Favorites: Blankets, plus a Tori Amos video

[This is a reconstructed post from Google Cache; originally posted by Sean!] Greetings, fans of savagery! Been a long time since I posted here, and I’m barely doing so now, even. I just wanted to direct your attention to an interview I did with Tom Spurgeon as part of The Comics Reporter’s holiday interview series on the Books of the ’00s. Mine was about Craig Thompson’s Blankets, a book I’d eventually have gotten around to writing about for my Favorites series here at SC. So if that’s the sort of thing you’re interested in, check it out.

On a semi-related note, here’s Tori Amos performing her song “Bells for Her” in 1994 — it’s both my favorite Tori Amos song and my favorite song that uses the word “blankets.” Synergy!

[youtube]ZPH80CpBYwI[/youtube]

Enter, Stage Left, on Coattails: Jeff Ponders Our Great Decade

One of the things I do that I don't like very much, is I get inspired by something someone's written here and jump on with my own comments, thus potentially obscuring the original point made. I did this with Abhay once and it kinda bugged me, so here I am doing it again--with Abhay, again--and therefore I think I should start this whole thing off with an apology to him. I do this only, I think, because his writing inspires me into dialogue. (Or to try and ride his coattails, if you want to be less charitable about it.)

At the end of his really superb essay, Abhay writes:

I wasn't very happy in 2009 anyways. 

Apparently, I’m not completely alone: Messrs. Tim Callahan ("something's missing"), Chad Nevett ("I think people are just tired... I can't really defend things."), David Brothers ("I’m bored to death"), Dr. Geoff Klock("It's diminishing returns... it is time to stop showing up on Wednesdays..."), Alan David Doane ("I have to admit that I have not been reading a lot of comic books lately"), and well... me in my last essay, according to some of you ("I'm pretty sure whoever wrote this comic is the Green River Killer, guys. I've been spending time in the crime lab, and I think I just cracked this mother wide open.").

Steven Grant tried writing about this a year ago: "Dreariness. 2008 was one dreary year for comics." Internet kind of yelled at him; you know: internet. Internet is welcome to yell at me, too. I don’t dispute that I’ve read great books this year. I have a very long list of books I want to write more about; should have written more about. I don’t dispute that this decade has been unbelievable in terms of how much has changed, how much has improved. There are many, many great books I still haven't read yet.

But something bummed me out anyways. 2009 was a colossal fucking bummer, for my comic nerdery at least.

***

I think I might be able to shed some light on this, since I burnt out a few years back and have been pondering the situation, on and off, since then. My take on it is simply: we just put the wraps on the greatest decade the medium has ever had here in the USA. For readers and fans of the medium, it's the first time in memory our reach may have exceeded our grasp. Is it any wonder the people following the medium may be a little exhausted and fatigued?

To put it another way: if you were a fan of candy, and you ended up locked in the biggest candy store in the world, and were able to eat as much as you wanted, would you then turn around later, and blame the candy for not tasting as good as when you were first locked in? Would you suggest something had clearly gone wrong later in the candy production process since the stuff you were eating now was making you feel ill but the earlier candy hadn't? Obviously, aesthetic experience doesn't map to sensual experience in such an easy one-to-one way but aesthetic oversaturation is possible as anyone who's been to Burning Man or the Louvre will tell you.

Good ol' North American comics used to be the kind of thing you could totally track--soup to nuts, crap to genius: a dedicated fan, retailer, and/or reviewer could cover it all and still have time to look at, say, self-published comics ordered through the mail *and* keep up on all the reviews in The Comics Journal. (Obviously, this was, I dunno, 1988 or so?)

And as things began to move along, it became simple enough to still feel like you were keeping an eye on things--you just cut down on the amount of crap you read. So you read everything that you knew or heard was great, your sentimental favorites, the occasional 'so-bad-it's-good' book...and still you had time to get to the occasional self-published comic and the occasional classic reprint while following the eight or nine comics reviewers writing on Usenet whose opinions matched yours.

Now? Seriously? Just the number of like-minded comics folk I follow on Twitter tips over a hundred. My RSS feed is jammed with webcomics and comics reviewers. I have a pile of books from APE sitting on a shelf still unread. And for a guy who's a self-proclaimed burnout, I still walk home with bags and bags of comics from my visits to Comix Experience. But the point at which I was able to fool myself into thinking I was on the bleeding edge of tracking what's new and excellent passed long ago--I'm behind, behind, behind.

For myself, there's some degree of joy-killing in the transition from 'want to' to 'should,' and once a medium grows beyond the reach of the dedicated, 'should' begins creeping into the picture more and more. It has to. Maybe some of the books I read this year would've delighted me more if I hadn't picked them up believing my facade as a well-read comics fan would crack if I didn't.

