Thursday, June 09, 2022

Forget Kathmandu - Manjushree Thapa

In June of 2001, much of the royal family of Nepal was killed, allegedly by the Crown Prince, who also apparently shot himself after committing these murders. He had a brief reign (less than 12 hours) as a comatose king before he died and his uncle, Gyanendra Bir Bikram Shad, ascended to the throne. 

Manjushree Thapa was a writer living in Kathmandu at the time, and the book is largely about his impressions and observations of his country during all this. With the government very quickly disposing of the bodies, the investigation seeming terribly truncated, the political parties doing little to nothing, and the rise of a Maoist political movement/armed insurgency in the rural regions, things are uncertain.

After describing the regicide and the immediate fallout, Thapa delves into Nepal's history. How they Shah family had risen to power, in the 1700s, although given the high mortality rate, power tended to reside in the hands of regents, and later, in the hands of various mukhtiyar, who seem to be an kind of chief advisor. Activists in Nepal had been trying to make democracy work since the 1930s, even managing a brief stretch in the late 1950s before the king reasserted control. In the 1990s, it seemed as though they finally succeeded, and no this. A king who seemed willing to let the National Congress make decisions, dead under suspicious circumstances.

Thapa's very good at capturing how the uncertainty permeates his thoughts and those of his friends and acquaintances. Conspiracy theories run rampant, people feel adrift and unsure about what's going on or what to do. As the first the police, then the army battle against the Maoist group continues, nobody is sure how it's going. Can they trust what their government says about the situation? Are the rumors of atrocities by the military true? What does it say about the government the Maoists appear to have that much support in the hinterlands?

The last third of the book is Thapa's attempt to find out. He and a friend who's a British human rights activist trek into west Nepal during a cease fire. It actually seems as much a desire on Thapa's part to break out of the malaise he feels himself trapped in. He's stopped writing fiction and is trying to report on more real life events. Trying to feel like he's doing something about the current situation. That section is partially a travelogue as Thapa and Malcom get repeatedly frustrated by the porters they hire and grouse about the food and sleeping conditions (even though they mostly seem to stay the homes of people who just agree to take them in). 

But they also talk to a lot of people, both Maoists and not, and it presents an interesting picture. People don't seem to love the Maoists, but they prefer them to the military. Thapa doesn't hear much about the atrocities the Maoists are alleged to have committed, but he gets a lot of people corroborating the stories about the military. But he also sees the disconnect between what the insurgency is selling and what it's actually giving. For all it claims that women are a huge and equal part of the movement, Thapa doesn't encounter much proof. There are women, but mostly teenage girls. Some get to fight, a lot of them get stuck doing the same housekeeping tasks they would perform for their families. He never meets a single woman in a real leadership position. Maybe he was in the wrong district for that, but it does a lot to show how lousy things are for people in that region that the Maoists are a preferable alternative.

Thapa's not a journalist or historian by trade, and it shows in the writing. He openly admits there are questions he would like to ask that he doesn't for fear of kicking a hornet's nest. He's aware that the education he received growing up on the history of his nation was rather sparse, and his trip to the history museum doesn't seem to help much, but it's not clear where he gets the information he does refer to when he's discussing Nepal's political history. There's no citations or bibliography, and since I knew next to nothing about Nepal prior to this, I have no idea how accurate his version is. But the book still does a good job painting the difficulties involved in achieving democracy. How it goes in fits and starts and how, when things go poorly, people start yearning for the "great man" to take control and make it all better. Reading this, there were more unsettling parallels between Nepal in the late 1990s-early 2000s and the United States recently than I found comfortable. 

History: Reminding you that everything terrible has happened before, and will likely happen again!

'Militaries were still rising: What was a mere thinker to do? To set right all that was wrong, one needed to do more than attend a few meetings, deliver eloquent lectures, sign a few petitions, march in peace rallies. Was the intelligentsia prepared to make a real difference?

The answer was, 'Not without the leadership of our political parties.'

But the political parties were still dithering.'

Tuesday, June 07, 2022

My Darling Clementine

The old story of the Earps cleaning up Tombstone with Doc Holliday, with Henry Fonda as Wyatt and Victor Mature as Doc Holliday. But hey, Walter Brennan as the Clanton patriarch. Which gave my dad and I plenty of excuse to use/abuse quotes from Support Your Local Sheriff!

At least in this version, the actual struggle between the Earps and the Clantons is almost background noise. The Clantons kill the youngest Earp and rustle their cattle, prompting Wyatt to accept the marshal position, but for a long stretch after that, there's nothing happening. Wyatt seems to be spending more time investigating Holliday, or more specifically, Holliday's ex, Clementine Carter who shows up looking for Doc.

The movie seems more interested on the love quadrangle with Wyatt, Clementine, Doc, and Doc's current lady, the tavern singer Chihuahua (Linda Darnell). The latter's actually the one I feel worst for, because she seems to love Doc, but he treats her pretty lousy. Presumably he thinks she's all a man like him deserves, unlike Clementine, the pretty white nurse, but he just jerks Chihuahua around. Promises to marry her, then bails on her. Maybe that's him trying to protect her the same way he tells Clementine to go back East, but it plays more like Doc's just being an asshole.

Probably because that's how Mature plays him. The first time Doc shows up, he interrupts a card game Wyatt's in to tell the guy doing the best that he better leave town. Out the back door, because the front is for women and gentleman, even though Holliday used it and he's neither. That's pretty much Doc's pattern, bullying or trying to bully anyone he takes a notion out of his own self-loathing. It's hard to feel bad for him when Chihuahua inadvertently implicates him in a murder because she's pissed at how he treats her like some consolation prize he doesn't even really want. Which might be why John Ford doesn't let Holliday survive the gunfight.

The climactic gunfight plays out rather oddly. Ford almost takes an approach I would have expected from a Sergio Leone movie. There's a lot of time spent on the slow approach of the Earps and Holliday to the corral, the way they use cover as the Clantons wait at the corral gates. The sound of the approaching wagon that plays a role when the first shots are fired. It's a lengthy set-up, but the actual fight is over in a minute or so. Once people start shooting, there's not a lot of misses. The most surprising twist is Wyatt letting the elder Clanton leave, so he can experience what the Earps' father has felt, losing two sons. It's not a merciful gift, and Clanton knows it, but I was not expecting that.

Monday, June 06, 2022

Race Your Ghosts

Genghis Con is, I'm not sure what it's trying to be, exactly. 

It revolves around twin sisters. Alexis is the con artist, the liar, the slick talker always getting herself into trouble. Abby's the one who traditionally gets Alexis out of trouble, but they've been on the outs for an undetermined amount of time. Abby gets hospitalized, seemingly because Alexis told a lie she shouldn't have, right as Abby and her boyfriend/partner Ralph were going to try and win some big money in a cross-continental underground rally race. Think the big rally race in the Speed Racer movie, but with a distressing lack of beehive catapults. Abby was the navigator, had the whole trip planned out, but the only one who can read her handwriting. . .is Alexis. And since they're twins, in theory no one will realize it's not Abby.

Writers Oliver Ho and Daniel Reynolds have something there about two sisters trying to bridge a divide. This is complicated by the fact Abby's in a coma for 95% of the story. So most of the bridging if on Alexis' end. And she's mostly doing that by trying to win this thing with Abby's directions, while working with a guy she can't stand (who she slept with behind Abby's back.) And there's something about Alexis trying to use her knack for fast talk to an unselfish end, to the extent winning an illegal rally race because Ralph is deep in debt to people it doesn't pay to be in debt to.

But there's also an entire subplot about the guy Ralph is in debt to, some crime boss named Red Sweeney. The lie Alexis told involved him, but he keeps popping up as this guy who is, I guess behaving in an unseemly manner? He places large bets on Ralph and Alexis to win, daring the other bettors to risk parts of their territories, which seems to be a faux pas. He also starts hiring people to shoot up the other race teams. Things don't end well for him, but I'm not sure what the point is. Like all would-be great men, he tried to reach too far and got brought down? But that would include the Mongol Empire, and Alexis never talks about them being beaten back eventually.

