Tuesday, July 19, 2022

Wrath of Man

IMDb says this based on the movie Le Convoyeur, which I haven't seen, so I don't know how similar the two are. Jason Statham takes a job with an armored car company. He doesn't seem like anything special until Post Malone (I'm serious, Post Malone is the leader of the thieves) tries to rob a truck he's in. At which point he kills the entire crew, mostly with one-shot kills between the eyes. Well, then.

Roughly an hour in, after Statham thwarts another attempted heist by simply showing his face, the movie goes into a flashback for about 30 minutes. Really, two flashbacks. The first is why Statham is doing this. Surprise! He wants revenge for a dead loved one. The second reveals who the guys he's looking for actually are, and how they got into robbing armored cars.

An aside, but I didn't realize armored car robberies were still so common. Nice to know there are still people out there stealing real physical money, instead of using a computer to steal a digital image of a sad monkey someone says is worth $300,000 or some shit.

The flashbacks establish two things: One, while Statham's character is not a nice man, he is an "honorable" criminal, to the extent some guy from the FBI (played by Andy Garcia, who is on screen for maybe 45 seconds total) will help him. Two, the crew of thieves have their own issues, mostly revolving around one member (Scott Eastwood) who won't stick to the plans.

That latter point naturally comes to a head in the big heist that kicks off once the flashbacks are over. The movie does actually get some tension out of the whole thing. Not just that we know at some point Statham is gonna go apeshit on these guys. 

Throughout the movie, we see that the company encourages its employees not to risk their lives. This is, after all, other peoples' money. I'm dubious the company would actually tell them that, but we'll roll with it. The movie does nod to the notion all these people have some sort of past that's why they work for an armored car company, getting shot at for someone else's cash. Some of them are more well-adjusted than others, some of them are posing aggro dipshits (like Josh Hartnett's character, man this is a weird cast) but there's a strong streak of gallows humor that runs through the operation. So when things go bad, the audience wonders what some of the employees are going to do. Will they run, will they try to fight back? If one of their co-workers is held at gunpoint, will they surrender or do they not give a shit about that guy?

The ending is, not exactly satisfactory. Maybe because Statham has gone this far to get this particular guy, but the actual revenge doesn't seem like enough. It could be argued that having gone through all this, playing a role, searching, everything, he's just tired and ready for closure. But I really expected him to be more brutal about it.

Monday, July 18, 2022

What I Bought 7/8/2022 - Part 4

So we wrap up with two issues of the same title. Scout's publishing schedule is weird lately. First issue of this shipped in March, then issues 2-4 came out in six weeks from early June to last week. But at least the books do come out.

Broken Eye #2 and 3, by Martin and Xavier Etxeberria (writers), Inaki Arenas (artist) - Whatever he ate to produce that cloud is more dangerous than the gun he's holding.

The judge receives one of his assistant's hands in the mail, but is not convinced to back off. That's fine, the arms dealer was more interested in the assistant's book of the judge's schedule, which mentions regular meetings with a "Queen Victoria". Which turns out to be Seamus' friend Victoria, who is a dominatrix. Delporte sends the two IRA guys to her place of business and they slit her throat. Felipe finds Seamus, who ended up not bringing the severed hand he found to the cops because he rightly concluded the cops are assholes, and Seamus freaks out at seeing Victoria's body (see the panel below.) 

Was I surprised the immigrant single mother who is a sex worker was brutally murdered? Reader, I was not. Also, I feel the "AAiEEE!" makes the whole thing kind of comical when it's not supposed to be. A panel of silent shock probably would have worked better, but I'm wondering if the story wouldn't be better served with an artist more like Sean Phillips anyway. Not something I typically say, but this seems like it's a grubby, street-level, backstabbing crime story, and I'm not sure the art isn't too clean for that.

Also, the third issue picks up where the second ends, and Seamus tries to keep Felipe out of the room, even though Felipe came to him asking to help his mother, with hands already covered in blood. I think it's a little late to worry about that. Seamus does use his sight on Victoria's whip and gets a glimpse of the judge, so after talking with the cops, and Eleanor (who both works in child services and is the niece of the arms dealer Delporte), Seamus tosses the hand into bushes near a pier belonging to Delporte, then lies to the judge about where he saw it. Except then the 2 IRA guys show up and just shoot the judge. But not Seamus because I'm pretty sure the guy who got out of prison is his father. Or at least knows Seamus via his deceased murder.

When I lay it all out like that, it starts to sound like a soap opera and maybe Arenas' art is well-suited for this after all. The coloring and the shading aren't really as dark as you'd expect, the linework is very clean. For the subject matter, it does feel like the kind dramatized yet sanitized approach I'd expect from a soap opera.

I will confess to not understanding the moves characters are making. Delporte gives the agenda log to the IRA guys, who decide to visit Victoria. Presumably to get leverage on the judge. Then they kill her. Why? Because she didn't talk? That just puts more potential heat on them if anyone saw. 

Then, while Delporte is calling a cop he's old army buddies with to sell out the IRA guys for trying to buy weapons for him, the IRA guys go and kill the judge. Delporte was going to use this to get the cop to make the judge back off, and mentions he knows something the judge wants kept secret. Meaning the thing with Victoria, I'm sure. If you have that information, why bother selling out the IRA guys by alerting the cops? For that matter, why are you telling a cop you have information you can blackmail a judge with? Isn't that a crime? Just let the judge know you have the info.

And why are the IRA guys killing the judge? Brandon, the one that got out of prison, doesn't like Delporte, but there's no indication he realizes they're being double-crossed. A dead judge, shot in his own office, in the middle of the day, in front of a witness, is a much bigger mess than a judge quietly pressured to drop a case.

I sure hope issue 4 makes some sense of this.

Sunday, July 17, 2022

Sunday Splash Page #227

 
"Admitting It's the First Step. Murder is the Second," in Harley Quinn (vol. 1) #2, by Karl Kesel (writer), Terry Dodson (penciler), Rachel Dodson (inker), Alex Sinclair (colorist), Ken Lopez (letterer)

Having been a big hit in Batman: The Animated Series, Harley Quinn migrated into the Batbooks and after a half-dozen or so years, got her own ongoing series, running for 38 issues.

Whether because it didn't seem like a great idea for Harley to play second fiddle in her own book, or because they didn't want the protagonist of said book doing the kind of stuff Harley would get up to with the Joker, Karl Kesel breaks Quinn off from the clown to find her own path. Which isn't to say she's good. After a one-issue stint playing #2 to Two-Face, Harley decides to start her own gang. 

She's terrible at it. Every time they add a fifth henchperson, they die. In more than one of those situations, Harley sets the guy up to be killed or at least left behind. None of her heists succeed as Harley is more concerned with her personal obsessions. To the extent she kills her most loyal henchman because he's interfering in her matchmaking between a couple of private investigators trying to capture her. It would be easy to argue she learned well from the Joker, but Kesel goes into her past enough to let the reader see Harley's always been willing to do whatever she deemed necessary to get what she wanted. Working with the Joker just convinced her to stop masking it.

The Dodsons draw the majority of the first 19 issues, and it's pretty standard work for them. Clean linework, easy to follow action, expressive faces, the usual full-figured women. In issue 1, Ivy tries disguising herself as Harley to kill the Joker and Harley remarks she wouldn't dress like that if she had Ivy's figure. It's hard to really see much of a difference in them.

The first year ends with Harley and Ivy taking off for Metropolis. There's a stint of Harley manipulating Bizarro, only for that to get out of hand. Harley ends up in Hell for a while before getting out through some method I don't remember, but the Martian Manhunter got dragged into the mess. Craig Rousseau is drawing the book by then, his style is more animated, closer to Bruce Timm than Dodson. He draws a few pieces in the earlier issues where he's deliberately aping the Timmverse style, meant as a representation of how Harley sees all this.