Remember Hicksville (from Dylan Horrocks' brilliant graphic novel of the same name), that tiny New Zealand town where everyone is a fan and expert of comics? Hicksville has already hopped whatever zoning regulations might've been holding it in place, moved through its Hicksburg phase, and is well on its way to becoming Hicksopolis, the city of the future. That is absolutely wonderful news for long-time residents--electricity and plumbing for everyone! Take-out delivery! Comics on your iPod! Naoki Urasawa!--but it comes at a bit of a cost: you don't automatically know who the people on the next block are, and they're not going to automatically know you. That major thoroughfare just a block away from your house is no longer the center of town--it's no longer *a* center, in fact. Now it's just some too-large street where only you and some doddering geezers go and talk about how Starlin Avenue used to be the most exciting corner in town. Your transition from bon vivant man-about-town to pathetic Clowesian bore is just about complete.

Part of this is nothing new--have you ever read a comic by some guy whose name you see here and there, once or twice, and then never again?--but the context has changed. It's one thing if it's someone like Scott Edelman (no offense), someone who cranks out a few comics before moving on to another field, and it's another if it's someone who's doing sustained work in the medium and you've just never stumbled across them. (I'm not sure who, exactly, to use as an example here, which admittedly is kind of the point, but let's say 'Carol Swain,' okay?)

Before, I think there used to be the feeling that you would eventually stumble across them. Now? Now, it can take a bit of work just to find the damn stuff, never mind picking it up and actually experiencing it. (And when you do, sometimes there's a "Really? This is great? This just tastes like candy to me..." reaction.)

Ugh, I've once again mixed up all my metaphors--"it's like being trapped in a candy factory that's become a big city!"--and I didn't even have a chance to work the one I had about boats (that boat one was actually pretty good) and I didn't even give Hicksville the proper shout-out it deserves. (Really a terrific book.)

I don't know. I feel a little bit more hopeful...about myself, anyway. After not picking up a comic for close to three months, over the last four or five days, I made my way through Marian Churchland's Beast, and two issues of Blackest Night and two issues of Criminal, and Sugar Shock, and also some stuff that was okay, and some stuff that sucked. I want to write about some of it here, in some small way, and some of it really isn't worth going on about.

I'd like to think I'll come back from my little sabbatical all fired up and ready to be an active participant in our growing metropolis again...do my little piece of activism, and keep an eye on what effluent the DC and Marvel factories are flushing through our water supply...but even if that's just a momentary optimism--the joy of waking up, looking out the window, and to once again feel 'turangawaewae' (and, again, thanks to Dylan Horrocks)--well, I'll take it.

And to the extent any of this may be of aid to you, too--you're welcome to take as much as you need.

 

Douglas looks forward to 2010

I'm putting together a list of interesting-looking comics-related books that are coming out in 2010--what I've got so far is under the cut. Note that this is only book-format projects (so e.g. no "Joe the Barbarian," which reminds me: whatever happened to "Warcop" anyway?), and only things whose release dates have been announced either by the publishers or Amazon. Everything, as usual, is subject to change. I welcome additional suggestions for this list from anyone who doesn't work for the creators or publishers of the things you're suggesting.

January: Eddie Campbell: Alec: The Years Have Pants (Top Shelf)

Jan. 12: Dash Shaw: The Unclothed Man In the 35th Century A.D. (Fantagraphics)

Jan. 29: George Herriman: Krazy & Ignatz in "Tiger Tea" (IDW)

Feb. 2: Michael Dowers, ed.: Newave! The Underground Mini Comix of the 1980s (Fantagraphics)

Feb. 9: Jock: Hellblazer: Pandemonium (Vertigo)

Feb. 28: Jason: Almost Silent (Fantagraphics) George Herriman: Krazy & Ignatz 1916-1918: "Love in a Kestle or Love in a Hut" (Fantagraphics)

Mar.: Lewis Trondheim: Little Nothings vol. 3: Uneasy Happiness (NBM)

Mar. 3: Ben Schwartz, ed.: The Best American Comics Criticism of the 21st Century (Fantagraphics)

Mar. 16: Kevin Huizenga: The Wild Kingdom (D&Q)

Mar. 29: Al Capp: Li'l Abner, Vol. 1: 1934-1936 (IDW)

Mar. 30: James Sturm: Market Day (D&Q)

Apr. 1: Frank Young/David Lasky: The Carter Family: Don't Forget This Song (Abrams) Jaime Hernandez: The Art of Jaime Hernandez (Abrams)

Apr. 6: Jacques Tardi: It Was the War of the Trenches (Fantagraphics) Gilbert Hernandez: The High Soft Lisp (Fantagraphics)