As you might guess from the title, a lot about Genghis Khan in here. The girls' father told them they were descended from him, and so Alexis' internal narration is peppered with little anecdotes about Genghis Khan. Chris Peterson (artist) and Ruth Redmond (colorist) will add these lavender spectral Mongols to the panels. Sometimes on horseback, riding towards Alexis on alongside the car. Sometimes just looming in the room. 

Redmond's colors are mostly muted (although it also feels like the printing smudges the art and colors sometimes) and Peterson's art is cartoony while keeping his characters looking realistic. I can see actual people looking like Alexis or Ralph or the rival team's wrestling fan navigator, even if the art is nothing close to photo-realistic. Point being, the big lavender ghosts tend to stand out, even if Redmond doesn't go for a bright shade, simply by virtue of being a decidedly unusual thing.

Mostly, they seem to pop up when Alexis is angry. Whether that's because Abby's hurt, or some guy she's trying to scam is giving her the runaround. Which is odd, because Alexis' anger seems uncontrolled and wild, while most of her little stories about Genghis Khan suggest he was thinking when he acted. Even the story about him killing his friend is framed as him having decided there's really no percentage in being a companion to this guy when he could be the boss instead. That's forethought, while Alexis' whole deal is she just shoots her mouth off without ever giving any thought to the potential consequences. Sure, say you stole a car from a notorious gangster, what could possibly go wrong?

Maybe the point is Alexis has been embracing the worst aspects - the anger, turning against people she cares about - and she's gradually coming of it. Ralph doesn't come out of it, he's able to justify any decision he made, or make it somebody else's fault. All that matters is winning. Same with Red Sweeney, same with wrestling fan rival navigator guy (his name's Clint, but did you actually care?) Clint's driver doesn't want to win that way, so they have a falling out and she doesn't get caught in the whirlwind of Alexis' revenge against Ralph. 

That seems like a point about how you win being important, which is actually true to Genghis Khan's rules. His generals were supposed to win with the least loss of life among their men. Victory at the cost of major casualties were not victories. But that's not something Alexis ever mentions, it's something I remember from Jack Weatherford's book on Genghis Khan I read 7 years ago.

Sunday, June 05, 2022

Sunday Splash Page #221

 
"Interstellar Angry Birds," in Guardians of the Galaxy (vol. 1) #11, by Jim Valentino (writer/penciler), Steve Montano (inker), Evelyn Stein (colorist), Ken Lopez (letter)

The original Guardians of the Galaxy premiered in 1969, which is further back than I expected. I was figuring mid-1970s. Based on a quote from Roy Thomas on Wikipedia, it sounds like they were originally Red Dawn, The Comic Book, before Arnold Drake and/or Stan Lee revamped them into a sci-fi adventure in the future. The team bounced around as guest stars in a bunch of books through the 1970s, becoming sort of a go-to destination for time-traveling Marvel heroes, and also had a brief stint with Marvel Presents as their own book.

It wasn't until 1990, however, they got an ongoing series bearing their name, with future Image co-founder Jim Valentino as writer/artist. At least until he asked his editor if he could switch to just being writer (because he was busy co-founding Image) and got the boot entirely after issue 29. From there on, Michael Gallagher wrote the book, with the Kevin West/Steve Montano art team covering almost every issue.

The Guardians succeeded in freeing Earth from the Badoon's control at some point previously, so the book took an approach focused on them roaming the galaxy and getting mixed up in different problems. Most of those problems were connected to things from the 20th Century Marvel Universe, in what was surely a remarkable coincidence. Searching for Captain America's shield, finding the world most of the mutants colonized. That would be that world getting destroyed up there. Ooops. Don't worry, the inhabitants got transported safely elsewhere.

A remarkable amount of people from the 20th Century survived to the 30th. Some made certain amounts of sense - Vision becoming a vast mainframe, Dr. Strange becoming the Ancient One for the new Sorcerer Supreme, who I think was a snakelike alien, Mephisto - others, not so much. Like Dr. Doom's spirit somehow inhabiting Wolverine's skeleton. Not his whole body, just the adamantium skeleton, walking around like a chromed-up fugitive from Army of Darkness.

I don't know enough about the earlier Guardians' stories to really compare, but Valentino seemed to ramp up the hostility between Starhawk and his wife Aleta, when he wasn't doing some weird thing where they kind of inhabited the same body and each kept trying to take control. The team also had more and more trouble accepting Starhawk's "I'm the One Who Knows," mysterious bullcrap. Vance Astro calmed down and eventually became a leader. Must be something about Captain America's shield.

The biggest problem I see with the book, based on reading maybe half of the series, is the team often feels almost incidental to the story. A team losing a lot isn't necessarily a deal-breaker; the X-Men got their asses kicked a fair amount in Claremont's run, seems like sometimes all the Wolfman/Perez Teen Titans did was lose. The Guardians don't lose an unreasonable amount, but it often feels like they have as much importance to the final outcome as a piece of lawn furniture.

They fight a group of invading aliens called the Stark (who yes, based their entire culture around a starship full of Tony Stark's stuff that landed on their world) and Firelord shows up to help. The Phoenix handles things with the planet of mutants. Galactus runs afoul of a seriously amped up Silver Surfer. They keep getting thrown in the deep end without being able to actually swim. I'm not sure it ever improves much, even after Martinex forms a second team of more powerful characters like Firelord and the new Phoenix (and Wonder Man, now calling himself Hollywood. Yeesh.)

The book ran 62 issues, plus a 4-issue Galactic Guardians mini-series before being put to bed. And for over a decade, that would be it for the Guardians of the Galaxy. Nobody wanted to play in the future, so they had to bring the concept to the present.

Saturday, June 04, 2022

Saturday Splash Page #23

 
"Undead Letter Day," in Wynonna Earp: Home on the Strange #1, by Beau Smith (writer), Carlos Ferreira (penciler), Silvio Spotti (inker), Salvatore Aiala (colorist), Robbie Robbins (letterer)

When Beau Smith returned to the Wynonna Earp character in 2003, with the 3-issue Home on the Strange, he took a slightly different approach. A little more humor, like Wynonna kicking clean through a zombie's chest, but getting her boot stuck. Or the hillbilly gremlins that do mid-air sabotage for hire. There's less Nineties excess. Ferreira gave her a look tilted more towards a Western with the boots, the hip holsters. OK, the leather bomber jacket's got nothing to do with Westerns, but it's a process. She's wearing actual pants and most of a shirt now!

This mini-series gives Wynonna a supporting cast, expands the branch of the government she works for a bit. It also involves the introduction of Beau Smith's self-insert character, Smitty, who is for Wynonna what Q is for Bond. Except really buff and he basically only gives her different kinds of guns. He's also dating a very attractive brunette whose name is Holly Day and my face is twisted into a painful grimace as I type that. But it's knowingly silly, rather than demanding to be taken seriously, for what that's worth.

The story itself is mostly concerned with exploring the significance of Wynonna being an Earp, something that was only briefly alluded to in one panel of the original series. In this case, the Clantons turn out to be immortal, at least as long as there's no true Earp running around. They thought that was settled when Wyatt keeled over, but he fathered a kid with an actress and Wynonna's descended from her. For some reason, as she gets older and stronger, their immortality goes down the toilet. So they gotta kill her.

I don't think that's ever exactly explained, other than some strange vague mention of cosmic balance. Which also explains how the Clantons and their guys never managed to kill Wyatt, no matter how many bullets they sent his way.