The last year or so of the book is by A.J. Lieberman and Mike Huddleston, and involves Harley back in Gotham, tangled up in a whole thing with some girl that everybody wants. I think it revolved around what Harley was going to do, look out for #1 or look out for the girl stuck relying on her, as well as what being around someone like Harley for an extended period of time would do to someone. I picked up parts of it in back issues years ago - those issues are oddly pricey - but it didn't stick in the collection.

Next week, Harley gets another chance to headline her own book.

Saturday, July 16, 2022

Saturday Splash Page #29

 "The Conclusion That Wasn't," in Winter Men #3, by Brett Lewis (writer), John Paul Leon (artist), Dave Stewart (colorist), Jared K. Fletcher (letterer)

Kris Kalenov is a Russian police officer, although he could just as easily be any burnout American cop you see in the movies. Drinks to much, scruffy, disrespectful and sloppy in his work, crumbling marriage. You know the drill. He gets handed the case of an abducted child, and this leads down a rabbit hole to a world he not so much left behind as was forcibly ejected from.

Lewis has Kalenov follow the trail as it roams through Russia, New York City, back to Russia, using it as a way to bring him into contact with old friends from his earlier days and fleshing out both the world they're in now and how they got to that point. Drost was a soldier and remained a soldier. Kalenov became a cop, Nikki up there became a local gangster, Nina works as a bodyguard. All of them still in the life in one way or another.

Leon doesn't illustrate any of it as glamorous. The only dramatic shots are the propaganda footage of "The Hammer", Soviet Superman (or maybe Soviet Captain Atom is more accurate.)  Kalenov's old exosuit is a clunky looking thing, like a 19th century diving suit or that thing Sigourney Weaver used in Aliens. Everything is about utility, or at least pretending to be useful. All these characters are part of competing attempts by different agencies to be the one who appears to be protecting Mother Russia. Are any of them actually protecting it? Well, Kalenov and Nikki keep ending up in a local McDonald's and Nikki's distributing Pepsi and in a turf war with a guy distributing Coca-Cola, so probably not. They're what's left over after the dog-and-pony shows shuts down.

The cities are grey, the stores half-stocked. It's a long winter. Apartments are crowded and messy, even the offices of the men of power look like the communal living space of a bunch of college kids. Crap all over the place. Things are either falling apart, or already fell apart and are slowly settling into new configurations.

Lewis repeatedly reminds us (as in the page above) this is a Russian story, not an American one. As Alan Rickman once said, John Wayne does not walk off into the sunset with Grace Kelly. No tidy happy ending. Kalenov does not get to neatly close the case and become the poet he claims he was meant to be. He does not manage to salvage his marriage. In fact, as far as Winter Men goes, the actual conclusion would have to wait three years.

Friday, July 15, 2022

What I Bought 7/8/2022 - Part 3

Lately, it seems like every week I get to Thursday and feel the week should be over. But there's always Friday to get through. That's probably not good. Today we have two fourth issues. One is the conclusion to a mini-series, the other is an ongoing series that is way behind schedule.

She-Hulk #4, by Rainbow Rowell (writer), Luca Maresca (artist), Rico Renzi (color artist), Joe Caramagna (letterer) - Ben looks like he's taking this more seriously than Jen.

We get a little glimpse of Jen's fight club thing with Titania until the Thing shows up, still seeking legal advice on the ticket for not having Lockjaw on a leash. We'll see if we get any more scenes with the fight club before the book ends. 

Ben's also sent a few friends Jen's way as clients, which is a problem since her boss wants no superhuman clients. So she'll see them on the sly. She talks with Reed Richards long enough to confirm being around Jack of Hearts hasn't messed with her gamma levels (without mentioning Jack's alive again.) After that, she and Jack get back to trying to piece together what happened to him. Jack at least remembers one thing from his escape that leads them a different part of New York. Then they drink bubble tea and discuss power, lack thereof, having two faces, until someone with heavy footsteps shows up looking for Jack.

So, a lot of talking, but not much plot advancement. That seems like a familiar comment. Rowell seems to be trying to help the audience care about Jack by emphasizing the contrast between he and Jen. Becoming She-Hulk ultimately hasn't disrupted Jen's life too terribly, at least from her perspective. She likes the power, the confidence. Maresca doesn't draw Jen in her un-Hulked form as a diminutive, shy person, but she does draw her clothes as loose enough that you can see Jen dresses to be ready to shift if needed. It's something Jen's used to and has learned to plan for. 

Jack had a relatively normal life, apparently studying poetry in college, and his powers wrecked all that. He spent, as he puts it, his 20s flying through space because he was afraid of vaporizing his friends. For him, the novelty of his powers wore off long ago. They've left him isolated, with almost no one he feels can trust or call friend. The opportunity to leave that behind is tempting, even if he's smart enough to know someone siphoning off his power is dangerous. The t-shirt with the big heart looks silly on him, but Jack isn't uncomfortable wearing it.

Maresca's artwork is similar enough to Antonio's there's no real whiplash. Maresca's line is maybe a bit rougher, there's more of sketch quality to it, but I'm also wondering if Maresca was a replacement artist and this was on a rush schedule. Renzi's color work helps maintain a consistent feel, too. I especially like the bleakly grey color scheme for the law office. It's almost like one of those cartoons where the technicolor character finds themselves in an older, black-and-white cartoon world. All these super-characters in what's supposed to be a serious legal profession.

Step by Bloody Step #4, by Si Spurrier (writer), Matias Bergara (artist), Matheus Lopes (color artist), Jim Campbell (letterer) - Ended up with the variant cover because the place I bought from didn't have the Bergara cover.

The giant is destroyed save for one gauntlet. The girl, however, can't get to him. That would be a step backward, and the world won't allow it. The father they befriended in issue 1 brings that gauntlet to her, and she continues on the path, finally reaching a tree growing from what's left of some column. Just like where the story started. There's a circular disc with instructions, but the lock is broken. She has to go back, but she can't, or can she?

Well, not alone, but the gauntlet can cleave through the force in her way, and also sends her back in time? Was not expecting that. So she walks until she's back to the fortress, to before the battle, when she was about to accept the champagne, and recombines with her earlier self. Instead of having a fun time at the party, she drags the prince off to the garden and uses a bit of her blood to get the plant growing and pulls a Poison Ivy on him. Then she saves the kid used as a decoy to lure out the giant, and then the giant saves them both and lets the goblins or whatever breach the walls of the fortress, take everything, and send the people within out naked into the wilderness.

After that, and a farewell to the family, all that's left is to finish the journey. Back to the tree, this time with the giant intact. Turn the lock, and the roles are reversed. The giant becomes the infant, the girl becomes the giant. Which someone causes the tree to bloom for a brief moment before the petals disperse. And the giant walks away, carrying the baby.

So there are things I don't entirely understand. Why they do this, what the purpose of the tree is. But I wonder if either the giant or the child know either, only that they have to do it. Presumably this has been going on for a while, not the girl's first time as the one being guided, but she didn't show any signs of remembering or understanding. So it stands to reason all the giant knew was that the girl had been the giant once, been protector on this journey, and then the roles reversed. So it isn't likely they could really explain it to us, either, even if Spurrier was doing expository dialogue here.

I like the layout where the girl springs her trap on the prince. Four tall, narrow panels descending across the page, focused on her, but panning slowly so that while the prince is focused on her in panel 3, he's missing that she's let her blood contact the plants in panel 4. Then the bottom of the page is a shot of a couple of rockets or flares signaling the battle's beginning, but we can just see leaves starting to break through the glass of the greenhouse. It's a nice bit for how things are happening relative to each other.

