "red skies" thing DC uses for various Crises. But it could just as easily be the skies afire, or the onrushing twilight, or just red as in an alarm going off.

Sunday, February 12, 2017

Foyle's War 7.1 - The Eternity Ring

Plot: In the summer of 1945, scientists Max Hoffman, Helen and  Fraser meet in New Mexico to observe an A-bomb test. A year later, a man named Gorin successfully steals files from the Soviet Embassy in London. Files which detail a group of Soviet spies called the Eternity Ring. One British Intelligence knows nothing about.

Foyle returns to England in the summer of 1946. He gets to converse briefly with an old constable of his, Frank Shaw, finally back in England after spending years in a Japanese P.O.W. camp, before being pulled aside by Adam Valentine of the Security Service. Seems the FBI wants Foyle back for questioning about the suicide of Howard Paige, and the British will send him back unless he helps Valentine's boss William Chambers root out this Eternity Ring. And Foyle has another reason to get involved. While he may not know Professor Fraser, who is suspected of giving secrets to a Marc Vlessing, Foyle does know the woman who serves as Fraser's secretary and is photographed delivering the envelope: Samantha Wainwright.

So Foyle, over Miss Pierce's (Chambers' second-in-command) objections, and Valentine's condescension, sets to work. He quickly determines Sam is troubled by something, and that Professor Fraser hates Communists. He also sees that Helen Fraser is not in good health (which is why Sam was hired, as Helen Fraser was a nuclear scientist of some regard before her health failed), and Max Hoffman was meeting a mysterious person in the street. With the help of some police, Foyle locates Vlessing, but when they try to apprehend him, he's been forewarned by a voice over the phone, and while fleeing, he's hit by a car. He survives, but is shortly thereafter dispatched with a hypodermic after his guards mysteriously depart at a seemingly prearranged time.

By this time Hoffman has somehow learned Foyle is working for MI5 and warned Fraser, who then fires Sam. So Sam confronts Foyle, who explains himself, and the two set about trying to piece this together. And promptly get themselves irradiated snooping in Vlessing's apartment. Which makes Sam late for Adam's meeting to see if he'll represent the Labour Party in the West Peckham election, but she arrives in time to make a passionate speech and give him the win. By this point, Foyle has basically pieced together the truth of the Eternity Ring, and what it's purpose is, and also whether Professor Fraser is innocent or not.

In the other subplot, Frank struggles to adjust to life at home not being at all like it was when he left. Wife working, son working, can't get a job with the London police. He doesn't drunkenly beat the shit out of Valentine, though, which I appreciated, even if it was for the wrong reasons.

Quote of the Episode: Valentine - 'This isn't about bodies in the library or stolen petrol coupons or whatever you got up to in Hastings. It's called tradecraft. It's a different world.'

Does Foyle go fishing? I imagine he would have if he hadn't been intercepted.

Things Sam can do: Improve her typing. Make a speech when it really counts. Lie off the cuff (unrelated to the previous note). Still has trouble hanging onto a job.

Other: Spoilers for various revelations in the episode below.

So Frank's son John was working in a bar for gay men, or at least one where they're welcome, which Valentine frequents. He also, unfortunately, happened to be the first guy to leave after Frank came stumbling up there, all distraught about what he thinks his son is up to. Which is not really why I wanted to see Valentine get his ass beat.

His constant sneering condescension towards Foyle, that's why I wanted to see him get curbstomped. He keeps making those remarks to Foyle about him being out of his depth, and never seems to remember that Foyle doesn't want to be there, is only there because Valentine's superiors are forcing him to, between the dual threat of handing him over to that piece of shit J. Edgar Hoover and Sam being declared a traitor. They explicitly remind Foyle that he knows what happens to traitors, and so do we after last week's episode. So quite why Valentine feels the need to antagonize Foyle, I don't know, but it doesn't make me sorry to see him in the hospital.

The look Foyle gives Valentine when Vlessing gets hit by the car did a lot to tide me over until the actual beating. The side-eye is a great combination of exasperation and disgust for the incompetence on display. Plus, I'd imagine a little suspicion that it might not have been an accident.

I had made a note early that Sam's typing skills had improved if she'd finished typing several letters for Professor Fraser. Then he found her while she and Foyle were having lunch to mention she'd need to retype some of them and I had to amend that perhaps the skills hadn't improved that much. Oh well, progress.

I also have another note that is simply "Significant Thermos". I'll leave you to wonder.

So Howard Paige is dead after six months of Foyle hounding him. While I regret not getting to see it, I'm at least pleased to hear about it.

At one point, Fraser and Hoffman are arguing about Stalin and Communism. Hoffman reminds that the Soviets were helping fight the Nazis before the Americans (true). Fraser points out that now Stalin is a monster slaughtering his own people. And I'm left thinking how Stalin never really stopped doing that, before, during, or after the war. He might have slowed his pace, but only when the Nazis were picking up the slack.

It feels as though there's at least somewhat of a shift in Foyle and Sam's relationship. He's still looking out for her, but that's probably never going away. But I appreciate that when she loses her job because of Foyle, she goes to confront him immediately. And that even after he tries to explain, she is still understandably angry at him for not simply being honest with her from the start. And that she basically insists on accompanying him on the next leg of the investigation. She isn't going to sit in the car, she's going where he goes and looking around, and that's that. I think she's had to look after Adam quite a bit over the past year and the realities of that have matured her. Adam's an idealist, and he wants to help people, but he isn't very good at looking after himself.

OK, so the big reveal is that Miss Pierce slipped in a bunch of vague references to a non-existent Eternity Ring as a way to prove Chambers had contact with a Soviet agent. Because who else would Chambers turn to for information on this group when all other avenues failed him? Which gets him ousted as boss. Which does lead to a scene of him ever so carefully wrapping up his pipes as he cleans out his desk, while Pierce shows not the slightest interest in hearing why he did it. Also that she'd hoped he'd be executed, rather than exiled. Jesus, Pierce. But it's that ruthless streak that I assume is how she survived the war and maintained a position of authority, despite being in proximity to more than a couple of screw-ups (see "The French Drop"). She knows how to deflect blame, that's for sure.

Anyway, now she's roped Foyle into sticking around for awhile, despite the fact he knows he can't trust her, and she knows that he's going to bug the crap out of her every time he twigs to her doing something crooked. I can't really tell if she's amused or irritated when he goes on one of his, "I've figured it all out," spiels. I think she kind of enjoys them, from appreciating someone clever, and because Foyle is a little theatrical about it.

Friday, February 10, 2017

What I Bought 2/8/2017 - Part 1

It was going to be a big week in theory, six comics, but I was only able to find three of them. Might as well start with the two first issues of the bunch, although spoiler, neither one knocked my socks off.