Apr. 13: Peter Bagge: Other Lives (Vertigo) Jillian Tamaki: Indoor Voice (D&Q) Dash Shaw: BodyWorld (Pantheon)

Apr. 15: Judge Dredd: The Complete Case Files vol. 15 (Rebellion)

Apr. 20: Jim Woodring: Weathercraft (Fantagraphics)

Apr. 27: Daniel Clowes: Wilson (D&Q) John Stanley: Nancy vol. 2 (D&Q)

Apr. 28: Chris Onstad: Achewood vol. 3: A Home for Scared People (Dark Horse)

Apr. 29: Various: The Golden Treasury of Klassic Krazy Kool Kids Komics (IDW)

May 1: Dan Nadel, ed.: Art In Time: Unknown Comic Book Adventures, 1940-1980 (Abrams)

May 11: John Broome/Murphy Anderson: The Atomic Knights (DC) Various: Wednesday Comics HC (DC)

May 25: Megan Kelso: Artichoke Tales (Fantagraphics)

Jun. 8: Frank King: Walt & Skeezix book 4, 1927-1928 (D&Q) Showcase Presents Suicide Squad vol. 1 (DC) Greg Rucka/J.H. Williams III: Batwoman: Elegy (DC)

Jun. 15: Judge Dredd: The Restricted Files vol. 2 (Rebellion)

Jun. 22: Meredith Gran: Octopus Pie: There Are No Stars in Brooklyn (Villard) George Chieffet/Stephen DeStefano: Lucky in Love (Fantagraphics)

Jun. 29: The Creeper by Steve Ditko (DC) Kathryn & Stuart Immonen: Moving Pictures (Top Shelf) Ernie Bushmiller: Nancy's Aunt Fritzi Ritz (IDW)

Jul. 6: Paul Karasik/Mark Newgarden: How to Read Nancy (Fantagraphics)

July 13: Matt Kindt: Revolver (Vertigo)

July 20: Jason: Werewolves of Montpellier (Fantagraphics)

August: Jess Fink: Chester 5000-XYV and We Can Fix It (Top Shelf)

Aug. 15: Judge Dredd: The Complete Case Files vol. 16 (Rebellion)

Aug. 18: Robert L. Bryant: The Thin Black Line: Perspectives on Vince Colletta, Comics' Most Controversial Inker (TwoMorrows)

Aug. 29: Cliff Sterrett: Polly and Her Pals: The Complete Sunday Comics 1925-1927 (IDW)

October: Alan Moore/Kevin O'Neill: The League of Extraordinary Gentlemen: Century vol. 2 (Top Shelf)

December: Pat Mills/Kevin O'Neill: The Marshal Law Omnibus (Top Shelf) Alan Moore/Steve Parkhouse: The Collected Bojeffries Saga (Top Shelf)

 

While We Wait For Me To Get My Act Together...

Not an official review post - Those're coming later this week, now that I've finished writing Ono for this month - but if you're looking for some Hot Comic Reviewin' Action, go check out Chad Nevett's heroic 24-hour Blogathon effort from yesterday/this morning, taking a look at Bendis' Avengers and surrounding books. I don't always agree - and in some cases, very much disagree, with what he says, but it's well worth checking out.

A Perfect Holiday: Jeff Pulls a Bait & Linkdump.

Ooo, so far behind. On my comics reading, on my comics Internet reading, on my writing, you name it.

But! I did think I'd pass along two links that made my morning a little merrier.

They're behind the link, just because the images might be big enough to screw up the template...

I'm sure you already know--and have known since February--that Paul Grist has been serializing his Eternal Warrior comic online. I found out about over the weekend thanks to an old post on Shane Oakley's blog. There's about 28 pages there, which puts some meat on its bones, and it's fun looking at Grist take Moorcock ideas and Barry Windsor-Smith visuals and make them his own. And, of course, his compositional sense in black and white just always kinda knocks me back.

I'm not a torrenter in any sense of the word, which is why I'm always grateful when someone gets something like this out into the open air of the Web for however long: you can find a file containing pages from the first two issues of the infamous Air Pirates underground comics here. Yes, there's some Disney characters screwing, but I've been in awe of both Dan O'Neill and Bobby London forever and watching them (and Gary Hallgren! whose name was not on my radar at all) tear shit up was 100% delightful for me. I'm sure it's just my grumpy old man trick knee/fake nostalgia acting up, but this stuff seems to me 100% more loving and reverent of Disney material than the cookie-cutter corporate approved imagery we see nowadays. Maybe that's why some of the layouts right out of Krazy Kat fit in so well: The Air Pirates were tossing bricks, for sure, but they thrown with love. I'm incredibly grateful to Alan over at Poor Mojo's Newswire for bringing the link to my attention.