The showdown ends in a mystically restored Tombstone, at the O.K. Corral, naturally. Though there's a lot of automatic weapons and guns firing diamainium razor discs to cut off people's heads. One guy gets shot in the back of the head and it goes flying off his shoulders. Look, I said less Nineties' excess, not none, and the expression on the guy's face makes me think it's not supposed to be entirely serious, either.

Friday, June 03, 2022

What I Bought 5/28/2022 - Part 3

Seemed appropriate to give the title wrapping up its own post. In the meantime, I'm off to try and help my dad with some errands, so expect reviews of old movies to start showing up in the near future.

The Rush #6, by Si Spurrier (writer), Nathan Gooden (artist), Addison Duke (colorist), Hassan Otsmane-Elhaou (letterer) - Does his gun shoot spiders? That would either be very cool, or extremely terrifying.

Caleb, Nettie's son, is the "Carrion Kid," and while he can, explains how he became this creature. Gooden does an excellent job of shifting Caleb between terrifying and pitiful without really changing his overall form. All the more because it depends on whether Caleb remembers who he is at any given moment. 

The land calls to people, what they're obsessed by, and twists them accordingly. But the Mountie, LaPointe, he understands a new set of rules. Possession, ownership, deeds, property. And that keeps the magic of the valley out of the town. Unless someone breaks the seal. Again, it's a nice touch. The idea that no one "owned" the land until LaPointe and these others folks showed and said they did. They can try to impose their rules on the land, and it may even work for a time, but it's weak magic in a sense. 

Maybe the people in Brokehoof even know it. For LaPointe's confidence, for the fact the beings (colored a sort of faded neon green and pink, which is kind of unsettling against the otherwise mundane colors Duke uses) sent to the town stand impotent at its boundaries even after he lights them on fire, the townsfolk don't go about their business. They stand there and watch. Like they know how easily this could shift. All it takes is one person deciding they're done with that shit to upend it.

Seeing Nettie had to grant her son release from this prison with a rock to his skull, it is fair to say she's done with that shit. More than willing to offer her life to the Pale, to give it the strength to end this. But that's not how it goes. This whole series, Nettie has been safe from the threats, been immune to the traps of the valley, because she's not operating on the same wavelength as everyone else. So it fits that she can't offer her life. There's also probably something about not allowing grief and loss to consume you, but I'm less steady on that as a theme, seeing as M.P. seems to have succumbed to that at the end.

It might actually be more in line with the theme of the sacrifices a parent makes. Nettie wants to put everything down, but she can't. She has to be there to the end to see it through. M.P. could probably upend the boundary marker, but only if he could avoid being killed by the Pale or the zombie things. Since he's infected with the obsession much like the rest of the townsfolk, I'm not sure he could.

Brokehoof is razed to the ground. LaPointe is dragged down to the site of his initial crime to pay the toll he owes and things return to some sort of normal. When I say that, I don't know if "normal" means the land will still pull people towards it by their obsessions, or if that was broken at the end as well. I'm thinking not.

I need to think a bit on the difference between M.P. and Nettie. M.P. has known his love's been dead six years, yet keeps up the lie. Is it because he was using it as an excuse to keep hunting gold, or is the difference Nettie truly believed Caleb was still alive until the moment she had to end his life herself? Nettie truly did just want to find Caleb and take him home, while M.P. may have truly wanted to gold at first to build a life with his beloved Hennie, but that ceased to be the real reason when she did. At heart, he was just as obsessed with the gold as everyone else, and that love had gone away somewhere along the line?

Wednesday, June 01, 2022

What I Bought 5/28/2022 - Part 2

Welcome to June, where the weather is actually cooler than it was the last few days of May. I can never decide if I'd rather have the more worse weather on the weekends, when I don't necessarily have to do anything, or during the work week, when I wouldn't be out having fun anyway, but I have to at least get up and go to work.

Lead City #3, by Eric Borden (writer), Kyle Brummond (artist) - The cover is an assortment of panels from the interior of the comic, so I don't see the need to say anything else about it.

It's an issue of fighting and killing. Colman had a bead on Dolores from the high ground, but goes after Kavinder Singh instead. He doesn't kill him, either, which seems like a deliberate choice. Borden has him note he's down to his last shot, and then Colman shoots Kavinder in the foot. Doesn't seem to slow the guy down much, as he catches up to Colman while he's talking with Leslie Sharp (already dying from getting gutshot by Dolores last issue) and Kavinder cuts Sharp open like a hog he's slaughtering.

I still think Colman's making it out of this somehow, but it's getting harder to see how. He doesn't seem on board with the killing. When Sharp dies, Brummond draws a reaction panel for Colman where he has these wide eyes that made me laugh. Like he didn't think this tournament of death was going to involve people actually dying.

The rest of the issue is given to a fight between Jiao Long and Major "Reb Stalker" Walker, the latter of whom speaks to a doll he carries around. It's the classic, "skilled little man vs. incredibly strong big man," fight. Borden and Brummond manage to keep it interesting, with the advantage swinging from one to the other. Jiao tries strangling Walker at one point, and seems to have it cinched, but his foot slips, he loses his leverage and things shift. But then Walker can't seem to actually hit him. Back-and-forth. 

Walker also tells Jiao someone tried lynching him already and Brummond draws his neck as being this impossibly thick mass with veins (or tendons?) bulging out of it. Kind of an odd choice, rather than going with the classic rope scar signifier. Unless the point was they couldn't lynch him because his neck is so powerful.

With one issue to go, there's still four contestants standing.

Moon Knight #11, by Jed MacKay (writer), Alessandro Cappuccio (artist), Rachelle Rosenberg (color artist), Cory Petit (letterer) - Trapped him in an Hourglass of Death. Very Silver Age.

Zodiac gave Jigsaw the opportunity to guard Dr. Sterman, but this confrontation with Moon Knight didn't go any better for him than the last one did. Might be irrelevant because Zodiac is outside the Midnight Mission with a bunch of mercs. He's down three, but Hunter's Moon is out of commission, and unless Reese comes out to be killed, he'll kill all the other people in the neighborhood.

So with no way to get back in time, Marc asks for Khonshu's help, a decision I'm sure will have no consequences later. He and Tigra are on their way, but time's up and Soldier is going to try and pull a fast one on Zodiac. Eh, good luck with that. I think Cappuccio actually tries to draw the "Mr. Knight" suit as not fitting as well on Soldier as it does on Marc. It usually looks immaculate when Marc wears it, even if he's moving through a dirty alley, but it's wrinkled and actually bunching in places. Of course, Marc and Solider probably aren't exactly the same dimensions, but it could be because it means something different when Marc wears that outfit versus someone else. For Soldier, it's just a set of clothes. For Marc, it's a ceremonial garb.

There's not a lot else to discuss. MacKay doesn't exactly overstuff this series with plot; it's more a a mood thing. Marc losing himself in beating Jigsaw, or having to ask Khonshu for help, knowing it's going to cost. The page where he admits he knew Tigra's been reporting to T'Challa on him, but it was OK, because he understood why the Avengers would want to keep tabs on him, and he needed a friend. He's in a mess of his own making, the result of bad decisions he's made going back years. Probably going back to when he became a mercenary, and he can't ever quite get clear of them. Can't be done with the violence, can't be done with Khonshu, can't be done with not being trusted or even trusting himself.

Tuesday, May 31, 2022

Fear is the Key - Alistair MacLean

An appropriately manly book for Clint Eastwood's Birthday Day.

The story starts with a plane fleeing a Latin American country on the verge of revolution. It carried two cargoes, but they're both lost when the plane's mysteriously shot down.

From there, MacLean jumps some undetermined amount of time forward to a trial for a man named Talbot. He didn't produce identification when the cops asked, and hospitalized a couple of them when they insisted. The situation gets worse when he shoots of them and escapes the courthouse with a young woman as his hostage. He escapes the cops, but ends up under the thumb of a odd group consisting of a general, a killer, a junkie, and a would-be Mista Big, who have some need of Talbot.