Justice League of America #1, by Steve Orlando (writer), Ivan Reis (penciler), Joe Prado and Oclair Albert (inkers), Marcelo Maiolo (colorist), Clayton Cowles (letterer) - If Batman has figured out how to transport people around inside his cape, that would be really handy. Although I weep for the rest of the team being trapped in there with Lobo. The smell cannot be pleasant.

It's a getting the team together issue. One at a time, we see Batman recruit the people he wants, often bringing along the last person he signed up to help convince the next person. Except he sends Black Canary alone (to get Lobo), and Ryan Choi alone (to get the Ray). Curious if that means something. I could see him not going to get Lobo because he figures their personalities will clash, although why recruit someone you know is going to be a problem? But sending someone Ray has never heard of to tell him Batman wants him on a team seems like a bad idea. A suspicious person would suspect a trap. Fortunately, Ray isn't any brighter (heh) in this universe than he was pre-Flashpoint.

There are things here I could see being interesting. The last page preview of what's to come - and what are the odds we ever see that stuff? Those preview pages rarely pay off - suggests Ray and Lobo are continuing their conflict from the earlier universe. But it seems like same old Batman. I feel there's a disconnect between telling Canary he wants someone who speaks her mind to keep them honest, and two panels previous where he dismisses her concerns about Killer Frost with, 'I trust her. That's all you need to know.' What if that isn't all Canary feels she needs to know? Is Batsy going to offer more, or be his usual closed off asshole self? Although he let Lobo put Choi on the team, so I don't know. Mixed signals.

Batman does seem to spend most of the issue scowling and looking unfriendly (except with Vixen), which isn't much of a recruiting pitch. I was hoping, given he's picking his roster, he'd be a little happier about it. Don't love the redesign on Ray's costume. The helmet not going below the tops of the ears around the back, so the white collar of the shirt/tights goes up the back of his head to meet it. Awful. Maybe that call was made independent of Reis, don't know. I tend to like Reis' work fine, and Ray's costume aside, there's nothing wrong with it here, other than his Batman is reminding me of David Finch's artwork, which is not a good thing. I feel like Maiolo could brighten the colors a bit, perhaps, but that's a nitpick. It's pretty easy to follow what's going on in the book, so no complaints there.

But I still don't think I want to read them fighting the Extremists.

Steven Universe #1, by Melanie Gillman (writer), Katy Farina (illustrator), Whitney Cogar (colorist), Mike Fiorentino (letterer) - Oh Steven, are you floating in the depths of space inside a bubble again? Did last time's near-death experience teach you nothing?

Steven's at the barn, showing off some new game on his phone, when they find a baby bird that has fallen from its nest. A nest they can't find. Steven tries following the advice of a doctor at a wildlife rehab center, but despairs of leaving the bird outside in bad weather. So he, Lapis, and Peridot take care of the bird themselves. Eventually it grows big enough, and they release it to find others of its species.

First obvious point: The book is aimed at a much younger audience than my old butt. That's fine, just should have considered that possibility from the start, rather than being all, "Whee, more Steven Universe!". I didn't say "whee", but you get the idea. There's a fair amount of things in here I enjoyed. Lapis being willing to help Steven, both because she considers him a friend, and because he helped her when she was lost and alone. Peridot only really getting into the idea once she realized some baby birds grow up to be big, powerful birds, like eagles. But not realizing that not all baby birds do that. Because gems do work that way. In theory, if you are a Peridot, you look basically like this one. Rubies look mostly alike, Amethysts, and so on. So she figures Birds also work like that.

And there was Steven's moment of terror when he worried they broke the law by deciding to care for the baby themselves. I might honestly expect that more from Connie, but she'd be more worried about germs.

I will say, if you didn't know anything about Steven Universe prior to reading this, I'm not sure you would have any more idea of what it is after. I mean, you can get a fair idea of the three characters' personalities from this, Lapis being a mixture of easygoing and straightforward, Peridot being more manic, but I don't think you'd have any idea what they are, or why they're hanging around this seemingly ordinary young boy. I don't know if that would be a problem if you were considering buying this for yourself or someone else, but I figured it was worth mentioning.

Cogar's colors are very bright, which matches the show, and creates a mostly warm, pleasant feel. Even the scene at night, when Steven is worried about the bird out in the storm, the colors aren't that dark. But they aren't going to leave it out there to fend for itself, so that makes sense. Farina keeps the characters on model, and getting to look at the barn in still images, I got to notice some of the modifications Peridot and Lapis made I never had before. Which isn't a huge deal, but was still nice. The montage of them caring for the bird, showcasing their different methods was a cute sequence.

I think the book did what it set out to do, but it may simply be a case of I'm not the target audience. But I'm game to give it a little longer before I decide. I've given much worse books a much longer leash.

Thursday, February 09, 2017

This Group Will Be In Constant Flux

It's time once again for me to amuse probably only myself with some made up team of fictional characters. This time I went to my list of Playstation 2 games, which was harder than I expected. A lot of licensed games (DBZ, sports games), or games with nameless protagonists (Sky Odyssey), or games with characters that didn't seem suited for this kind of thing.

The Leader: Mitsuru Kirijo (Persona 3) - Let's see, she's smart, is able to call forth a powerful representation of her inner self to unleash various ice attacks, is a skilled swordfighter, and has had to run a company since roughly when she got out of high school after he father was murdered. She spent years fighting an unknown war against monsters that menaced humanity, at times with no more than one or two other people.

She's mostly cool under pressure, but if she gets tripped up, she tends to take it hard and beat herself up over it. And she internalizes all of it, won't let other people help her work through things. She feels a lot of weight as a result of her family name, people watching her, judging her, and that can result in her trying to do too much on her own. Her father would remind her the family motto was something roughly like "strength through unity", basically to remember it was better to work with others, but her default response is to do the opposite. I tend to suspect her father was, intentionally or not, putting a lot of the pressure to be exceptional on her, and so he's kind of sending mixed signals, but that's just one of those things the rest of the team is going to have to cope with. Can they get her to actually let them help?

That said, she's pretty good about looking out for teammates once she has them. And she was willing to step back and let others lead in the field if she thought they were capable. But if she's in charge, she will probably operate as more like a dictator until she trusts this bunch enough to have more respect for their opinions. She can have an air of superiority that's going to irritate someone, at least at first. It's like she's worried about them, because she thinks they don't know what the hell they're doing and need to be looked after, until proven otherwise. It is possible that her experiences over the course of the game have worn that away, and she'll be more open and trusting with people, but I suspect she's still going to try to naturally take the lead.