That and all the panels of her pushing her way back to the giant. All those short widescreen panels, done where it looks like the force is trying to tear her apart. Like she's walking into a firestorm.

Wednesday, July 13, 2022

What I Bought 7/8/2022 - Part 2

So, when was one of you going to tell me DC is planning to have a Sgt. Rock vs. zombies one-shot, written by Bruce friggin' Campbell, out in September? The one month I can't find DC's solicits anywhere and figure it doesn't matter, they drop that bombshell.

Anyway, here's two third issues.

Distorted #3, by Salvatore Vivenzio (writer), Gabriele Falzone (artist), Francesco Canneva (color assistant) - Gangs of children are running rampant! It's about time.

The issue starts with most of the sequence the previous issue ended with: Mason the cannibal killing that lady and her kid and eating the kid. Not sure why we needed to see that a second time, but this time we get a full-page spread of Mason sitting there, chomping on some part of the kid. Yay? I assume that was supposed to be the final page of the previous issue, which instead ended by reprinting the final page of the first issue. 

In other news, the folks trying to track down people with powers are starting to cross paths. Brennar the teleporter gets to some gamer guy in Seoul before Tom the telepath, but when Brennar tries to approach a kid with a Jamie Madrox power, he gets stomped. Tom has more luck. And in developments I barely care about, James and the weed connection guy - oh, they actually used his name in one panel, it's Murphy. Murphy the weed dealer - are trying to improve the control of their powers. Then James decides he wants to do a hold up and leave this podunk town. Possibly not in that order. Well at least he's (planning) to do something.

The weird printing errors are bugging me. James doesn't particularly interest me. I would like to have some idea what the person Brennar is working for is actually doing with these kids. He paid the guy in Seoul, who set the money aside. Do they get to come home, or did Brennar just trick him? What's Tom getting out of his arrangement that helps him? Because using his powers doesn't seem to do him much good. There's been little progress on that front, however.

West of Sundown #3, by Tim Seeley and Aaron Campbell (writers), Jim Terry (artist), Triona Farrell (colorist), Crank! (letterer) - I bought a copy with the cover of young Frankenstein all bundled up in his coat and dark glasses. Same reason as with Iron Cat: It was cheaper.

Dooley ain't dead, but the stiched-together man I suspect is Miss der Abend's grandfather and Kid Frankenstein are on the attack. Seeing as it's daylight out, she's at a bit of a disadvantage. More of one, since whatever passes for that guy's blood has silver in it. Doesn't it have to be blessed silver to make a difference, or does that just make it doubly effective? Either way, Dooley rides to the rescue, after hesitating to kill Kid Frankenstein, because he's still a kid.

With her room (and the soil she collected) no longer safe, there's no choice but to head back to the ranch. She's hurting (which Farrell shows with splotches of pink on der Abend's otherwise very white skin. Looks like someone hastily applied sunscreen, but in reverse), so that's where they gotta go. They might even have a stroke of luck because the religious weirdo living out there has come to town with his followers, asking about the ones who came to visit the night before.

I'm not sure exactly what's going on there. Mr. Manor, the former saloon owner, seems to have lost his wife (or sister) to the cult, but the way she doesn't even look his direction in the one panel we see, suggests maybe there's some mind control. The followers have no issue with attacking and killing the townsfolk when they tell the "reverend" to pound sand. Which makes me wonder if Dooley, having been bitten, is going to prove susceptible.

I doubt it, because I think Seeley and Campbell want Dooley in a clear mind so he has to make a choice. How devoted is he to his mistress? How far is he willing to keep going for her? And how far does her loyalty extend to him, especially if he keeps letting her enemies survive (or just fucking up and missing a point-blank shot at a guy the size of a horse)? Mister Manor opined that a lot of people who don't want to make choices, look for someone to tell them to do what they wanted to do anyway.

Did Dooley always want to kill people, or to largely not care about them? Given how eager he was to get out of the Civil War, I'm guessing no on the former, and maybe no on the latter. If so, then he's got to be wondering what he's doing helping a vampire kill people, even if he justifies it by them being bad people.

Tuesday, July 12, 2022

Project A

Alex stayed over last Friday, and while we didn't get much Crimson Skies in because he kept having motion sickness problems, we did finally watch Jackie Chan versus pirates!

Except, there's hardly any pirates for the first hour of the movie. Dragon (Jackie) is part of a coast guard that hasn't had much success even finding the pirates to try and stop them, and when their ships get blown up, the British colonel in charge of the colony dissolves their unit and incorporates them into the police. Dragon already annoyed both the captain in charge of the police with his insolence, and the captain's nephew who is put in charge of training them, so it's a tough sledding. Enough so Dragon gets fed up and quits when he's ordered to apologize to a businessman who's consorting with criminals. After kicking the criminal over a second-story balcony.

After that, he gets roped into helping an old friend of his (Sammo Hung) to recover some stolen rifles. Dragon thinks they're doing a good deed, but his friend just plans to sell them to the pirates. That causes some problems, but does eventually get them on course to actually fighting pirates.

The plot seems to meander up to then, or maybe it was just hard to hear what was going on. The sound on the DVD is set ridiculously low. I normally have my TV set around 20-25 to watch anything, but even at 50 I couldn't always tell what people were saying. There's a not even half-developed romantic sub-subplot between Dragon and a young lady that I think is there mostly as an attempt to inject extra comedy. The two of them trying to escape, and Dragon having to do all sorts of stuff to help her because she's such a delicate flower.

I don't think it was necessary, because Jackie and Sammo do such a good job on the comedy themselves. There's a whole running gag on the pirate's island about characters not recognizing each other and asking for passwords.

I am disappointed to report Jackie Chan does not fight any pirates on a ship. Which is a real missed opportunity. The amount of shit he could have done, swinging around on ropes or scrambling up masts? That said, the action sequences in this are excellent, even if Alex and I were once again left wondering how the hell Jackie Chan is still alive. He falls from a clock tower, through 2 cloth overhangs and then it looks like he breaks his neck hitting the ground. And he just, gets up.

That was the culmination of a lengthy fight/chase scene that involved Jackie and Sammo fighting a bunch of guys and each other across town, Jackie escaping the police captain's handcuffs and stealing his bicycle. Which leads into a bicycle chase through a series of narrow alleys where Jackie's grabbing random poles to use as lances. Or leaping off the bike over a ladder. Or planting his legs against the walls while gripping the handlebars and swinging the front tire into a guy's face. Then he escapes the captain's custody again, and ends up fighting inside the clocktower among all the gears and moving parts. Heck, the fight that culminates in Dragon leaving the police is guys seemingly just getting wrecked. Kicked down stairs, over railings to crash on the floor, pinned to the ceiling with hat racks.

So there were definitely things I would have liked more of in the movie, but what we got was pretty cool.

Monday, July 11, 2022

What I Bought 7/8/2022 - Part 1

Let's get to some comics from June! Yeah! We've got eight comics to discuss over the next week+ and they made it so easy to pair them up. Like today, we're looking at a couple of first issues of five-issue mini-series.

Agent of W.O.R.L.D.E. #1, by Deniz Camp (writer), Filya Bratukhin (artist), Jason Wordie (color artist), Hassan Otsmane-Elhaou (letterer) - I'm surprised he didn't shoot any of the robots in the green bubble with the eyeballs. Seems a logical target.