MacLean builds things slowly at first. I was reading in 50-page bursts, and for the first fifty, it was hard to tell what the connection between the prologue and everything with Talbot was. The next 50 pages aren't exactly thrilling, but they neatly answer that question and set the table for the rest of the book. From there, it's a question of whether Talbot can keep pulling the wool over everyone's eyes long enough, whether the people's he's trusting to help actually can.

That's where the tension comes. There's little doubt there's going to be a dramatic confrontation, but it's up in the air who'll have control when it happens. Is it going to be on Talbot's terms, or on theirs? MacLean treads a good line in how Talbot puts forth a certain face for these guys, while also projecting a level of confidence he doesn't necessarily feel. Things start to go wrong very early, and though Talbot acts like it's still going according to plan, he's aware how big a chance he's taking and how far out in the wind he is.

The end is more talkative than I would have expected, but it doesn't feel out of place. Once it's clear what Talbot's stake was, the exposition is a mixture of catharsis and triumph. MacLean makes it work, at any rate. That said, he could stand to cut back on the adverb usage. I'm not one of the people who advocates using no adverbs, but MacLean can't help himself. He piles them on, making long sentences even longer and breaking the flow of the story.

'"You never knew, did you, Vyland, that someone was in radio contact with that plane just before it was shot out of the sky. But I was. Just for two minutes, Vyland." I looked at him slowly, consideringly, emptily. "Two little minutes that mean you die tonight."'

Monday, May 30, 2022

What I Bought 5/28/2022 - Part 1

Going to start off the reviews of the rest of May's stuff with two books from a couple of weeks ago. One's a second issue, one the first issue of the second storyline. I try to pair these things by some sort of theme, and that was the best one I could come up with. That or both books have two writers. No, I'm not Two-Face. Don't say things like that, I'm not looking to have Batman punch my face in.

Jenny Zero II #1, by Dave Dwonch and Brockton McKinney (writers), Magenta King (artist), Arnaldo Robles (colorist), Dave Dwonch (letterer) - It was nice of them to bring the person they constrain like she's really dangerous out for a fun night of pachinko.

Set some time I'm assuming shortly after the end of last year's mini-series, Jenny seems to be getting treated like a dangerous criminal. of course, she beat the hell out of the guys transporting so maybe it's a valid concern. Or maybe not, because that was all an illusion created by the Director's three helper ladies, who have various mental manipulation powers. I'm sure the ability to erase or alter someone's memories won't get abused.

The Director gets Jenny on board by mentioning the threat of the Overking, aka the thing that killed Jenny's dad, and by bringing in her friend Dana to help her improve her image. Aka, make Jenny not behave like a drunken, pill-popping disaster all the time. Neither of them seems dumb enough to trust the Director about who is behind the Overking, or so it seems. 

Ugh, I appreciate Dwonch and McKinney establishing right off that those three ladies can mess with perceptions, but it means I can't trust anything I'm reading in this comic. If that whole escape Jenny pulled at the start was all in her head, then the conversation in the burger joint could be as well. Certainly the "Chunker Jr." mascot coming to life seems suspect. Or, I had to go back and check the end of the previous mini-series because I couldn't remember if Jenny had a scar over her left eye. She did, but if she didn't, that might have been a clue they'd been using her for missions and erasing her memories.

King's line seems more solid than it did on the first mini-series. It was also more jagged and wobbly then. This might just be a sign of progression as an artist, or maybe it's an intentional choice. Jenny's starting to embrace her past and her heritage (including by reading her father's journal, although the Director knows she's got it). She's more stable now, more, "mature" might not be the right word, but something like that. Combined with Robles using a less glaring color palette than Dam did on the previous mini-series, and the whole thing seems more stable. Jenny's got a plan, she's got a friend she trusts and will rely on, things are possibly under control.

Or it's all in her head. I am going to second guess every conclusion or interpretation I try draw about this mini-series, I can tell.

West of Sundown #2, by Tim Seeley and Aaron Campbell (writers), Jim Terry (artist), Triona Farrell (colorist), Crank! (letterer) - I guess the cover captures a mood, but it's not exactly easy to distinguish what's going on at first glance. Still beats blase pin-up covers Marvel opts for a lot.

The issue starts in a flashback to how Constance became what she is. Her mother conceived Constance (then Rosa) with a young Native American man who had been taken from his tribe and forced into service as a soldier (and thus I learn the term "genizaro). Her father objected to them getting married, killed the priest too late. Domingo got the gun and tried to protect them from his father-in-law's dog. Bullet hit the dog, but also his wife. Domingo ate the dog's blood and flesh, becoming a werewolf(?) and ran off with little Rosa.

In the present, Constance and Dooley travel to the site of that church for the earth she needs. They better hurry because she's getting hungry and he's the only immediate source of food. But someone's built something there. A church of their own, where they whip themselves and proclaim the life is the sky. Seems concerning, though not as much as the weird creatures with long, paralyzing tongues that nearly kill Dooley. Constance gets enough earth for the time being and carries him to safety. But those people are set to investigate who intruded.

Also the man who has been hunting her is actually her grandfather, Frankensteined together by, well, Victor Frankenstein is the extremely pale young man with heterochromia is telling the truth.

Obviously it couldn't be that easy for Constance to get the earth she required, although I'm not clear how much she needs. Does it have to fill a coffin? Just grabbing a handful made her strong enough to tear that little creature in half, and she seemed confident she could handle another four of them. Either way, no we've got her and Dooley, Grandpa and Dr. Frankenstein, the creepy cult, possibly the sheriff (whose loyalties are uncertain). Might need to add the tavern owner after Constance bought his place and kicked him out for being rude earlier (because he's black and correctly intuits Dooley fought for the South.) Surely that won't come back to bite anyone! No pun intended, but accepted.

On some level, it might have been more interesting if the people living on the old church site weren't up to no good. If they were innocent farmers or sheep herders, how far would Constance go? How far would Dooley go to help her? He seized the escape when she offered, but Seeley and Campbell seem to be establishing there are limits to how far Constance's protection extends. Push comes to shove, Dooley may not be anything more than a useful instrument. Or maybe she's been a vampire so long she's forgotten the limits of humans. But Terry draws Dooley as looking weary and/or terrified basically the entire issue. The life is taking its toll.

Sunday, May 29, 2022

Sunday Splash Page #220

 
"Casual Arrival," in Grrl Scouts: Stone Ghost #2, by Jim Mahfood

After Work Sucks, there wasn't another Grrl Scouts mini-series for 14 years. Grrl Scouts: Magic Socks is, unfortunately, my least favorite of the four stories, so it didn't maintain its place in my collection. I don't care about extended Hunter S. Thompson riffs, and Mahfood was in some kind of transition period with his art, and I didn't like the results.

By late 2021-early 2022's Stone Ghost, however, he'd settled into a style I liked a lot better. His work is this strange mix of the characters tending to be fairly simple designs, while the backgrounds and surroundings are a wild mix of details. Dio's (the one in the lower left) face is usually a basic circle with a couple of smaller circles for eyes, two dots for nostrils, some basic shape for a mouth. Her pal Gordi is like a cartoon jellyfish with a derby hat. Mistress Tako is a blood-red cloak with white slits for eyes and mouth surrounded by shadows.

At the same time, the backgrounds are littered with weird stuff. Wires or smoke or random bullets just hovering there. Swirling monstrosities in a void when any notion of distinct panels seems to have been thrown out entirely. It actually makes me a bit nostalgic, because it reminds me of when I would just draw random shit all over my folders in school. Tanks, cubes, lightning bolts, ninja turtle weapons, Velociraptor pupils. Other times, it makes me think of graffiti or wall mural art. Big and wild and just trying to express something.