The Rogue: Gene (God Hand) - Gene's a fairly powerful fighter, especially when he unleashes the God Hand (or Hands if this is after the conclusion of the game). He's not a bully, he believed in standing up for the oppressed even before he got a super-powerful arm, but he can be lazy about it. He'll fight evil when it presents itself, but he's not the type to go looking for trouble, generally. Olivia was usually around to kick him in the butt (or threaten to take back the arm, with an axe), but by the end of the game, she wanted the God Hands back anyway, and Gene refused. So he's going to be spending a lot of time looking over his shoulder as to whether she's catching up. Which means he could leave at pretty much any point.

He's going to frustrate his teammates with his laconic attitude, and he's going to amaze them with the damage he can do once he gets going. He's going to irritate half the team and amuse the other half with various smart ass remarks he'll be making. Actually, looking at this roster, half the team will probably have no idea what he's talking about. But he's going to make fun of the Muscle for being a bit uncouth, he's going to try poking holes in Mitsuru's take-charge personality. It's going to be meant to be taken lightly, so he probably won't spark too much infighting. But Gene is someone used to fighting alone. Whether it was one enemy, or seven, or just wave after wave, he faced them by himself. Operating in a team setting is going to take getting used to, if he sticks around long enough.

The Muscle: Yangus (DragonQuest 8) - Yangus was a bandit king, but left his group and set out on his own, eventually encountering the main character of the game and throwing in with him after being saved from a plunge into a ravine.He's blunt, straightforward, loud, and not terribly book smart. I don't think he's an idiot necessarily; he can be canny in his element, but he wasn't a sneaky bandit, or one who relied much on planning. He jumped out in front of you with an axe, and demanded valuables or else. But maybe that gives him a reputation, or at least an edge, the others don't have. They're either kind of goofy, or not very intimidating at first glance. Yangus has a swagger and approach that might scare people right off, which can be useful.

But if he's thrown in his lot with you, then he's with you all the way, and characters like that are good to have. They can be the butt of the joke that loosens everyone up, or the one who keeps pressing forward and keeps everybody else from surrendering or splitting up. But he's tough, and likes a good brawl, which will come in handy, especially if Gene's unavailable. His style's maybe not as stylish as Mitsuru's, but he's effective, and he knows a little bit of healing magic, which is always a good thing (Mitsuru does as well, for that matter, so it offers the option of either one falling back from the fray to help the others).

The Woman of Mystery: Yorda (Ico) - I had another character in mind here, but I was leaning really heavily on JRPGs, so I wanted to try and go outside that. And Yorda didn't get much focus in Ico, mostly serving as a key to get them to the next area, or someone for Ico to protect/lead around by the wrist. But you could argue that was because she understood what they were up against, the power her mother had at her disposal, and had resigned herself to her fate. But Ico defeated the Queen, and Yorda was able to save him, so fate averted.

Yorda seemed soft-spoken and kind of passive in the game, letting Ico make decisions, give orders, pull her to and fro. Again, maybe because she figured none of it mattered, so why argue about it? This is what her mother made her, so there wouldn't be any resistance when the Queen tried to use Yorda's life to extend her own. So with that fear gone, she could become more demonstrative, more emphatic. But maybe she's comfortable as the quiet type, who watches and learns. If there's really something that needs saying, she'll say it, but she's can enjoy silence, not that there will be much of that. Yangus and Gene alone with fill the air. But Yangus and Mitsuru both worked with people who didn't offer much unless asked (the main characters of their respective games), so I think both of them will encourage her to share her thoughts if she wants.

I'm not sure what her capabilities are. She was able to undo the seals her mother placed on doors. Her mother was able to turn people to stone, summon shadow creatures, and project waves of force, so Yorda could probably manage all that, to certain degrees. It wouldn't surprise if she'd observed her mother very closely all those years, for lack of anything else to do while locked up in a castle. Or we could make unlocking things her specialty. Unlocking doors, unlocking secrets, passwords, whatever. The team doesn't really have a stealth ace, so that would be a workaround. She can't take many hits, but the rest of this team can take a fair amount of punishment.

The Guy with a Boat: Ratchet/Clank (Ratchet and Clank) - We're not gonna take the boat? No Sean Connery as Indy's dad, we can do better than boats. We can get a spaceship. So it's a duo, maybe a cheat, but I wasn't entirely sure either one could handle the spaceship without the other. It's been several years since I played the game, but I feel like Clank served as the onboard computer, but couldn't have actually flown it. So both it is. Consider this my one "exception to the rules" for this team.

That means we've got Science Bros! on the team. Everybody likes Science Bros, right? Ratchet's more of an engineer-type, build you something if you give him time, or take something apart more likely. Clank probably knows more about various scientific disciples. And he's handy for interacting with any computerized security or information systems they might encounter. He's also the best bet they have for stealth, assuming we don't go with my idea about Yorda's power being to unlock things. And that's mostly because he's small, rather than particularly sneaky. Clank may have the same difficulty as Yorda in terms of getting a chance to speak, but assuming Mitsuru or Yangus don't notice, he does have Ratchet to advocate for him. And Ratchet's got a wrench to get people's attention with.

By the end of the first game these two had built a decent level of trust, and stopped an industrialist who was destroying entire planets to build himself a prime piece of real estate. They got to be big public heroes, which isn't something any of the others have much experience with. But they also saw what happened to Captain Quark when he let that go to his head and compromise him as hero. So hopefully they avoid that pitfall. I haven't played any of the other games in the series, so I don't know, I assume they did. If this team ends up in places where no one has ever heard of them, which is likely, that'll help. But the fact these two are already used to working together is going to pay off. Early on, all these teams are going to struggle to know each others abilities, how to play off each other. It's like having Luke Cage and Danny Rand on your team. At least those two will have each other's back and be able to communicate, which may keep the team alive long enough to get on the same page.

Wild Card: Richard Osmond, sorta (Echo Night: Beyond) - I say "sorta", because the Richard you play as is actually an android, created by his fiance after he died in a shuttle crash, then given life when she used a strange rock to wish for it, in exchange for her own life. In most of the game's endings, Richard-bot is left alone on the station after helping all the spirits find peace. I don't know what that leaves him to do there, so let's throw him in. He might end up as a replacement for Gene, if Olivia catches up still after those God Hands.

Not that Richard's a fighter; he's more an engineer, since he was the one who designed the station on the moon. But when his staff discovered that strange mineral, he didn't have enough sense or caution to slow down and figure out what he was really dealing with. Maybe this version, having seen the results, is a little more cautious. Or maybe he's gone nuts in isolation on a space station, especially after realizing all those tormented spirits were his fault. Spending some time around the living could be good for him. Having him as another source of technical know-how to go with Ratchet and Clank could be interesting. I haven't had a lot of teams with multiple super-intelligent people on them thus far (except maybe Trip and Cortana).