Philip works for W.O.R.L.D.E., and an agency that is supposed to only operate in wartime and capture or destroy 'destructive elements' (that's the D.E.). Except their motto is, 'it's always wartime,' so yeah. After keeping a different organization from getting their hands on a 25th Century super-genius (by killing them and the super-genius), he gets sent to Russia to deal with some Cold War scientist who's built himself a robot army/family. The issue is resolved, but Philip is obviously getting tired of doing this. Small wonder, since he has himself a secret family.

It's a matter of when Camp decides to have Philip try to make a clean break from the W.O.R.L.D.E. He's already established a rival agent that Philip will no doubt have to fight at some point, a Brit named Kilgore Kincaid who stole stuff from a weird pocket dimension, after killing the rest of his team. He's the one who embraces what he's asked to do without reservation, while Philip questions and feels bad about it, but ultimately still does it. As Kilgore notes, does that make them any different to the people they kill?

The art is very detailed. The designs of the robots, showing the rivets and different joints, but also the remains of the town that sat around the old Russian "science city". Bratukhin uses lots of little dots to shade or give things a sense of depth and texture. It works, but it's a little distracting that everyone has these dots scattered over their faces like an unfinished connect-the-dots. 

Also, I wonder if it's a style that necessarily matches the book. I don't think Camp is going for an absurdist take so much as just wanting to emphasize how weird the stuff Philip deals with is, but he does have Philip use a jetpack powered by, 'atmospheric emotional energy known as orgone.' So it's not entirely serious, either, so would the book benefit from a less detailed, more cartoonish style? I'll see how I feel after the next issue.

Iron Cat #1, by Jed MacKay (writer), Pere Perez (artist), Frank D'Armata (color artist), Ariana Maher (letterer) - I actually went with the Ron Lim variant because I could get a copy for a buck cheaper. I'm not paying $5 for a comic if I can avoid it.

Felicia's attempt to steal a diamond she's been after for a long time is interrupted. First, by Tony Stark calling to yell at her about stealing back the Iron Cat armor she used to threaten Odessa. Then by the person who actually stole the armor, who is trying to kill her. And it's a real problem, because Tony Stark can't help tinkering with things, so the armor is much more dangerous and better-armed than it was originally. 

Felicia's attempts to stay alive as she's chased across Manhattan are intercut with flashbacks to a previous attempt to steal the same diamond, when she and her then-girlfriend Tamara were both still apprenticing with the Black Fox. Perez uses a different shading style on those parts, and D'Armata goes with a softer coloring style. Not sepia-toned, but the contrasts are faded, lines are softer. It's a fond reminiscence, basically. 

Anyway, with the Fox still locked inside the Gilded Saint's vault, three guesses who's inside the armor? So Felicia's going to need some help, and since Tony Stark upgraded the suit because he has no better coping mechanism for his alcoholism, guess who's going to help. Although MacKay again seems to be shelving her bad luck abilities, because Felicia notes all she has going for her is a lot of rope and moxie. Which at least continues a trend from his second Black Cat volume, of Felicia not using the quantum probability doohickus when it's a personal matter. This does seem like a time to break that rule, and Felicia's a thief, she should love breaking rules.

I feel like it's been a while since I bought something Pere Perez drew. I was thinking the Stephanie Brown Batgirl, but it looks like it was when I bought the first two issues of the Rogue and Gambit mini-series 3+ years ago. Perez' work seems to have shifted to something closer to Sean Chen's now, especially in some of the postures characters take while moving. The faces are still more fluid and expressive than Chen's, less teeth-gritting, but it feels like Perez has continued to pare down his style. Less busy, but also maybe less exaggerated.

Sunday, July 10, 2022

Sunday Splash Page #226

 
"Edge of the Gweniverse," in Gwenpool Strikes Back #4, by Leah Williams and Christopher Hastings (writers), David Baldeon (artist), Jesus Aburtov (color artist), Joe Caramagna (letterer)

Mid-2019, a year-and-a-half after her ongoing series ended, Gwenpool got one last mini-series to allegedly determine whether she would continue to exist or not. Gwen, being meta-aware, knows her head's on the chopping block and undertakes a series of absurd actions to try and prove she's relevant and important and deserves to stay.

When trying to get radiation-based powers from Spider-Man fails, and smooching Reed Richards also fails, Gwen tricks a bunch of heroes into having a big fight on a beach in swimsuits. She'll beat them all and prove she's relevant! Gwen clearly ignored how that kind of logic ultimately didn't help Red Hulk once Jeph Loeb stopped writing him.

Williams writes Gwen different from Hastings (who only wrote one page in just this issue, where he appears as a cloud to talk to Gwen while she's running from Immortal Hulk). Less knowledgeable and excited, more desperate and just plain crazy. Which fits the story, at least. There are some funny gags out of it. Gwen defeats Hulk by ducking into an issue of Thor to steal his severed arm from Malekith, so she can grab Mjolnir with it and then hit the Hulk in the nuts with an uru hammer. Points for thinking outside the panel.

The end result is that Ms. Marvel, via the power of misguided compassion, retcons Gwen's origin so she's a mutant with reality-warping abilities who probably had a tragic experience when her powers manifested and suppressed the memories behind this whole "I'm from a world where you're comic characters," thing. It takes, and Gwen goes to Krakoa, where I don't think anyone has used her since. Except Googum in his strips, where she's running a comic shop. Wait, Krakoa's been status quo for 3 years?! Ugh. At least she should be safe with the resurrection protocols for when someone gets a good idea what to do with her.

Baldeon's doing most of the heavy lifting here with the fourth wall breaking gags and other humor. One panel nearly being filled with Gwen's purple speech balloon, only for Gwen to burst through it like the Sensational Character of 2016 while fleeing Deadpool. Gwen escaping the FF by startling Baldeon so he spills his coffee into the panel he's drawing and douses Reed and Sue. The Gwens using a panel border to trip the Hulk and disorient him.

And with that, we are done with the Gs! That's like 3 letters we've gotten through in the last year. Don't expect that to happen again any time soon.

Saturday, July 09, 2022

Saturday Splash Page #28

 
"Tales from the Collector's Storage Unit," in Wolverine and Jubilee #3, by Kathryn Immonen (writer), Phil Noto (artist), Clayton Cowles (letterer)

Hey, remember when Marvel had vampires attack the X-Men on their little island nation near San Francisco? No? Sure you do, it was when they made Dracula look more like a Final Fantasy villain. Anyway, point being, to show the event "mattered", there had to be a casualty. And lo, did Jubilation Lee become one of the blood-drinking undead. And there was much consternation. among the muckety-mucks on Utopia about whether Jubilee could be trusted.

Which is, as I recall the same issue X-23 was experiencing at the start of her first ongoing series. Mutant teenagers are surprisingly unfriendly and cliquish. Maybe not so surprising if I focus on the "teenager" part instead of the "mutant" part.

Anyway, the healing factor in Wolverine's blood for some reason blunts the vampire instincts or influence, so he's pretty much her keg, and her keeper. Which puts Jubilee in a rebellious mood. Noto's art is pretty good at capturing the mix of emotions Jubilee is dealing with. The despair and frustration especially. Both of which get her mixed up with some other vampire, which gets her banished to some weird space as a way to force Logan to do something for that vampire lady. There's a dragon involved, or at least something that looks like a dragon. I think the fact Logan and the audience are unclear on what this accomplished for the vampire lady is intentional on Immonen's part. Jubilee got used, and nobody's really sure to what purpose. But the whole experience lets her actually try to make decisions for herself and adjust to her new circumstances.

It's a little hard to parse what Logan's trying to accomplish. On the one hand, he's using his time-honored tradition of being an asshole until the teenage girl stands up for herself. Which does lead to an amusing bit where Jubilee threatens to hit him with his own motorcycle, but ends up just trashing it so he has to walk all the way home. On the other hand, when she does buck against the leash he's putting on her, he yells at her, drugs her, and drags her off to Siberia. But no one's ever said Logan's a good role model. Yet they keep putting him in charge of children.