This is the first mini-series that doesn't take place in Freak City or involve Daphne, Gwen and Rita. In fact, it doesn't even take place on Earth. It revolves around Dio's quest to retrieve her boyfriend's ashes, which he hocked to a loan shark to protect Dio from the debt he'd racked up. Unfortunately, Dio is tied to an ancient lineage and so there are forces out to stop her. Dio initially hires a bodyguard named Turtleneck Jones, but he's soon replaced by his partner of sorts, the cyborg Natas. Where Jones is a gruff, mulleted hardass type, Natas is a big, goofy killing machine who regards the whole thing as a fun adventure are distracts people by asking if they're interested in subscriptions to Cereal Aficionado Magazine.

I can't tell why exactly Mahfood makes the particular choices he does, but I like the sense that he's just going with whatever he feels works at the moment. It fits with the surrealist feel of the story, where anything can happen at any moment. A cyborg can emerge from someone's skull. A guy with a kettle for a head can be taken seriously as a threat. Jumping into someone's dreams is entirely viable. A young couple unites because one makes a ceramic codpiece for the other.

What holds it together is that the story remains focused on Dio and her love for Billy. That's what drives her forward in spite of everything, and it's the relatable core of trying to process losing someone important that gives the story just enough grounding to not feel weightless among all the weird shit. Every issue has a flashback to some part of Dio and Billy's relationship, all of which Mahfood draws as a bunch of little panels done on pages of a yellow legal pad. Like a story someone might doodle during an especially dull meeting. It gives the reader a sense of the relationship the two had, that Billy was goofy and silly, and more than a little self-destructive, while Dio was the more tentative, responsible one. This whole thing is Dio embracing her the bolder, more confrontational part of herself. The part that helped her meet him in the first place, which helps her to move forward.

Saturday, May 28, 2022

Saturday Splash Page #22

 
"Steroid Side Effects May Be Severe," Wynonna Earp (vol. 1) #2, by Beau Smith (writer), Joyce Chin (penciler), Mark Irwin (inker), Nathan Lumm (colorist), Amie Grenier (letterer)

I think I first became aware of Wynonna Earp because Ragnell had a post on her blog once that was excited about the announcement of one of the later stories with the character (which we'll get to in a couple of weeks). It didn't do much beyond my sort of passively noting, "Huh, Wynonna Earp? Weird, but sure, why not?" When IDW released a collection of the first four stories in 2016 (called Wynonna Earp: Strange Inheritance), I was buying the mini-series that tied in with the TV show, so I went ahead and bought it, too.

This story came out in 1996, published through Image. Not hard to tell just by looking at the above. The absurd firearm, the hyper-thyroid werewolves, the title character being a "federal marshal" who walks around in skintight pants, half a bra and a denim jacket. but if you can make the look work for you. . .

There are two stories in here. The first is a three-parter where Wynonna teams up with two werewolf bounty hunters to hunt down some vampire, Bobo del Rey, that is dealing a drug that is highly addictive and makes people hungry for blood and super-strong. Bobo and his entire family are also fans of The Andy Griffith Show, for some reason, to the extent Bobo kills a man that badmouths the show. The other two issues (drawn by Pat Lee) are Wynonna teaming up with some ex-boyfriend who works for a mob to stop the revival of the chaos goddess Tiamat, whose followers try to use Wynonna as a host. Which means they started wrapping her up like a mummy, but only got so far as strategically covering the naughty parts before she got free. Seems like an inefficient way to wrap a body, but if it works for you. . .

I think this was meant to be an ongoing series, but it got canceled after 5 issues, with the last two pages being Wynonna giving Beau Smith grief for not using his pull with Jim Lee to keep the book going, and threatening to get one of Garth Ennis, Neil Gaiman or Warren Ellis to write her adventures in the future. As terrifying and/or hilarious as any of those might have been (I can't picture what Neil Gaiman's Wynonna Earp would have been like), Beau Smith would still be writing when the character got her next shot in 2003.

Friday, May 27, 2022

Random Back Issues #85 - El Diablo #4

Don't ascribe to moral paralysis what could easily just be shitty refereeing. Also, because I'm a nerd, I looked it up. The Oilers beat the Steelers both times they faced them in the regular season in 1989 (though the closest game to Christmas was December 3rd), but naturally lost in OT in the playoffs. The Run n' Shoot always crapped out when it really mattered.

It's a none-too-happy Christmas in the town of Dos Rios, and not just because the Houston Oilers are getting hosed in their game against the damn Steelers. The fellas' bonding time is interrupted by a group of children performing the La Posada, which is apparently kids pretending to be Joseph and Mary looking for shelter for 9 nights, only to be turned away. Seems weird anyone who would participate would want to be the ones who refuse to offer shelter to the parents of Jesus, but I'm not religious, what do I know?

Before anyone can hardly get back in their seats, there's another interruption, this time because the kids found a dead child. Yeesh. Hector and the others would love to contact El Diablo, but it's been weeks since the end of issue 3, and nobody's seen him since.

Meanwhile, in the Mayor's office, a heated argument between Councilman Thorn, and Ms. Zamora, leader of a citizens' group. There's a proposal to tear down some low-income housing near the river and turn it into a commercial development. Mayor Tommy's folksy, homespun approach fails to cool tempers, so he dumps the responsible of forming an advisory committee on the issue on Rafael Sandoval (El Diablo's) shoulders. Fun. 

Tommy frames it as a chance for Rafe to build a coalition of his own. Rafe points out whichever way it goes, Tommy won't take heat for either kicking poor people out of their homes or costing the city income. Really, Tommy thinks having Rafe do him a favor will actually make Rafe feel indebted to him, which is the sort of logic I'd expect from a politician.

Rafe's visit to his parents' home is cut short when he sees the news bulletin about the murder. He's got a friend on the force who is feeling frustrated over this whole thing and reveals there have been three disappearances lately. So the dead kid doesn't bode well. He also doesn't trust El Diablo, or think they should put any faith in him.

While Rafe's busy meeting with Ms. Zamora and the tenants of the riverwalk section, another child gets abducted outside a convenience store. Rafe finds out while almost getting kissed by Tommy's aide, Virginia (or "Dixie"). He goes, in costume, to speak with the head of the parish. Turns out he's got a bit of performance anxiety. Is being a vigilante is the best way to achieve results, or should he stick to being a politician? Diablo feels the needs to fight the horror in the world with, 'something more than budgets and zoning ordinances.' Well yeah, you don't fight horror with other horrors. Either way, kind of unusual to see a superhero who takes a break for reasons like that. Normally the breaks are necessary convalescence from being badly injured.

By issue's end, El Diablo's on the case, but the situation is going to get more heated before it gets better. Violence, panic, angry mobs, accusations of police corruption. To be fair, those aren't things you can fight with zoning ordinances, either.

[4th longbox, 51st comic. El Diablo #4, by Gerard Jones (writer), Mike Parobeck and John Nyberg (artists), Lovern Kindzierski (colorist), Tim Harkins (letterer)]

Wednesday, May 25, 2022

A Few Points of Light for Late Summer

There are a couple of new items in August's solicitations I'm interested in, but mostly it's quiet. DC didn't have anything I was interested in. I saw a lot of stuff involving Black Adam, is that movie coming out this summer? I am completely out of the loop on that stuff. DC is also bringing back. . .Azrael! Poor Jean-Paul valley, getting himself another mini-series. If only Diamondrock were still running their blog to see this.

Over at Marvel, Moon Knight's fighting vampires, Iron Cat rolls on, that Nocenti-written Longshot story in X-Men Legends is more than one issue, and Nightcrawler is going to pay She-Hulk a visit. I thought she wasn't supposed to be taking any super-clients, but I guess Krakoa could sue Mallory's law firm for, species discrimination, I guess. Though why the almighty Krakoans need a flatscan lawyer, I can't grasp. They must have someone with the mutant power of perfect lying. One new thing is a new Damage Control mini-series! With the main story written by the creators of some TV show called The Goldbergs? Um, optimism dimmed somewhat, but cautiously retained.