I feel like this group is going to struggle to keep a fifth member. Gene may have to bail. Richard may prove to be unsuited or uninterested in a life of adventure. The same could be true for Yorda, that the team helped her to save someone, or protect her home, but she's not up for fighting evil all the time. Virginia Maxwell from Wild Arms 3 would probably be the next one up after Richard, because this team is leaning heavily towards hitting things and/or cutting them. We need more characters who shoot things. Ratchet can't do it all himself. Plus, I'd be curious to see Virginia and Mitsuru interact. Virginia took some lumps in that game, had to decide what she really wanted and believed in, but still maintained her beliefs in spite of it and a fairly cheerful attitude. They could play off each other well.

Oddly, despite the instability, this team feels like it might be the most emotionally supportive, if that makes sense. There aren't any violently anti-social types. No Max Payne with a death wish and pill addiction, or Ada Wong being a constant threat to betray you. Mitsuru is reserved, but more than capable of being compassionate. Yangus is your typical Ben Grimm, "gruff but kind-hearted" type. Ratchet and Clank are good dudes. Gene is a smart ass, but he's not the sort to punch down with it. Yorda seems to care about others, if not herself. I'm not sure how Richard would act, but I doubt he'd be too vicious. He helped spirits even when he didn't necessarily have to, which is a good sign. It may take time to gel, or it may never stabilize enough for that, but I don't see internal forces being what wrecks it.

Wednesday, February 08, 2017

Does The Reference Fit?

I keep seeing this scene from Christopher Priest's Deathstroke series online. A group of grieving mothers, their children killed by gun violence, have hired Deathstroke to kill the people responsible, which he is doing. The cop is frustrated by the fact nothing seems to get done to curb gun violence, and the reporter questions the wisdom of hiring a killer to kill killers. Both of which are fair points, but being me, the thing that grabbed my attention was neither of those things.

The reporter, and that's Jack Ryder, aka the Creeper, is getting his movie reference wrong. A Fistful of Dollars isn't about a town hiring a gunfighter. It's about a gunfighter entering a town of his own accord, and trying to play the gangs vying for control against each other for his financial benefit. The townspeople, such as they are, don't hire Joe. Silvanito, the innkeeper, tries to get him the hell out of town, figuring nothing good will come of his presence for anyone.

But ultimately Joe's actions weaken the Baxters and provoke the Rojos into destroying them. And then Joe kills the Rojos (for revenge for the ass-whupping they gave him or to protect Silvanito, take your pick). Granting a decent portion of the town burns down or is blown up, the few townsfolk we'd seen up to then are alive and free. Marisol is reunited with her family. I confess I don't know what those people will do for a living, but the Rojos' gun-running and the Baxters' liquor didn't seem to be creating many jobs, despite what I'm sure were very friendly tax rates (as in non-existent). Maybe more people needed to get in on the lucrative coffin-building industry. Still, I wouldn't say things worked out badly for the townspeople (excluding the crooks selling guns and booze), especially since they didn't waste any of their non-existent money hiring Joe to do this. Unless Ryder is counting the Rojos and Baxters as the townsfolk. I guess technically they would count, but the analogy definitely wouldn't fit in that scenario.

My best guess is Ryder is thinking of High Plains Drifter, where the cowardly, backstabbing townspeople hire the guy who killed three people and raped a woman his first half-hour in town to protect them. And he proceeds to take all their shit, let them humiliate and degrade themselves bending over backwards for him, and gets them to essentially help destroy their town. Although equating a bunch of moms who are angry and griefstricken over the loss of their children with a bunch of people who hired gunmen to kill a marshal to hide one crime, then framed the gunmen for theft to have them locked away, then hired more gunmen to protect them for when the first group of gunmen were released from prison, then hired the guy who killed the second group of gunmen for the same job, is a bit of a stretch.

The thing is, Christopher Priest seems like a pretty thoughtful guy, so I'm wondering if he got the reference wrong deliberately as some kind of point about Ryder, or he's just approaching it from a different perspective. Obviously the idea that hiring someone to kill people who killed others isn't going to solve the underlying problem of why those people took a life in the first place, or how they were able to have guns to do so. That there could be retaliation, escalation if the friends of the people Deathstroke kills figure out who pointed him in their direction and decide for some payback. Relying on killing to solve the problem of people killing people is not a sound strategy.

But going off either of those two films, what were the options? In High Plains Drifter, the townspeople could have opted not to mine on land they weren't supposed to, or accepted the punishment for doing so, or not framed Stacey Bridges for robbery. But having done those things, what were the options left if not to hire gunfighters? They did, at the drifter's urging, trying fighting for themselves, and failed miserably. They could have abandoned the town, scattered to the winds. Or they could have stayed and accepted whatever vengeance Bridges brought upon them. Fight, flee, suffer through it. None of those seem like viable options for the grieving mothers in the comic.

With A Fistful of Dollars, again, what's the option? None of the townsfolk have a prayer of confronting either of the gangs directly. The militaries of both the U.S. and Mexico use the town as a convenient meeting point for clandestine sales of weapons and booze. Neither of them is likely to step in and help. The sheriff is the head of the Baxter clan (and an incompetent boob to boot), so law enforcement is useless. I have no idea what political body they could appeal to, if any. It almost seems as though their best hope was to keep their heads down and hope that once one side won the struggle, things would get easier. But assuming that happens, and assuming it doesn't get them killed or their homes destroyed in the process, they're still living in fear of the remaining gang, which can now act with impunity because there's no risk of being attacked on an exposed flank if they overreach.

Maybe it shows that Ryder is well-aware of the limitations of the approach of using violence to eliminate violence, but has no viable solutions. Like me, he's good at picking out the flaws, but struggles to correct them. And hey, it's easy to criticize (fun, too). Or that he ignores the emotional element in this, the pain and frustration that would drive these mothers to this decision.All he sees is some vague way it could go wrong, not recognizing that from their perspective, it's already gone as wrong as it can.

Tuesday, February 07, 2017

The Road - Cormac McCarthy

The Road is a man and his son, trying to stay alive in a rapidly dying, post-apocalyptic world. The sun is always hidden by clouds, everything is dried up and dying, covered with ash. There are still people, a few, but of the survivors, a fair number have resorted to their worst impulses. Cannibalism, slavery, makeshift armies marching in search of, whatever is left to take, basically.