Rockslide's in there as a supporting cast/comic relief person. I feel like Noto struggles to draw Rockslide. Kind of a reverse Greg Land, who is better when he has to draw things he can't photo-reference. The proportions are all off somehow, and while I imagine in real life a face made of rock wouldn't be terribly expressive, Noto's artwork doesn't lend itself to the liberties that would address that. 

Rockslide seems to want to help Jubilee, and occasionally says something profound, but mostly just acts like a moron and gets intimidated by Wolverine. I suppose he's just more obvious about the fact he really has no idea how to help her. Everyone's trying, but they're hampered because all their approaches are about minimizing risk or the level of threat Jubilee poses, not actually guiding her through this.

Friday, July 08, 2022

Random Back Issues #89 - Xero #9

We'll check back in on how that works out for "The Doctor".

One of the two issues of Xero drawn by Eduardo Barreto rather than ChrisCross, issue 9 is a waiting game. Level 0 "Closer" Xero (aka, super-awesome basketball player Trane Walker) is cooped up in an American Embassy in Bulgaria. A CIA section chief named Tony somehow became aware of Xero's existence and tried to use him to kill a weapons dealer named Draga. This is did not work, and now Xero's trying to kill Tony. But a) Tony's on American soil at the moment, and b) since Tony works for the government, there's a question of if Xero can kill him. That's being argued over by Xero's boss, Decker, the Attorney General, the Department of Justice, and the Central Intelligence Director.

The caption boxes use a series of abbreviations for those, but then there's a handy key at the bottom of the page. Since I think all this is a book Trane's brother is writing years after the fact, odd that he would take that approach.

So Xero waits, and Tony waits and they play golf, and Tony generally acts like a smug prick because he knows who the blonde white guy is, and why he's there. While Xero dreams about killing him and deals with a persistent headache. 

Back in the States, Xero's brother Tre is in the midst of a huge bender. He was sleeping with the local sheriff's daughter and she broke up with him, because she was tired of being unfaithful to her reverend boyfriend. Who is also one of Tre and Trane's teammates. And guess who has come to visit Tre and use the power of the Lord to free him from the evils of the demon liquor?

Rev notices one of Sabrina's jackets hanging in what Tre calls his 'shrine' to her. He's also been spritzing her perfume on his sheets, which Rev smells. Rather than resort to violence, Rev does something worse: He prays. Tre's not even worth throwing away his vows to God for. That can't be good for the ego.

Meanwhile, their other teammates, The Doctor and Twig ("The WhIte Guy") are involved in a charity street game of sorts. Twig is more than a little unnerved that the refs are wearing Kevlar and packing heat, and that there are an awful lot of boxes full of cash being toted around by other people with guns. The Doctor assures him that these are just friendly wagers and that their victory will get a bunch of local children some new sneakers. If they survive.

Through all the waiting, Xero has left a gap in the sensor net he established to make sure Tony didn't slip away, and it's centered on the foosball table. Once Tony finds it, Xero is sure Tony will ask him to play and try to kill him there. At which point Xero can kill him on grounds of self-defense. The moment comes, and Xero walks away instead, to continue reading Confederacy of Dunces and wait for confirmation to act. When he next speaks to Decker, Decker tells him it's his call.

Which Xero knows would never happen. The reason Draga got away from Xero is he's a 'techno-merc' who can hack the system that sends Xero information. This whole time Xero's been seeing Tony, he's really been sitting across from Draga, manipulating the information (the source of the headaches) and pretending to be Decker. Now Draga's gone, leaving Xero a taunting message that he'll see him in St. Louis.

Then the Embassy blows up. As for the charity basketball game? 

Well, The Doctor doesn't appear to have been lucky in love, but Twig gradually gets in the spirit of the game, flattening a guy grabbing his jersey. Doctor scores a winning bucket, then has a bullet go through his Afro and hit some other guy in the head. Time to, as the song says, take the money and run.

{12th longbox, 160th comic. Xero #9, by Christopher Priest (writer), Eduardo Barreto (artist), Jason Scott Jones (colorist), Willie Schubert (letterer)}

Thursday, July 07, 2022

The Polish Officer - Alan Furst

Alexander de Milja is a cartographer in the Polish military when the country is simultaneously invaded by the Nazis and the Soviets. As the situation rapidly grows worse, he's offered a position in the Polish intelligence services. The other option, if he prefers to fight directly, is to join forces on the front lines and try to hold back either of the invading armies.

de Milja joins the intelligence service. From there, Furst's novel follows the captain through about two years, to the early stages of the Nazis inevitable - yet shocking to the Soviets - invasion of the USSR. De Milja gets a variety of tasks, starting with getting the Polish gold reserve the hell out of Poland. He spends time in France, trying to gain intelligence on when the Nazis intend to try their invasion of England, and later, attempts to help the British waylay that.

Something Furst is careful about is not ascribing too much success to de Milja's efforts. Part of that is the point in World War II when the novel takes place. It would be hard to him to have some smashing breakthrough that entirely stymies the Nazis. In fact, de Milja doesn't seem to do well enough to satisfy his bosses, as he's eventually pulled from one position and put behind a desk. Maybe his best is when he's able to set off a small bomb on a cargo ship, which illuminates it sufficiently the British torpedo bombers can actually see what they're aiming at. His attempt to break a Polish soldier out of a prison is only a half-success. When he gets information that could lead to a precise strike on a critical group of Nazi pilots, the whole thing takes so long to set up it eventually falls apart.

There's a real sense that de Milja is doing his best, but this is not work to which he's suited, and his training seems insufficient. Certainly that's his feeling, but he isn't inclined to just walk away. I'm not entirely sure if he's a patriot, or simply doesn't see anything else to do. Everything else he had is gradually stripped away while he's preoccupied. He can't hold on to any of it, except whatever orders he's given. But that's what situation demands, that Poland use whoever they have, to the best of their abilities. They just have to hope it's enough.

The story doesn't focus solely on de Milja, as he interacts with several other operatives at various levels. Furst uses that as another window into the back-and-forth between countries. How the Nazis try to track down radio transmissions. The way Polish scientists devise bombs that can be attached to trains and set off by the vibrations of traveling over the tracks, making it hard for the Nazis to figure out what they hell is going on. The reasons why the Soviets are so much better at cracking their rings of operatives than the Nazis. I'll confess I don't know how accurate it all is, although it feels as though Furst did his research, but it makes for interesting reading. 

Furst has a good knack for turning a phrase. There's a line about Poland have a robust intelligence service, and that this has been a characteristic of small countries with big enemies for a very long time. Another about how the Nazis draw in men like the one whose identity de Milja's using at that moment (Furst is very clear to point out these identities aren't just pulled from the air. They were real people at one point, good or bad). The reader is carried along smoothly.

'De Milja stared at the ceiling above Genya's bed, picked over the evening, decided that he hadn't all that well. I'm a mapmaker, he thought. I can't do these other things, these deceptions. All he'd ever wanted was to show people the way home - now look what he'd become, the world's most completely lost man.'

Wednesday, July 06, 2022

Locked Away from the Sun

Humans are very good at making something that should be special, mundane. He supposed that could be considered a gift. To master something once undreamt of, to the extent it becomes tedious.

He wasn't a frequent flier. Not out of fear of being in the air. That was the high (heh) point. The problem was everything else involved in the process. But here was, in an airport again. Standing in line, again. First the line to get a boarding pass. Then the security check. The line to board the plane. The line to get off the plane. Repeat.