Let's see, Image has Slumber #6, Above Snakes #2 (if I like the first issue), although I'd swear last month it was 4-issue mini-series, and now it's listed as five. Maybe I'll try Dead Lucky, which is a new series by Melissa Flores and French Carlomagno about a lady veteran back from Afghanistan with electricity powers operating in San Francisco. Jenny Zero II will be wrapping at Dark Horse, and there's a trade of Jeremy Haun and Christopher Mitten's 40 Seconds about explorers traveling through alien gateways. That doesn't actually come out until October, though.

Aftershock has issue 3 of A Calculated Man, and Vault has West of Sundown #5. Issue 2 of Agent of W.O.R.L.D.E. is out through Scout Comics, which seems like a month earlier than usual. There's also the first issue of Mr. Easta, about a bunny that is a galactic assassin. It's by Kat Wallis, has kind of a Skottie Young vibe to it. Maybe I'll try it.

Seven Seas Entertainment has volume 4 of Yakuza Reincarnation and the second volume of Weakest Contestant in All Space and Time. I actually bought volume 1 of Yakuza Reincarnation last weekend. it was enough to convince me to pick up volume 2 at some point, but it has that feel of a book relying on one type of joke that it could run into the ground in a hurry.

Tuesday, May 24, 2022

Raymond Chandler's Pulp Stories

My dad bought a two-volume collection of Raymond Chandler's work. He said he wanted to see if The Big Sleep makes any more sense as a book than it did as the Bogart/Bacall movie. He hadn't gotten around to reading it yet, but he loaned the volume to me anyway. I stuck to just reading the short stories at the first, placed under the general heading "Pulp Stories".

Based on that, my father's hope for clarity in plot may be dashed. I mean, I guess you can say the stories make sense, as Chandler usually has the detective character (who varies, a couple show up more than once, but not more than 2-3 times) lay everything out at the end. But these are not what I'd call fair-play mysteries. The reader's best bet is just to guess based on the conventions of these kinds of stories. Assuming you're the kind of person who likes to try and figure out what's happening ahead of time.

It's pretty clear Chandler's most interested in descriptions, of both people and places, and dialogue. Sometimes he takes the metaphorical approach, when he describes a woman's hair as sucking up all the light so there's a halo around it. Other times he goes for something more, I think self-consciously silly. Describing a gunman as a "long thin man" with a "long thin face". Mostly Chandler just seems to love dry dialogue. The clever one-liners and smart comebacks. Outside of the characters that are there to be goons, everybody in a Raymond Chandler story is very glib, and basically never at the loss for a good phrase. Which is fine with me, they're fun to read.

Most of the stories are roughly similar. There's a detective, sometimes doing OK financially, sometimes not. Always ready with a dry remark. There's a beautiful woman. Sometimes she hires the detective, sometimes she's the one being investigated. Either way, there's trouble that isn't actually what it seems at first glance. Like they always used to say on House, everybody lies. Blackmail comes up a fair amount, so does infidelity. More than one story revolves around pearl necklaces, including "Pearls Are a Nuisance," naturally, but also "Goldfish". No missing gemstones, though. Maybe Chandler considered rubies too exotic for a private detective.

I was expecting the protagonist to get killed at least once, but it never happens. Which isn't to say they always win, necessarily. Sometimes they're just fortunate to limp home with bruises but minus any bullet holes. The cops usually make an appearance. Sometimes they're crooked ("Blackmailers Don't Shoot") and sometimes they just enjoy tap dancing on a guy's face if he won't give answers. There is one story - "Spanish Blood" - where the main character is a cop. But the crime involves the death of a childhood friend and he gets the "turn in your badge" speech part way through, so he's effectively a private detective after that point.

"Pearls Are a Nuisance," is the most unusual story of the group. It's still a basic mystery about missing pearls, but the main character is a wealthy young college guy who does not appear to be any sort of detective. His fiance ropes him in to helping the lady she acts as a private nurse for, and he gives the appearance of not being any good at it at all. He still offers the chance to write witty dialogue, but in a very different tone. More educated, more chatty. It almost feels like a send-up of Chandler's other stories, where the protagonist actually has a very low tolerance for alcohol but doesn't seem to recognize it, and spends pages at a time cheerfully wasted. It made for a nice change of pace.

'For a moment neither man moved. Then Steve kicked the trombone away from him and squashed his cigarette in a glass tray. His black eyes were empty but his mouth grinned whitely.

"If you want trouble," he said, "I come from where they make it."' (From "The King in Yellow")

Monday, May 23, 2022

What I Bought 5/18/2022 - Part 2

Was not expecting to find all four books from last week I wanted at the store here in town. Maybe three, tops. But pleasant surprises are welcome. It would almost encourage me to look on the bright side of things, if I weren't the person I am.

Slumber #3, by Tyler Burton Smith (writer), Vanessa Cardinali (artist), Simon Robins (colorist), Steve Wands (letterer) - Man, don't litter in somebody's grave. Unless it's a trash hole. Some graves are essentially trash holes. I think the difference is based on the amount of care used in placing the body. Lower it slowly? Grave. Toss it in? Trash hole.

The story starts with a quick flashback filling in a little more about why Stetson's after Valkira and hints towards how she got involved in running around in people's dreams. From there, it shifts to the present, inside Finch's dream, as he gets dragged along with Stetson and Jiang as they seek Valkira. They end up at a funeral, which Finch badly wishes to avoid. So Stetson "kills" him and wears his skin. Things still go sideways and they dive into the grave, where they find a subterranean cavern and the body of Finch's brother. Which Valkira has possessed and Finch is rather protective of.

Smith explains a couple of things in this issue which become immediately relevant, one of which I had been wondering about. Namely, why shooting the bad thing in a dream does any good. Apparently, if you kill it in a dream, it's gone forever. The person no longer remembers it and can therefore no longer be haunted by it. The other point is that the person whose dream they're in, can't be killed. At least not permanently. They just respawn through the nearest door. Seems like it wouldn't kill them, just erase their sense of themselves, but OK. Stetson uses the latter to her advantage a couple of times, and Valkira's using the former.

It only lasts a page-and-a-half, but I like Robins' color work after they dive into the grave. The cavern is this monotonous greyscale, as is everything in it (Finch has little four-armed fish-head guys who clean in his dreams, which I like as a random detail). Except for the lake of red liquid they fall into. It's a stark contrast and it really grabs the eye. The flashback is done with dull, muted colors and lots of black backgrounds. The characters are occasionally surrounded by light, but it doesn't brighten them much. It's there, but like it isn't interacting with them somehow.

Kaiju Score: Steal from Gods #2, by James Patrick (writer), Rem Broo (artist), Francesco Segala (colorist), Dave Sharpe (letterer) - I don't think the white lettering of the title set against T.G.'s cream-colored hair is a good set-up. Need more variation between colors.

Having committed to taking the job, Michelleand her crew get a rundown on the facility and how they can get inside. Unfortunately, there's a lot of security measures, and those they have to work around themselves. Also, after Michelle put a bounty on Carlito, he raised the bounty he put on them. So Michelle asks the creepy guy who financed the first kaiju score for a loan to up her bounty to match, and then goes to ask Marco for help. He won't come on the heist, because apparently pulling off one successful score was enough for him (smart man), but he does help her identify the way past the security measures. Great.

Except Glover almost screws up the retinal scan, and the Russians hit treasure sooner than expected, and the guys who hired them have something else in mind with this job than what they said.