Through all this, the man and the boy are headed for the coast. Almost constantly on the verge of starvation, the man already steadily declining in health, no guarantees the coast is going to be any better. The man is trying to teach the boy to be good, but this comes with complications. If they're the "good guys", as they insist, they should help people, other good guys at least. But their ability to help is limited, it isn't easy to discern good guys, and the man has one overarching prerogative: protect the boy, and if that isn't possible, grant a quick death.

Not a hopeful book. The world isn't going to magically be fixed, except perhaps by time. They manage to keep stumbling on just enough food at the right time to keep going, but it feels like postponing the inevitable. But I like how McCarthy writes the boy, the way he occasionally uses phrases you wouldn't expect, that he must have heard his father or mother say at some point.

There's a shift in the relationship between the two after the man comes down with the flu for several days. The boy is a little more independent, more willing to stride ahead and leave his father pushing the cart full of their possessions. Prior to that, the boy had disagreed with some of his father's decisions, pleaded with him, but ultimately fell into step, because he was still just a scared kid. That still happens after the sick spell, but not as much. The man is more vulnerable, the boy was able to successfully care for him, and the boy is probably starting to accept things he knew on some level. He knew about his father's coughing fits in the night, but didn't comment on them until near the end. The kid's preparing himself for the end (I wonder if his father sad anything while sick that helped prompt it).

The dialogue is spare, the boy's unusual phrasing choices aside, but the man's internal monologue can get highly descriptive, or meditative. But he's had years to mull over this world, so I wonder how many times he's gone over the same ground in his mind.

'Finally he put it out of his mind. The notion there could be anything to correct for. His mind was betraying him. Phantoms not heard from in a thousand years slowly rousing from their sleep. Correct for that.'

Monday, February 06, 2017

What I Bought 2/1/2017

Hey, comics from just last week! Almost timely! A new book enters the fray! I officially dropped Deadpool - for at least the next three months. We'll see what the May solicits bring, assuming we aren't all dead by then!

The Unbelievable Gwenpool #11 by Christopher Hastings (writer), Myisha Haynes (artist), Rachelle Rosenberg (color artist), Clayton Cowles (letterer) - I would never have pegged that as David Lopez' art on the cover. The skeleton cat's a nice touch.

Gwen has apparently lost all her friends and cronies and is back to solo merc work. Taking a job to protect a small town from a single vampire, she learns the vampire is actually Blade, who is there because a necromancer has been resurrecting all his old friends as they passed away. Blade is convinced to let them be because they aren't harming anyone. Then Gwen finds out the necromancer is stealing the life energy of his friends' children to power his magic. Isn't that just like those fucking Baby Boomers. They'll probably justify by claiming their kids don't buy enough dish soap or something.

Bit of strange place to come into the book. Gwen being alone and a little depressed, and maybe the luster of running around the Marvel Universe is starting to wear off. And her awareness that trying to fight Blade is a bad idea, because he's an important enough character she probably can't kill him like she could some faceless, irrelevant vampire. That seems to be one of the major conceits of the series, how Gwen's understanding of how comics work dictates a lot of her actions, and it's a good hook. But speaking as someone who argues with his internal monologue, her description of that as 'crazy' is hurtful to me. I like the idea of the necromancer just being lonely and missing his friends, but still, he's a frickin' necromancer.

It took me too long to figure out why Gwen was wearing that thing around her neck. First I thought it was a neck brace, maybe because she hurt herself holding that snotty kid when she jumped out of the airplane. Then I figured maybe it was a scarf, because upstate New York is cold. Which you'd think would prompt her to get some pants, too, but comic book logic. Then it dawned on me she's wearing it to protect her neck from bites. Duh. The sheepish skeleton who admits he might be the reason Blade heard about them was adorable. He just wanted to be friendly while he gardened! Haynes' art is properly expressive for the comedy bits. There wasn't really enough fighting for me to tell how she does with action sequences, but that's OK.

The book has made a good first impression on me, and next month, Christopher Hastings gets to write Arcade in the book, which I am really stoked for. Oh, the deathtraps that combination should conceive of.

Nova #3, by Jeff Loveness (writer), Ramon Perez (writer/artist), Ian Herring (color artist), Albert Deschesne (letterer) - It loos like Rich is practicing yoga. Don't force the stretch, Rich.

The assassins are here for Nova helmets, and have put a bomb in the brain of the Celestial head that is Knowhere as a failsafe. Rich buys Sam time to try and reach the bomb, but when Sam can't contain the blast, Rich eats the energy by releasing his inner Many-Angled One. Which Sam missed because he was busy being unconscious. So Rich is definitely fully aware of how he's back from the dead - I'm assuming deal made with what was left of the Many-Angled Ones - and is hiding it. Which will totally not come back to bite anyone in the ass. Speaking of biting asses, he's going to encounter Gamora next issue, which is not the old flame I would like to see him interact with, but if he's potentially evil, better to keep him away from Namorita, anyway. It's sweet that Gamora at least smiled in the second photo, though I don't remember her wearing the fishnet outfit when she and Rich were together. Although it's an improvement on the thing she did wear.

The sequence where Rich clocks the tiger with his helmet before donning it, and Sam zooms off, the arc of his flight taking him from the panel it starts in, back towards the panel before (where Rich puts his helmet on, so that we see those things are happening simultaneously, that these two are on the same page), and then Sam's movement draws our eye to the far right side of the page where Death's Head is losing an arm to Rich, and that gets us into the brief fight. That was pretty well laid out. It feels like it could have been confusing, but Perez and Herring made it work. Herring's color work is still nicely vivid and attention-getting. Lots of bright blues and deep reds, that ashy purplish color Rich's skin turns as he starts to change. There are a lot of panels with not much in the way of backgrounds, but the colors mostly compensate.

I still don't love the book, but it's like I said Monday, it's got potential.

Sunday, February 05, 2017

Foyle's War 6.3 - The Hide

Plot: Foyle's replacement has finally arrived, and he can hardly wait to get out the door. His brother-in-law has gotten him booking on a ship headed to America, and Foyle's raring to go. But before he can leave, he sees a newspaper headline about a James Devereaux, on trial for treason. Devereaux was captured in the early stages of the war, and eventually agreed to join the British Free Corps. An idea of Hitler's to dress British POWs up as Nazi soldiers and have them fight the Soviets. James, curiously, is offering no defense, and won't help his attorney Mr. Deakin do so, either. But Foyle sticks his nose is, for reasons he keeps to himself, but which involve James' mother, Caroline, who died when James was young.