Maybe it was natural for that to be the most common pastime. Airports were built for endless lines. Long hallways lined with gates filled with uncomfortable chairs, overpriced restaurants and gift shops (he walked past a store and wondered who would decide an airport was a good place to buy shoes). Moving walkways laid out in parallel lines. The runways, all straight lines that intersect at specific points. Go here, turn here and only here.

Of course, nature can only be constrained so long, and humans are part of nature, for all some might insist otherwise. Like paving a river channel to lock water into a set path. The water will still swirl and eddy, find its own current. Sooner or later, it will burst free, and at any moment, that was the people inside the airport. Rushing here, there. Cutting in front of or weaving around each other. Chasing children distracted by something shiny. Walking into each other because they're too busy talking on their phones to pay attention to the person who stopped dead in the middle of the hall.

Sound rebounds at him from a dozen different angles. People on their phones two feet away, giving him a complete rundown of the adoption laws in the state alongside their family dysfunction. Reminders on the PA everyone should still be wearing masks, as he walks past a dozen people who aren't to every one that is. An attendant at the gate, in her best Marisa Tomei in My Cousin Vinny accent, reminding the passengers to put their bags in the overhead bins so everyone can board quickly. It's the third time in the last five minutes she's done that, so it must not be very effective. 

No matter which gate it is, it sounds like it's right beside him, making him think it's an announcement about his flight. On the way out his flight was delayed, then bounced from one gate to another, then to a third in a different terminal. Then he was bounced from the flight (for reasons that were not fully explained, gods keeping fire from mortals for, what, because they can) to a later flight in the first terminal. He can't take anything for granted in this labyrinth.

But it's not about his flight, not this time. He tries to blur it, reduce it to a drone and focus on his book while he waits, waits, waits. Just like he reduces all the people to light-and-dark shapes to navigate around while he gets from The Line At Point A to The Line At Point B.

The plane is here, at least. The pilot is not. Caught in traffic, they say. A different maze, but the same design, ultimately. He arrives, they dutifully board the metal tube. The open sky is just above, but the line of planes waiting their turn stretches to the end of the runway. It's like a joke, the path up just to the right, but out of reach. They wait, wait, wait, and then roll past the runway. Storms on the path. Not enough fuel to detour. Back to the gate. To refuel, they say. Another trick, a dead end in the labyrinth. The flight is canceled.

Off to the appointed desk to be re-booked. More standing in line. He reflects Odysseus, Hercules, Theseus, all those guys had it easy. At least a Minotaur is something concrete to fight. Time, or bureaucracy, which is just weaponized time, drag out the proceedings and hope your enemy keels over before you do, is a more difficult foe. He can't stab the lady at the computer, who surely does not enjoy people yelling at her about things beyond her control. But the practiced politeness as she explains there are no connecting flights, so his earliest opportunity is to sit in this airport another 23 hours, still burns like salt. There will be no hotel or food vouchers, because the flight was canceled due to weather.

Caveat Emptor is a polite way of saying, "Fuck you, buddy."

He walks away from the desk, new ticket in hand, feeling unutterably weary. 23 hours of listening to regular reminders not to leave bags unattended or they'll be searched and destroyed. He's rather fond of his shirts, can't have that. Also, don't accept packages from other people. Who would even do that, as he trudges aimlessly down a concourse? Just accept a box from some random person who walks up and asks you to hold it? Sure, it works for Bugs Bunny and Cleavon Little, but are there really that many Elmer Fudds and Mongos around?

Assuming, of course, that flight arrives on time. All around, the attendants are announcing delayed flights, which then become canceled flights. Always very apologetic, but always boiling down to the same thing: You're stuck here. The heavens are denied you. He suspects that if he stayed long enough, he'd get to watch the disintegration of civilization in miniature. He ran out of water a long time ago. Drinks are a minimum 4 bucks anywhere around here. Immortan Joe would fit right in. Sooner or later people would start killing one another to have enough money for a sandwich. On cue, he walks past the "diner" listing a $15 bowl of chili for an appetizer. There's no picture, but he'd bet the bowl is the size of a tea cup.

He ponders how it'll happen, if the breakdown occurs. Knives and guns are supposedly not allowed, but humans are creative. Life finds a way, as some putz who wore all-black clothing to a tropical island once noted. Batter someone with oversized carry-on luggage. Garrote them with a phone charging cord in the darkened alcove next to the drinking fountains (which they aren't supposed to use. He does anyway. Dehydration will kill him faster than COVID.) Turn some overpriced perfume and a lighter into a flamethrower, maybe. Can you bring lighters inside airports? He doesn't smoke, and hadn't anticipated the need to make fire, so he hadn't considered that when he packed.

He doesn't like to step outside his plans, but he's going to have to if he wants to escape without going mad. Find another airline, get a ticket. Cancel the other one. If there is a hell and he ends up there, he doesn't need a 23-hour dress rehearsal for the experience. Success, a flight was delayed, but that means it leaves in 2 hours. If it leaves. Take the gamble. Why not?

Through another security line. Every airport seems to have different rules about what to do with luggage. Put it in the same bin as everything else. Don't put it in a bin at all. This one says put the luggage in its own bin. They pat down one leg from the knee down. The right. He thought the left was the sinister leg.

To the gate. More waiting. The flight moves one gate down. Why? Who knows. He thinks of an ant, that sees a giant shadow that sometimes destroys its home and sometimes passes by. Does the ant grasp the reason why? The plane is there, the pilot is there, but still delays. Bureaucracy, or something with computers. Tickets not letting some people board. He'd like to slam the doors and tell the pilot to get them airborne, but he knows those people want to get where they're going, too. His internal civilization hasn't entirely disintegrated. He'd like a drink, but he'd settle for being in the air.

It's long past dark when they take off. Which means no view of the deep blue, almost violet, sky that's visible when the plane gets above the clouds in the daylight. He loves that. It's like sneaking into a special club, or getting a glimpse of something he's not meant to. This flight's not without its pleasures. The moon's a thin, waxing crescent to the south that he feels he hasn't seen in years. The stars don't look any brighter through the window, but they do seem closer. The cities are just clusters of lights below. He doesn't know which is which, nor does he care, and soon enough they're hidden beneath clouds.

The clouds turn to thunderheads. It's the first time he's seen lightning from above, bursting beneath them, briefly lighting up those dark shadows. Later still, less than forty minutes from the destination, they fly past a cloud shaped like a fat mushroom, the cap rising higher than them. Its interior is lit constantly by flicker strobes of lightning. There must be thunder, but he can't hear it over the roar of the engines. Does it sound different here, where it can't rebound off the ground and the buildings around him? Between the silence, the darkness, and the frequency of the lightning, he's watching a silent, black-and-white movie of Jupiter's upper atmosphere. Some intrepid astronomer in that giant bullet from the Jules Verne story. Missed hitting the Moon in the eye and ended up in the depths of the Solar System. Sending photos or reels of footage back through some ridiculous pneumatic tube system.

What would it be like if they were struck by the lightning? Could this plane make the descent through the storm? He enjoys the view, but wants to be home. Certainly it could. The fastest way to the ground is straight down. He might be a little sleep-deprived, he concludes as they land and taxi to a gate that seems miles away. Wait to disembark, impatience a woodpecker hammering away inside his skull with every person that can't manage to get their bag out of the overhead compartment. You got it up there, how hard is it to get down? It's not a Chinese finger trap, there's no trick.

Off the plane, out the doors, more waiting. Shuttle arrives. Why does the driver go past the doors for people arriving at the airport after the ones for people leaving? Another mystery. Back to the lot and the car. Still there, no flats. The water he left behind is lukewarm, but he drinks it down as he hits the road. It's the middle of the night and traffic is light. There's no more waiting on others, their rules or their screw-ups, he's in control. Let cars pass if they want, he'll pass when he needs to. Time is only a weapon now in that he needs to finish this drive before sleep wins out. As far as weapons go, that's a knife made of foam.