I've been wondering who was going to make it out of this, or where the inevitable double-cross was coming from, but more and more that looks irrelevant. The way Patrick writes this, the whole thing is a maze nobody (except Marco, oddly enough) can actually escape. Even if Carlito gets killed, even if these guys who hired them get killed (because I'm guessing they've got a lot more cash than Carlito if they decide on revenge/tying up loose ends), Michelle's gonna have to pay the hitman broker back, and he must charge ridiculous interest, and now she's got to pay Marco for his time, and look after her crew. It's just an endless cycle of getting in debt to do a score to pay off debt incurred to pull off a previous debt.

Broo uses a fair amount of short, wide panels to zoom in on people's faces, at least during the tense conversations. When Michelle's talking with the guy that hired them, or she and Glover are arguing. The talk with Marco, he pulls things back a little. The pressure is still there, there are still some tight panels to make it seem like Michelle's boxed in, but Marco's in the panel with her. She's not on her own, she isn't having to pretend she has everything under control because this isn't someone looking for weakness or needing reassurance.

Sunday, May 22, 2022

Sunday Splash Page #219

 
"Quality Customer Service," in Grrl Scouts: Work Sucks #2, by Jim Mahfood

Set sometime after the events of the first mini-series, 2003's Work Sucks finds the Grrls a little too well-known around Freak City, a condition that can be dangerous for drug-dealers. So Gwen decrees the three of them are going legit. Unfortunately, as selling medical cannabis won't be an option for several years yet, that means finding other jobs.

Of the four Grrl Scouts stories, this is the most down-to-earth. No demons, no vast conspiracies, no magic socks or slipping into someone's dreams. There's still violence, there's still absurdity and the girls being irritated by morons, just in everyday settings. The kind of stupidity and aggravation that comes with dealing with people who don't know a damn thing and are determined to make that your problem. The most bizarre thing is Daphne (who ends up working as a bartender) having to keep one-half of the evening's entertainment from being killed the by other half when he accepts their offer of cocaine and doesn't realize it wasn't free.

Mahfood brings each character to something they enjoy the same way (offer from a friend), but not strictly the same path. Rita turns something she was doing in her spare time (tagging), into a regular paying gig working on murals for the city. Daphne doesn't get far looking for work, but demonstrates she knows how things work at the bar and gets offered a job. Gwen's the only one who really goes out hunting for work, and runs into the ever-delightful insistence on "experience". She finds a job working with kids while drowning her sorrows over getting fired.

Mahfood's art is starting to shift a little. He goes to a thinner line almost exclusively, and uses the shadows around the eyes to convey a haunted or irritated look a lot. He's also starting to simplify his expressions and figures. I don't know if that's a time-saving maneuver or just honing his style. His panel layouts are evolving, too. A lot of panels with borders that flow like waves, or that overlap at tense moments or are tipped at an angle. Switches to panels running across two pages and then back to a standard page seemingly whenever he feels like it. He's still a long way from the almost mosaic-like pages in Stone Ghost, but you can see him starting in that direction.

Saturday, May 21, 2022

Saturday Splash Page #21

 
"The (Metaphorical) Claws Come Out," in X-23 (vol. 2) #11, by Mariko Tamaki (writer), Diego Orlotegui (penciler), Walden Wong (inker), Chris O'Halloran (colorist), Cory Petit (letterer)

After her first ongoing series ended, Laura Kinney had to wait five years to get another, by which time she had a different codename. All New Wolverine ran for 35 issues, and we'll get to it (someday). Almost as soon as it ended, though, she got shunted back to her old codename, and another ongoing series to go with.

This series still focused on Laura trying to deal with her history as a designed weapon. But where previously that had been through either trying to bring her under their control, or focused on the trigger scent that made her go berserk, this series looked at those who were trying to make more weapons like her, minus that inconvenient free will.

But Tamaki seems more interested in the differences in opinion between Laura and Gabby, who is a younger clone version of her. Despite that, differences in age and experience mean they see things differently (which is always something I find interesting to play with about clones.) Not just that Gabby is more versed in pop culture references and phrases (I feel like Tamaki downgrades Laura's knowledge there, as she doesn't even know "K.O." stands for "knockout.") Gabby talks about their birthdays, and Laura dismisses it, acts as though they don't even have birthdays because they're just clones.

More critically, especially in the second half of the book, they see things differently when it comes to who counts as family. When they encounter a clone of Laura with cybernetics but no healing factor, Gabby treats her as another potential sister. Someone to befriend and help the way Laura did for her. Laura sees the "X-Assassin" as just a machine, a damaged weapon. She's not family, she's not even a person. The end of that story would seem to argue in Gabby's favor, although it's undercut somewhat by the fact the X-Assassins were being mass produced and neither she nor Laura hesitated to kill the hell out of all the others.

Juann Cabal drew the first five issues, which involve another group of clones, the Stepford Cuckoos. There's a one-shot drawn by Georges Duarte about Gabby and Laura going undercover at an elementary school. Then Diego Orlotegui took over as artist for the remaining six issues. Cabal's art is a bit closer to photorealistic, his version of Laura is bit bulkier. As I noted in a review of one of All New Wolverine's tpbs, you can see a little more of Logan's genetics in her build when Cabal draws her compared to most artists. Orlotegui exaggerates expressions a bit more, there's more comic effect in his work, when it's warranted. The last two issues have a bit of humor in them, even as they're a continuation of the argument between Gabby and Laura.

OK, we are done with the Xs! Whoo!

Friday, May 20, 2022

What I Bought 5/18/2022 - Part 1

Work yesterday was pretty lousy, which I knew was going to be the case for weeks, but yeah. Just not enjoyable, dealing with lots of anger and stupidity. So tired. Speaking of tired, here's two comics from this week on their last legs with me.

Iron Fist #3, by Alyssa Wong (writer), Michael Yg and Sean Chen (pencilers), Michael Yg, Victor Olazaba, Keith Champagne and Don Ho (inkers), Jay David Ramos (colorist), Travis Lanham (letterer) - Great, now he's got even more pieces of sword stuck in his arm.

Bishounen-looking guy from last issue is Lie's older brother, who gained power from the destroyer god at some point. The demons work for him, and the one impersonating Min's father tries to steal the pieces of Lie's sword. Lie and the others fight him, but he gains the upper hand and demands the shards. So Lie. . .jams them into his arms. Goddamn, kid, just buy some pouches. Cable and Deadpool can't possibly own all of them.

He tears through the demon, who delivers a message on where to meet his brother. But before they get there, Lie, Min, and the grumpy teen jerk from last issue are caught by Fat Cobra and the Bride of Nine Spiders. Nobody ever captures the Bride's look properly, compared to how Aja drew her. That reserved, creepy look. They always make her too expressive and loudly aggressive. There were other Immortal Weapons for that, except other writers keep killing them. She's carrying knives now. Why?

But with four inkers, things were going to be a little weird. Chen draws the middle section of the book, the part that encompasses all of the fight with the demon, and Yg handles the rest. I don't know which inkers are with which pages, although I'm very curious who drew the last couple, when they run into the Immortal Weapons. Yg's art looks much looser, and there's one panel (above, on the right) like a caricature or cartoon. It was a nice change of pace, although I don't think it was an intentional so much as a necessity to save time. Sometimes shortcuts are good!

Overall, though, I just don't really care. I feel like I should want to find out if Lie will remain Iron Fist, or repair his sword, or why Shou-Lao chose to do him a solid, or at least be excited Fat Cobra showed up, but I'm not. 

Wolverine: Patch #2, by Larry Hama (writer), Andrea Di Vito (penciler), Le Beau Underwood (inker), Sebastian Cheng (colorist), Clayton Cowles (letterer) - I feel like landing on flat on his left foot is going to really jar his leg.