At the same time, Milner is investigating the death of an Agnes Lyttleton, who was strangled in the room she was renting. A photo was taken from her bedside, one her landlady can only confirm had a picture of Agnes' boyfriend, a soldier who had been overseas, and wrote to her as "Jack". It just so happens we saw a Jack Stanford in a flashback to James' time in the Free Corps. Agnes was also working for the Devereaux', helping James' father, Charles, research his family history. Charles is not terribly helpful, but could perhaps be excused as being preoccupied with his son's imminent execution. And it seems certain to happen, as Foyle is busier asking questions about James' hobbies and his old piano teacher - a Mr. Rothstein who was arrested and sentenced to five years' hard labor for allegedly stealing some of Caroline's jewelry - than he is figuring out some way to clear James' name. But while the route is a little more circuitous than normal, it does eventually lead to answers.

Over at Hill House, Adam faces first the pressing failure of his guesthouse, but then learns a new housing development plans to not only knock down his house and many hundreds of others, but will also tear up the nearby green, a common ground left open for centuries. Adam's efforts to rally public support against this effort, while briefly landing him in jail for assault, also stir an interest in politics in him. And being so bold possibly also gave him the confidence to ask Sam to marry him.

Quote of the Episode: Jack - 'Oh, I'm all for hanging. It's quieter.'

Does Foyle go fishing? No.

Things Sam can do: Think to ask one of Foyle's old teachers about him when she gets the chance. Rush into a recently exploded building to look for survivors.

Other: When we learned Caroline was supposedly kind by a deer that gored her, then saw the "hide", a sort of nature-viewing blind, had antlers hanging from the ceiling, I was sure young James had pulled them down as part of some game and accidentally killed his mother. I was wrong. Oh well, sun rises in east.

Foyle went off on Deakin for not trying harder to save James at one point, which was another of those times where Foyle gets on my nerves. He rattles off all the things he's found out which are significant in some way, basically asking why Deakin hadn't figured any of this out. I'm not sure how much of it he could have learned through his channels, so it comes off as, 'Why haven't you used all these things I am just now telling you?' I don't see how most of it would exonerate James, especially as James is not offering any defense of his actions. He's talked to some men from James' unit in the British Army, all who spoke highly of his leadership, but I don't think that's going to outweigh the rest. James is offering no help, and his father isn't doing much, either.

Foyle is headed to America to confront Howard Paige, the murdering industrialist from Episode 2.1, "Fifty Ships". We will, sadly, not get to see Foyle navigating the post-World War II United States in his pursuit, only hear about it after the fact, next week. Nuts.

Foyle got Adam out trouble, which I'm a leery of. Adam knocked a guy to the ground with sufficient force he was knocked unconscious on a rock. And it wasn't even the guy spearheading the development plan, Mr. Harrison. It was some poor guy on the survey team. Who knows what kind of brain damage he could have now? But those big-time athletes are always able to get their indiscretions swept under the rug by the authorities.

At one point, we learn that someone within the Free Corps was working for MI9, using their position to send letters with various intelligence to them. But the Free Corps has no idea who this person is, other than they sent letters to Agnes, addressed as "Jack". This naturally factors into both James' trial and Agnes' death.

Milner and Foyle get along much better this time around. Milner gives his subordinate Perkins a wrap across the knuckles for being disrespectful to Foyle this time, which. Look, Perkins is a schmuck. Can't tell a mare from a stallion (horses are involved in one scene), misses evidence, really only seems good for giving looks of sarcastic disbelief. But that whole thing where Foyle dressed him down for essentially not waiting to speak until spoken to, still irks me. Anyway, Milner and Foyle share information, and it helps Foyle to have someone who is still an active police officer to take action. So it was nice to see them part on better terms.

The show felt it necessary to throw in that Sir Charles is at least a bit anti-Semetic (Mr. Rothstein was Jewish). His arrogance wasn't enough, his jealous, domineering, and abusive attitude towards Caroline wasn't enough. The fact his son hates him so much he's willing to be hung as a traitor just to smear the family name isn't enough to render him an awful human being. Nope, have to throw a little something extra in there to seal the deal.

Friday, February 03, 2017

What I Bought 1/31/2017 - Part 2

It's not a new complaint, but I hate it when channels interrupt cool action scenes with commercial breaks. John Wick was on USA last week, and they went to commercial right in the middle of the cool night club shootout. Yeah, I have it on DVD, I can watch it whenever, but it's still nice when I come across something I like to watch on TV by good timing.

Darkwing Duck #7, by Aaron Sparrow and James Silvani (storytellers), Andrew Dalhouse, Paul Little, and Matt Herms (colorists), Brandon DeStefano (letterer) - I don't know what's up with Darkwing or Gosalyn's eyes. Darkwing rarely does the "no pupil" look a lot of other masked adventures do, and Gosalyn looks like she's possessed by Duckthulu.

Zombie potatoes attack St. Canard on Halloween, leading to an extended series of Walking Dead, riffs, I think. I'm positive Herb Muddlefoot carving a bunch of the spuds up with a spatula wrapped in barbed wire while wearing a leather jacket was a reference to that Negan guy I see people talking about. Gosalyn wearing Darkwing's hat and having her hair over one eye makes her Carl, correct? Anyway, DW suspects Bushroot, who has escaped from prison, but was drawn here by the call of his one-time would-be vampire potato bride, Posey, who is being used in dastardly experiments by some character I can't place. Oh, and Gizmoduck's in town. Not looking forward to Darkwing getting snippy because he feels inferior to Gizmoduck.

Teaming the heroes up with Bushroot works better than I would have expected, since his reaction to all Darkwing's usual stuff is so different from Gosalyn or Launchpad's. And Bushroot's point that, 'You have a sidekick who's carrying around my disembodied head for. . .well I don't even know why. . . and you want to talk about normal?' cracked me up. On a different note, the scene where Gosalyn and Launchpad discuss how each of them thought they were going to be the one to take over as Darkwing some day was kind of cute.

Silvani really likes drawing Darkwing wielding two gas guns. It's been coming up a lot in this series so far, and I'm not sure why. I guess the response would be, why not, and I don't have a good answer. Also, I know black is supposed to be slimming, but somehow wearing that black jacket made Herb Muddlefoot's head shrink. It looks far too small for his admittedly large frame. But Gosalyn's Halloween costume is appropriately grotesque, so good work there. Silvani mostly works within a six-panel grid, but modifies as necessary. Mostly by going to a five panel setup, with one panel that covers a third of the page when he needs more room for impact. Either to give us a better look at something shocking, or to layout the setting of the next scene for us. On the opposite end, he opts for going to three panels across the page for a specific sequence. The Ratcatcher going amphibious. Gizmoduck taking care of a bunch of zombie spuds. Setting something up, basically.