He's out of the maze, until the next time he needs into the air.

Tuesday, July 05, 2022

Evolving Animals - Wallace Arthur

Sitting in airports for hours on end does offer time to read. The book is a collection of roughly 10-page essays about biology, specifically animal biology, and where we stood in 2014, when the book was written. Broadly focused on evolution, Wallace takes a sensible, textbook approach to the organization of the chapters. The first chapter is simply titled, 'What is an animal?' Obviously if you're going to discuss them, it would be helpful to define what they are. This is also a good way to establish some basic terminology about cell parts of body structures.

Wallace is writing for, I believe the layperson, or maybe a biology major just getting started. While he does occasionally get into the weeds on terminology - such as a discussion of one use of the term "recapitulation" in biology versus another - he tries to limit the use of geologic period names and larger family and class names. He doesn't avoid them entirely - I had never even heard of the Lophotrochozoa. It's a name for a group of protostomes (meaning their mouth develops before their anus, primates are in the other category) that include annelids and molluscs.

There's a lot of discussion of work done sequencing genes or embryology, using them to determine how long ago two groups branched from each other. Wallace contrasts the conclusions drawn from that evidence with past conclusions drawn when biologists didn't have DNA evidence. Under the latter, annelids were considered to be close to arthropods, because both have segmented bodies. The more recent evidence suggests roundworms (like tapeworms) are closer to arthropods.

Some parts are more interesting than others. The final chapter, attempting to discuss consciousness, how it's defined, when it might have developed, was so theoretical it didn't engage me much. I was more interested in the idea of evolutionary novelties, like a jellyfish's stinging cells or a turtle's shell, and the idea of at what level does a development cease to be a novelty? At one point in time, jaws would have been considered a novelty, but now they aren't. I wonder if opposable thumbs count?

Something I was familiar with, but still enjoyed, was the chapter on, essentially, how it's easier to lose a structure or adaptation than it is to gain it. In the book, the example is of mammals that adapted back to an aquatic life from terrestrial. While whales, seals, and manatees all returned to the sea from different lineages (whales seem like they're from the same line that produced even-toed animals like hippos, manatees maybe share ancestors with elephants, and seals are closest to bears, apparently), they developed roughly similar body types, and manatees and whales' feet turned into a flattened tail. 

But while they regained some physical traits similar to fish (ancient fish being an ancestor to mammals), none of them have regained gills. Whales and dolphins developed a blowhole, but that's a modification of their existing respiratory system. Likewise, terrestrial snails developed from aquatic ancestors. Those terrestrial snails in some cases later developed into species to live in freshwater. None of those snails have developed gills either. An aquatic animal that develops from a terrestrial one might be able to recapture some morphology, but it seems like some structures are too complicated to get back once lost. Along those lines, I would imagine there aren't going to be species of snakes in the future that regain functional legs.

If evolutionary biology is something you have interest in, the book is worth a look. Wallace will also cite other biologists' work, which might focus more extensively on something you want to explore further.

'Perhaps more complex animals require not more genes but rather more complex patterns of gene-switching. In relation to this point, it is interesting to note a recent discovery made by American biologist Kevin Peterson and his colleagues. They studied a group of tiny molecules (called mico-RNAs) involved in gene-switching, and found that more complex animals had more families of micro-RNAs.'

Monday, July 04, 2022

Looking Into a Broken Mirror

 
This blog remains steadfast in its dedication to posting things on holidays that have little to no relevance to the holiday.

By J.D. Morvan (writer) and Huang-Jie Wei's (artist), Zaya is centered around the title character, a former agent for a covert, possibly criminal agency called Spiral. Zaya's pulled from retirement after six years to help capture some mysterious killer in a big puffy mechanical suit. The killer had plans of his own, things go sideways, Zaya and her sentient ship Lia have to make a quick departure through hyperspace. 

Things go wrong during that, they drift into some bubble/spore/globule looking thing, and when they emerge, nothing is right. Nobody in Spiral recognizes Lia. Her twin daughters are now her sister's children. The mysterious killer is their father, even though his corpse is in Zaya's ship. That leads to a reversal of the situation, where Zaya's now the one being pursued by him, as well as the rest of Spiral and agents of the government.

Zaya ultimately gets to make a choice and I suppose makes the same one she's been making since she was a kid. It's become part of her nature to sacrifice for her sister, and she remains true to that. It gives the story a conclusion, but it didn't feel much like one when I was reading. Had a, "is that it?" reaction. I guess Zaya's abandoned any notion of pulling a Sam Beckett and making that leap home.

Which is fine, no neat happy ending. The contrary part of me balks at her agreeing to help people who hunted her down on "research" into the mess that sent her there. There just aren't enough stories where people get those offers and tell the person to fuck off. Probably because those stories would end there, with a bullet in the head.

But Morvan established Zaya worked for Spiral to provide for her sister. They took advantage of her desperation and turned her into a killer. Even when they let her retire, they were still able to pull her back in the moment they needed her, the implicit threat that they could harm her sister or children. And it feels as though these government guys are the same. They're going to use her and Lia as guinea pigs, or else Zaya's probably going to jail or being dissected.

Best of a bad set of options.

Huang-Jie likes to add a lot of detail to machinery, especially under the surface. Ciegrim's special suit looks like a trash bag with hoses and a mask attached, but underneath are cables and wires coiling and twisting as they run up and through the limbs. It's the same for Lia. Her exterior resembles a warship, maybe an upside-down battleship. Inside is a more varied, sculpted look (which is interesting since Zaya became a sculptor after retiring, but isn't the one who designed Lia). When Zaya reformats Lia's mind to free her from monitoring, the representation goes from a solid black tower to this squirming mass of tentacles or worms. It's an organic look, with a Ghost in the Shell influence to the art.

Or maybe that's just because Zaya looks a fair bit like Major Kusanagi. The people are more of a mixed bag. Huang-Jie's very good at drawing clothing and how it hangs on the body. Even the stuff that's closer to skintight still bunches or folds in places as it contours. But characters often have blank expressions, or ones that don't seem to match the dialogue. Although that's being translated, so maybe that's on the dialogue. There's also some unusual angles for some of the panels, extreme perspectives where the reader is seemingly looking straight up at someone or something, or just things look oddly proportioned from the angle. It's not bad or even necessarily distracting, just something I noticed.

I don't know if I actually like this or not. I went in expecting more focus to be on Zaya trying to hunt down and capture Siegim, so the fact that was ultimately incidental - really, not even something she was trying to do - threw me. And I'm not sure what Morvan was driving at here. In this other reality, Siegim has the life Zaya had. He was part of Spiral in her reality, but became angry and turned on them. Is that what happened to her here, or did she never exist at all? Is it what could have happened to her if she didn't get pregnant, wasn't able to get out temporarily? Or is all that not really important to the story?

On the other hand, it's a beautiful book. The amount of detail in the settings, the way Huang-Jie depicts fire, I'm not sure I'd ever seen it drawn as intertwining swirls of black and red. Clouds or smoke are fluffy, but shaded in a way that gives them more weight than most artists manage. So reading this had value from that perspective, certainly.

Sunday, July 03, 2022

Sunday Splash Page #225

 
"They're Sagittarius, Actually," in Gundam Wing: Battlefield of Pacifists, by Koichi Tokita (artist), Hajime Yadate and Yoshiyuki Tomino (creators), Katsuhiko Chiba (scenario)

I've discussed before that Dragon Ball Z on Cartoon Network's Toonami block was the first anime I watched that a) I really was a fan of, and b) I actually knew was a cartoon from Japan. I don't think Gundam Wing was the second, because I think Toonami started showing the various Tenchi Muyo! series first, but it was definitely the third.