This issue is "Patch's Crappy Trek Through the Jungle." He's still trying to heal from the beating last issue. Then he gets shot with some poisoned arrows by the locals, who think he's out to hurt the two Russians. Logan convinces them he's not an enemy and they start guiding him to the Russians' hiding spot. Then he gets shot by some of General Coy's guys, who want the locals to lead them to the Russians. He kills them. Then he gets shot by some Yakuza working for the guy doing monkey experiments. He kills them. Then more of the general's guys show up and he kills them (off-panel). He reaches the Russians, the locals convince them to help, because there's a third one, a little girl with weird powers who goes inside Logan's brain and finds Jean.

I guess some of Logan's time as Patch did happen while Jean was "dead". Or it could just be Logan has her on his mind a lot. In which case, that kid should really get out of there. Not age-appropriate.

Hama uses SHIELD as an almost narrator. I was going to say omniscient, but there's a lot they don't know, so that wouldn't work. The Helicarrier is still just hovering there in the sky, in full view, wondering why they can't find these Russians. All the cigars must have clouded Fury's brain. I went back to check, because I thought I remembered Di Vito drawing Fury smoking, but my mind must have just autofilled that image. Anyway, SHIELD is somehow surveilling all over Madripoor at once and so as they discuss one place or the other, the story cuts to that location, then back, then off somewhere else. 

It's not a bad way, and it works to contrast Logan tromping through the woods, getting more tangled up in all this by fighting guys for reasons he doesn't even know, with everyone else doing reconnaissance or forming alliances to try and achieve their goals. Logan just takes the direct approach. But when all you've got are unbreakable adamantium claws, the whole world looks like something to cut through.

Wednesday, May 18, 2022

All Paths Lead to Indecision

As I've mentioned recently, there are a few titles I've been buying I'm thinking about no longer buying. This is not a new problem. The question of when to give up on a comic is one I repeatedly struggle with, so much so I did a bunch of posts about just how often I went on buying comics after I stopped enjoying them.

Sometimes it's out of inertia; I've been buying the book, so I just keep on buying it. The fact most of the things I buy don't run very long these days actually helps on that score. Now it's more often I see things in the series I enjoy, and so I see ways the series could turn around, or come together in a really satisfying fashion. "If there could just be more of that, and less of this other thing I don't enjoy." Or, "These individual pieces aren't too interesting, but they might be combined in an interesting way."

But that leads back around to me potentially buying something I don't enjoy for a long time. But it's not too hard to tell the difference between the books where I finish one issue and I'm excited to see the next, and the books where I finish and my reaction is, "Well, this might pay off eventually." 

Simple enough to drop the books in the latter category, except sometimes those books do pay off. The question is how long of a leash do I use, because, again, I find myself potentially buying some dissatisfying book way too long. Like Hulk when Dr. Strange banished him to the Crossroads, I just keep ending up in the same place. I gave Batgirls 6 issues, but it's, in theory, an ongoing series. Letting it finish the initial story arc seemed fair, but doesn't really work for mini-series like Iron Fist or Ice Canyon Monster (assuming another issue of the latter ever shows up.) I don't know what Distorted is, so what's fair there?

So I'm tentatively going with the vague definition of enough issues to get a sense of the story. If I'm still guessing about what they're trying to do, it's can get a little more rope. It plays into my tendency to hope things will come together in an enjoyable way, but I'm not planning to sit around and wait forever for it to happen. At a certain point, I'll have a sense of what kind of story they want to tell, and I can decide if I give a crap.

Although I was thinking about this during a long, work-related drive yesterday, and realized this benefits the slow-paced books. Like She-Hulk, where 3 issues in, not a lot has happened. The plot is more theoretical than anything else at this point, which leaves my imagination free to run wild with all sorts of possibilities. But She-Hulk is, like Batgirls, an ongoing series, so I can see where it stands at the end of the first arc.

Guess I'll see how long this half-assed system holds.

Tuesday, May 17, 2022

The Harder They Fall

Rufus Black (Idris Elba) marches into a preacher's home, kills the preacher and his wife, and carves a cross into their son's forehead. Years later, Nat Love (Jonathan Majors) learns Rufus has been sprung from a prison transport train and teams up with U.S. Marshal Bass Reeves (Delroy Lindo) to bring Rufus down. Even with Nat's gang insisting on helping, it isn't going to be easy.

It's a good cast. Regina King and LaKeith Stanfield as Rufus Black's main two people. King as Trudy Smith, who held the gang together while Rufus was in prison and has no patience for fools. Stanfield's the soft-spoken killer, very pleasant when he advises someone to please not do something stupid, then cutting their hamstrings once they do. Zazie Beetz as Stagecoach Mary, who is a successful saloon owner and Nat's off-again, on-again lady. Lindo plays Reeves as quietly confident. He doesn't boast, he doesn't make threats, he thinks some of these kids are fools the way they are doing things. 

My favorite (and this is no small thing because I loved Stanfield as Cherokee Bill) might have been Danielle Deadwyler as Cuffee, who was Mary's bouncer and sometimes lover (I think). I like that she casually carries just as many weapons as any of the guys, but she has this intense look at almost all times. Like a coiled spring that could snap at any moment and you don't want to be in range when she does. But it's controlled. When she decides to get violent, it's a decision, not her being goaded. The look she gives Majors when he forces her to wear a dress as part of a bank robbery, thought he was going to drop over dead.

It's a creatively shot movie. There's a nice, I'm guessing drone shot, that runs from the room where Elba is looking over his town, down the street past all his guys, and stops in front of Majors where he sits on his horse. Like an old video game that shows you the route you have to take to reach the end, right before everything starts. There's another shot where Stanfield is talking with a soldier through a door and the screen is split, but when the door opens, the divider moves with the door and merges the shots into one.

A big part of this revolves around the city of Redwood, which Rufus Black and his gang apparently established when it was just a territory, and is owned by black people. It's their town, and it's a beautiful place (you know, before the big gunfight and the explosions). All the buildings are vividly colored and decorated. Mary's saloon isn't quite as colorful, but it still has a distinct atmosphere and style. It makes for a fun contrast when Nat Love and Cuffee visit Maysville, the white town that is the whitest place I've ever seen. Whiter than those gag pages of Snowbird fighting in a blizzard John Byrne drew in Alpha Flight

I don't really like the ending, when Rufus Black reveals to Nat why he killed his father. There could be something in the story he tells about Nat's dad, how he changed as he grew older, and how Rufus might mirror that journey. I don't know all the history of Redwood, but Rufus clearly had a major hand in its formation. I'm guessing at least some of that was funded by the crimes he committed before being captured (by Bass Reeves). And he's determined to protect it against the soon-arriving wave of white settlers. He's still willing to demand every person in town hand over every bit of money they have to fund the effort, but he lets Regina King tell them that if they refuse they and their families will be killed and all they own seized or burned.

It feels a bit like a man who decided it's time to rewrite the story of his life. Re-frame the shit he did when he was younger as the early steps of a man out to build something better. Necessary evils for a greater good. Nat's father did something similar on a more personal level, in simply trying to become a better man, but from a certain angle, it could be seen as him trying to bury the darker part of who he was. There's no indication he went back to try and make amends for his past sins, just decided to start again and do it better this time.

Of course, Rufus Black could just be lying. He's more than content to play the brotherhood card on Nat to twist the knife, but he's just as willing to harm anyone to get what he wants, so I'm not sure anything he says can be trusted. Certainly with regards to his motives. And Redwood ends up pretty badly damaged at the end, buildings shot or blown up, dead bodies all over the place. Is that some larger moral about trying to build something on a foundation of blood and causing misery? It's a town founded, built, lived in by black people, and it gets destroyed in a fight by two groups of black people. But there's that looming threat of the white folks moving into the area which drives some of Rufus' actions. There aren't many white people in the movie, but you can see their hand on certain levers that cause things to happen. I need to think about all that some more.

Anyway, it's an interesting movie, fun to watch. There's some really good dialogue, couple of nice fights, the music is varied and not typical for a Western, but it works for this Western.