Patsy Walker, aka Hellcat #14, by Kate Leth (writer), Brittney L. Williams (artist), Rachelle Rosenberg (color artist), Cory Petit (letterer) - Not a very good plan by Felicia, to control all these non-powered folks, and leave Patsy the Wolverine-trained vampire and the telekinetic.

Zoe tries to help Patsy and Ian get close to Felicia, who has swelled the ranks of her organization considerably by now. It doesn't seem to work, but it's really all a ruse to give Jubilee the chance to get the drop on Felicia. Which works for getting the magic claws away, but then Jubes loses her after Felicia headbutts her? Really, vampire strength and that works on you? But all the friends are saved, and Patsy has magic sneezes now.

The main current running through is Zoe possibly realizing how lousy she was to Ian, and that whatever fond memories she has of their relationship are not shared by him. Which is nice, and it was pleasant to see Ian stand up to her and lay it all out so she couldn't ignore it or bulldoze over what he was saying. The panel where we see Ian as he was, in a blank space with shadows stretching away in different directions was an effective attention-getter. Up to then, all these relatively sedate panels of two people in a living room, having an argument, and then here's a panel of someone feeling terribly lonely and divided.

I'm not sure if it was Williams or Rosenberg, but the art team seemed to be having some trouble with Felicia. Maybe it's just her costume. Drab grey is not really a visually arresting costume choice, and there were times it just didn't look great. But the art looked a little rushed in places. Not everywhere, but there were some places Williams was skimping on details, or shading. I did lie how tall she drew Felicia. Maybe it's just the perspective, where characters are being pushed down to loo up at her, but she seemed much bigger than the other women in the issue. Especially Jubilee. I had never pictured the Black Cat as being particularly tall (about the same as Spidey, and I think Peter is 5 foot 10 or 11), but then Jubilee is 5-5, something like that, so comparatively, Felicia would be big. And it lets her loom over people, which is a prerequisite if she's going to play a crime boss.

Overall, the weakest story so far for the book, but I'm hopeful things will pick up with Patsy's magical sniffles.

Thursday, February 02, 2017

A Magical Realm Where Everything Wants To Kill You

I'm iffy on medieval fantasy most of the time. The whole swords and sorcery and wizards with long beards thing can work, but rarely deeply interests me. It just doesn't stack up next to Westerns or sci-fi in terms of setting and genre conventions that interest me. So Skyrim was always going to be fighting an uphill battle. But it was a gift.

Skyrim is in a civil war*, dragons are emerging after centuries of dormancy, and the main character is the legendary Dragonborn**, which means your character will gain power by absorbing the souls of dragons you kill. Or dragons that are killed near you. I was able to gain the soul of one that got killed by a nearby group of giants it attacked instead of me. The main story is about dealing with that, but there are many other factions you can throw in with, or one-off quests to do. Or just wander the countryside and explore. Keep in mind that, as the title of this post states, everything and everyone you meet will try to kill you. There are a few exceptions, but you might as well just start swinging if they approach you and dialogue options don't immediately appear.

I can't blame them. They live in a crappy, mostly frozen land of dragons and no indoor plumbing, with crypts and caves full of undead, possibly dragon-voice wielding, warriors. Because some jackass thought cursing the people who fought alongside the dragons to that existence was actually, you know, a curse. Why not just trap their consciousness inside a dead body that can't move? Then they can watch helplessly as I loot their graves, and I don't have to fight another crypt full of Draugurs. I was 100% done-zo with that within the first few hours. Sadly, it was not done with me, and there was much more Draugur fighting to come.

A lot of the quests boil down to going to a place to retrieve a thing and bringing it back, with a lot of killing along the way. There were some standouts. I didn't really want to start the Forsworn Conspiracy, but once I got into it, it felt a bit like a detective story. I kept finding dead bodies, discovering clues, being warned off by the equivalent of cops and goons, and eventually the guy who hired me turned up dead. Then everything went to hell.

The guards wanted to arrest me. I wasn't interested, so I hightailed it out of there. But every time I came back to Markath, they tried to arrest me. Which threw a real crimp into my attempt to start the Dark Brotherhood quest line (I had decided by that point if I didn't like anyone in this world other than my housecarl, Lydia, there was no reason not to start taking money to murder some of them***). This despite the fact I was dressed completely differently now (my face covered both times), and was alone where I had a friend before, but somehow they always know immediately that it's me. That makes a lot of fucking sense.

So I let them throw me in their mine/prison. Where I meet the leader of an uprising. The game gives you the choice of killing or helping him. I meant to kill him, but misunderstood when I was supposed to try that and waited too long. So screw it, help him escape. What do I care? He and his guys kill the guards, run amok, I get all my gear back, the quest is over, now I can do what I wanted, and I did. But when I had to return to Markath to learn who The Gourmet was, so I could kill and impersonate him, the guards were back. More critically, they were back to trying to throw me in jail for the same stuff they already threw me in jail for. I couldn't claim innocence, couldn't bribe my way out of it, couldn't even let them throw me in prison, since giving in just caused the dialogue sequence to start over. All I could do was run away.

So the Dark Brotherhood quest line died an angry death. As did the Thieves' Guild quest line when I decided to start that immediately after. The glitch blocked two things I actually was somewhat interested in. That did not help my attitude towards the game.

I did enjoy many of the Daedra quests. The Daedra being creatures that exist mostly in other realms and make themselves known in Skyrim in various ways. Dreams, prophets, drugs, gifts bestowed on the faithful, stuff like that. I ran about 50/50 on helping them and thumbing my nose at them. I helped Astra, but not the one that told me to kill his talking dog servant. I killed all the people who were sick and hiding in the old dwarven city at the behest of one Daedra (he'd made them that way, but was mad one of his followers was keeping them there rather than having them roaming spreading illness). I ended up not killing that guy who wanted to assemble the pieces of some old cursed blade when asked to. What was required of the quests wasn't a whole lot different from all the ones I was so bored by in broad terms, but there was something interesting in dealing with the Daedra. What they wanted was so rarely connected to the major storylines running through the game. Daedra don't give a crap about some civil war, they'd rather torment a mad ghost, or make an entire town suffer nightmares constantly.

I didn't have a lot of success varying my combat. It figures one of the few games where I actually tried carrying a shield and blocking sometimes, would be one where that was probably the wrong approach. I was informed I'd have been better off either going with a two-handed weapon for more damage, or dual-wielding (which means you can't block). I tried using magic, but it never felt like it was working quickly enough to justify sacrificing being able to carry my shield. I suppose it might have worked if I used it more early on and leveled it up more, so it did more damage later. I did find the stealth option reasonably simple to use, as long as I stuck to sniping people with the bow. Sneaking up for close range attacks was dodgier.