It's not part of the main Gundam timeline, with I don't know how many series and movies set within it. Rather, it's off in its own distinct timeline, which has its appeal. I don't have to worry that I haven't seen a bunch of other series that preceded it. I think means Gundam Wing is the Gundam version of Marvel's Ultimate Universe.

From what I remember reading, it wasn't popular in Japan because all the teenage pilots were considered to be too pretty. I don't know if that means it wasn't popular at all, or wasn't popular with the traditional/entrenched/hardcore Gundam fans. I'm thinking the equivalent of the American comic fans who complain about replacing a white guy superhero with a black woman or a teenager.

There's been a few mangas based on it, and I owned three. Episode Zero was a prequel, looking at each of the pilots as children and explaining a few things about their backstories. Why Duo refers to himself as a "God of Death", why Trowa was running around using the name of a dead son of an important family.

The other two, Blind Target and Battlefield of Pacifists were set between the anime and the Endless Waltz movie, and focused on the difficulties of moving into a new era. There are people in the colonies (satellites out in space) who doubt that the Earth is really going to treat them as equals rather than servants. There are those who profit from that sort of mistrust continuing. And there are those who want to be the ones holding the reins. So the pilots have to find their way through a changing world like everyone else. Question why they fought and whether they're done fighting. What the Gundams were meant to represent.

So the stories have a mix of ideologies and goals that make for interesting conversations. I feel like my imagination - or maybe my memory of the anime - is doing a lot of the work for the art. Koichi Tokita can convey the movement in combat, and sometimes the force, but I don't think the art carries the sense of size and power. That these are dangerous weapons that people covet because they could tilt the balance, upset the fragile state of things at the moment.

Saturday, July 02, 2022

Saturday Splash Page #27

 
"Looks Painful," in Wolverine (vol. 1) #75, by Larry Hama (writer), Adam Kubert (penciler), Mark Farmer, Dan Green, and Mark Pennington (inkers), Steve Buccellato (colorist), Pat Brosseau (letterer)

Ah, Wolverine. I liked this character so much when I was younger. He gave Cyclops a lot of grief, which is always a plus. He was OK with being violent, which was very appealing to me at certain agres. For someone who was also into Ninja Turtles and Power Rangers and thought swords and weapons like that were cool, the character who came with his own set of swords, in his fists, was very cool.

I think the earliest issue of his book I owned was #29, because the cover looks familiar. I can't remember a thing about the story, other than I think there's a conversation around a campfire. Beyond that, I grabbed scattered issues here and there over the years. The one above, where we learn Logan had bone claws beneath the adamantium all along. Issue #50, with the cover that had the 3 jagged tears (actual tears, not ones that were drawn on there) so you could see part of what was supposed to be a personnel file underneath. Part of a story where Joe Fixit Hulk comes to Madripoor. The Acts of Vengeance tie-ins by the Archie Goodwin, John Byrne, Klaus Janson team.

I did buy Wolverine monthly for a long time, starting probably in late 2000. Roughly when Frank Tieri started writing it. That wasn't why, I didn't know Tieri's work, just coincidence. Sean Chen drew a lot of those issues, and some of them were OK stories. There's big throwdown with Sabretooth when Logan's healing factor is on the fritz that also answers his questions about what memories Weapon X took from him (the answer: none). A team-up with Alpha Flight that wasn't too bad. There was a knock-off Bloodsport arc that I enjoyed at the time, but looking back, pointlessly killed some minor villain types to no real purpose. Which would have been a waste if, you know, anyone at Marvel paid attention to who was dead or not.

Suffice it to say, none of it has retained a place in my collection.

I bought it all the way until that volume ended, and then continued on into the new volume that started almost immediately after. Through Greg Rucka's run with Darick Robertson, on into Millar and Romita Jr.'s stretch, and finally bailed out during Daniel Way's story that introduced the notion Logan had a son (who turned out to be Daken) he'd forgotten about, whose mother was killed by Winter Soldier. Way's run felt pointless. Millar's was his usually BIG ACTION, Michael Bayesque spectacle. Enjoyable on its own, but no weight to it. I know, would I expect different from Millar? Not now, but I didn't know any better then.

Rucka's run, at least the first 12 issues, hung on the longest. Ultimately I didn't care about the FBI agent he introduced as a temporary love interest (who seemed pretty much like every female character Rucka writes), or yet another story about Logan questioning his humanity because he just finished killing a shitload of people in another berserker fury. Especially since Logan doesn't stop killing shitloads of people, which kind of undercuts his concerns. Either make peace with it or stop doing it.

Friday, July 01, 2022

Random Back Issues #88 - Dynamo 5 #23

That's what you said when you wouldn't stop at McDonald's last week.

Last time we looked at an issue of Dynamo 5, most of the team had packed up and gone home, leaving a hodgepodge of Faeber's other characters to fill the gap. The whole team is back now, but things aren't going much better.

Maddie was investigating the disappearance of a friend's husband, only to find he and five other scientists put their brains on an android body and started calling themselves Brain Trust. The ensuing fight wasn't going well, so team shapeshifter Myriad injected himself with an extra dose of a drug he'd been taking to boost his speed, strength and reflexes. Unfortunately, this version of super-soldier serum turned him into a version of Whiptail, a Lizard-type foe the team fought before.

Even worse, people all over town who were using the drug are also turning into Whiptails. Lizard-man epidemic! Also, no help from the authorities. In fact, Maddie orders half the team, Visionary and Slingshot, to go help the authorities. 

While Scrap and Scatterbrain try to contain their teammate, Maddie makes a pitch to Brain Trust. They use their knowhow to devise an antidote and it'll help protect the loved ones some of them probably have in Tower City. Considering last issue's attempt to get these guys to surrender by threatening their original bodies didn't work, this seems like a faulty plan. So Maddie also agrees to let them just go, as long as they get out of Tower City. Scrap and Scatterbrain object, and Maddie does what she usually does when someone disagrees - tells them to shut up and does what she pleases. She's Asshole Batman, basically, if he was a middle-aged secret agent/reporter.

Fortunately, Brain Trust are not smart enough to recognize they could just leave now, and Maddie and the team are too occupied to stop them. Antidote created, antidote applied, everyone's back to normal. Brain Trust leaves, the husband Maddie was looking for asking her to tell his wife he loved her. Maddie tells him to just leave. Curious how she's going to explain all this to her friend. They try going up the ladder to the source of the drug, but he was working with the head of the covert agency Maddie used to work for, and got tipped off. Bad guys getting away all over the place.

Leaving time for an uncomfortable conversation between Myriad and the others about why he took the drugs. Basically, he felt he had the lame powers and needed a way to keep up. Slingshot points out the last time they found out Myriad was keeping a secret, he said it was because he wasn't used to having people to confide in. Well, yeah, that sort of ingrained behavior doesn't just vanish overnight. Especially since, as I recall, the team didn't take finding out Myriad's momma was also an alien all that well.

In "subplots which are about to become plot," Captain Dynamo's other daughter (via one of his arch-foes), Synergy, has brought a special gun she stole from that covert agency to a guy she's staying with. The guy turns out to be Maddie's estranged son.

Everyone in this comic is a lousy parent. It's like reading X-Men!

{4th longbox, 42nd comic. Dynamo 5 #23, by Jay Faerber (writer), Matteo Scalera and Mahmud A. Asrar (artists), Ron Riley (colorist), Charles Pritchett (letterer)}