I had the impression you could talk to almost anyone and get some sort of quest. But given my reluctance to engage in another slog through a crypt full of Dragurs, this made me less likely to try talking to random people. Not that I'd be required to do the quest, but I got tired of seeing my menu screen filling up with quests I had no interest in undertaking. That exhaustion was grinding against my completist nature.

I liked Blackreach, which was the remains of a dwarven city sitting in some immense cavern. There were other dwarven cities, but when you're in those, it's lacking something. It's all stone walls, lighting from somewhere, the occasional robot attack. With Blackreach, it was like part of the city fell into the cave, so there was more a collage effect to the setting, which I think I appreciated. Plus it was dark and atmospheric, but with weird crap glowing up on top of pyramids (which I did not venture up to because there were a shitload of Falmer up there and I didn't feel like dying). But sneaking around there was somehow much more interesting than doing so in ordinary caves.

I didn't love the look of Skyrim. The graphics are good, stuff is rendered well, it just isn't a style I particularly care for. Now that I think about it, maybe it's just the Western version of medieval fantasy I don't like. A fair number of the JRPGs I've played could be described as medieval fantasy, like DragonQuest 8 or Tales of Vesperia. So you filter it through an anime aesthetic and I can dig it. I dunno, I can see why a lot of people like it so much, and I found parts of it engaging, but I wouldn't say it ever really clicked. It felt like I was always another encounter with Draugurs away from it reverting to being a slog.

* Which I never did take a side in. Helping the Empire would be helping imperialists, but the Nords are racists. Where was the, "Rally the dragons, use them to burn everything," option?

** I went with a Redguard I named Yukio Monroe. Did I give her white hair with a mohawk? You bet.

*** OK, I also liked the Argonian member of the Dark Brotherhood, at least I did based on that one conversation I had with him.

Wednesday, February 01, 2017

What I Bought 1/31/2017 - Part 1

It's new comics day, but for now, I'm looking at a couple of books from last month I finally acquired. There'll be a couple more Friday, and by Monday I'll review what I picked up today.

JLA Rebirth: The Ray, by Steve Orlando (writer), Stephen Byrne (artist/colorist), Clayton Cowles (letterer) - I picked this cover because I thought it looked a little cooler, but something's off about how the helmet sits on his head. I think it's that it stops partway on the bridge of his nose. Also, his hand is a little large compared to his head, isn't it?

Ray spent his childhood indoors, away from light, until finally getting fed up and running away from home. He accidentally hurts some people when his powers flare up, so after that he spends years wandering the globe invisibly, until he finds his one childhood friend (who he's been telling this whole story via letters), now a politician, and short an eye thanks to Ray's powers, under attack by some evil so-called patriot with a shield. How HYDRA Cap made it to the DCU will have to be answered another day, because Ray saves the day, and decides to live his life and be a hero. Oh, and he is gay now, which is kind of what I expected after it was announced that would be the case with the version appearing on the CW. It's fine, doesn't alter the core of Ray's character, so whatever works.

I'm going to have to think about whether this version of Ray Terrill has a sadder origin than the pre-Flashpoint version did. The part where he spends years wandering the Earth, forming a negative opinion of humanity while observing it invisibly is definitely not cheerful. On the plus side, no sign of Happy Terrill and his Silver Age Superman style of parenting.

But it might have been good to see more of Ray being a hero and helping people. We're supposed to believe Batman would recruit this guy to be part of a Justice League, after all. Or maybe Orlando intends to cover that in the zero issue of the upcoming Justice League series. The fact Ray takes hope from his friend not letting one awful incident ruin his life, and decides to be an active participant, rather than an invisible observer, is not a bad ending. Ray quoting the Silverblade movie he watched on TV as a kid when he steps up to fight was a cute touch.

Stephen Byrne's work reminds me a little of Phil Noto's in the faces, but Byrne's work has more sense of motion to it than Noto's. The book is colored dark right up to the point where Ray embraces his powers and steps up to save Caden. All the scenes are at night, but even beyond that, shadows overwhelming everything. But Ray is sad, or lost, and either hiding or being hidden up to that point, so it fits. Somehow Byrne made Ray's haircut look even sillier than it did back in the '90s, though, which is impressive. This hasn't decided me on whether to buy Orlando's Justice League series or not, so indecision still reigns. 

Cave Carson has a Cybernetic Eye #4, by Gerard Way and Jonathan Rivera (writers), Michael Avon Oeming (artist), Nick Filardi (colorist), Clem Robins (letterer) - That's not a bad cover. The giant eye within the world. What's the significance of the two cities on opposite sides, or was Oeming just aiming for symmetry?

Cave and the others explore what's left of the underground kingdom, and then Wild Dog nearly kills himself because of something emanating from behind a door Chloe briefly unlocks. The recovery team in the Mighty Mole Mk. II show up, and most of them promptly get slaughtered by those crazy green guys. Our heroes reach a sanctuary, where Cave gets to tell the in-laws their daughter is dead. Meanwhile, Evil Corporate Guy has people draining a fluid from Old Drippy Fungus Man. I prefer to say draining to "milking", which is the word they use, and which makes me slightly nauseous.

I'm not sure where this is going to go. The mysterious door that causes suicidal hallucinations seems like it will be important later, but given the threat they seem to be facing, I'm not sure how. Paul doesn't seem likely to come to them, and I can't see the people being altered by the fungus juice as susceptible to the effect. Not sure what'll end up happening with Mazra's parents. I imagine things are going to be awkward between them and Cave, and I'm guessing there'll be some expectations they have for Chloe that are going to cause conflicts. But who knows what direction Way and Rivera will opt for? That's a major draw of the book for me, that lack of familiarity I have with the characters, the setting, the writers' tics. We're early enough the possibilities are wide-ranging, and that helps me get excited.

Oeming's art felt variable in this issue. Strong on some pages, weaker on others. Some of the faces were strange at times. But overall he and Filardi are maing a good team. The page of Cave going to explore the reservoir/fountain, where Filardi colors the arc of the glowstick as Cave tosses it looked very nice. I think they might be overusing the bit where at least half of Cave's face is in shadow, and the cybernetic eye is glowing out of it. It is very effective at making it appear something alien that doesn't belong there, though. I did enjoy the very satisfied smirk Chloe gets when she meets some inhabitants of Mul-Droog. And the effect when Chloe releases the lock on the door, and the glyphs on it drift down into the next panel where they start to work on Wild Dog's mind. There's actually a lot of panels and transitions in this issue I like, though there are times I start to lose track of which way to go one the page. Overall, the mixed bag is much more good than bad.