What doesn't make the cut

I'm nearly done with organizing my year-end figures for the accountant (should be done next week, I think), and I'm prepping to sit down with the 2008 BookScan numbers as soon as I get my hands on them. So I figure I'm still... 2 weeks? from doing regular review posting again.

I've just paid the Critics for the last six months of advertising (thanks for clicking through to our advertisers!), as well as the direct donations since June (Thank you to Evan D, Steven D, Ralph M, and Sandy M!), and everyone gets a cheeseburger! If you like what you read here, that's always a great way to show your support. Just sayin'.

But, I thought I should post something more than sales figures (and I'm SHOCKED about how few comments it drew this year... scroll down a bit and you can see CE's 2008 figures), without having to use the full part of my brain that I need to do proper reviews, so here's something new...

Every week I take home pretty much every comic that comes out, with the intent of staying up on what's going on. When I was a young man (and without a REALLY young man in my house who needs attention), I *did* get through everything in a week, but now...?

So, here's a list (with maybe some minor commentary) of the stuff even I didn't get around to reading this week...

30 DAYS OF NIGHT: 30 DAYS TIL DEATH #2: #1 didn't grab me by the throat as it were. JACK OF FABLES #29: I alwyas have a hard time working up the enthusiasm BACK TO BROOKLYN #3 GUARDIANS OF THE GALAXY #8: That "War of Kings" banner SCARES me

And from the week before...

WOLVERINE ORIGINS #31: This "Wolverine's Son" thing is just going on and on... MISTER X: CONDEMNED #1: Hm, I wanted to read this one, just ran outta time CAPT AMERICA THEATER OF WAR: AMERICA FIRST! RUNAWAYS #5 IMMORTAL IRON FIST #21 PATSY WALKER HELLCAT #4: The delays between issues has leeched much of my original shining joy DAREDEVIL #114: Really? BILLY BATSON AND THE POWER OF SHAZAM #3: Like HELLCAT above, but also "really?" like DD...

Maybe I'll read those last three right now if there's time between unpacking the Baker & Taylor box and when the New Comics Truck arrives today...

So, what comics do YOU have sitting in a pile waiting for you to read them? And why won't you probably get to those specific ones?

-B

I don't know how to title this one!

I meant to say something last week (ugh, or was it two weeks now) when Spurgeon linked to Johanna's (we miss you!) note about the pending release of the last color BONE volume.

I volunteer at Ben's school library one day a week (what can I say... I believe in libraries!), and, man, do the comics circulate like crazy! I'm only in there one day a week, but based on looking at the shelves I think it is true for every day in there -- the comics circulate the INSTANT they get put back out on the shelves.

My responsibilities include checking in each classes books, as well as checking the kids out each week (basically, it's just retail, but it is free -- using POS to scan stuff in and out, the whole thing), and I quickly learned that the first thing I should do when I'm done checking everything in is to shelf the 741.5's. That's the Dewey Decimal System code for graphic novels. Virtually everything I shelve while the librarian is reading to the kids gets checked back out during the same shift. It is insane!

The King of 741.5? Jeff Smith's BONE.

Those always always always go back out the moment they come in (not even counting the Hold requests) -- even when the kids have to read them OUT OF ORDER, they freaking fly off the shelf. Our library has two full sets, and the Librarian is getting at least a third one in because they circulate so fast.

The only other books (at least during my shift) that circulate as fast are the Lemony Snickett "A Series of Unfortunate Events" books.. but even those aren't quite (to my eye) as consistent -- usually you can find 3 or 4 of the 13 volumes on the shelves (they also have two sets of those... I think)

I suspect that this couldn't have happened without Scholastic (as much as it pains the self-publishing lover in me), and it could not possibly have happened to a nicer guy. Jeff Smith is a sweetheart among sweethearts, and he deserves every single copy sold.

Obviously, this is just a snapshot of ONE Elementary school library, and ONE shift of that library, at that, but it is an awesome awesome thing to encounter every week, hopefully saying really good things about 21st century comics literacy and the future of the comics readership.

I love volunteering at school in general: watching the ASTONISHING gains the kids have made just blows my tiny little mind every time I think about it. It's been... 14 weeks, is that right? since Ben started Kindergarten. When he started he knew his ABC by sight, and he was pretty decent with the phonic sounds of the letters. He could JUST write his name (though oddly spaced, and nearly always with backwards "N"), but that was it.

Now he's writing (simple) sentences ("I see my _____"), and the characters are pretty correctly spaced and sized and facing. He can sound out a word and basically spell things about right.

What I find fascinating is that what we're meant to teach them isn't really how to do things exactly correctly, but for them to have the tools to do those things for themselves. In other words, my instinct when Ben asks "how do I spell...."? is to tell him how to spell it. "'Witch' is spelled 'W. I. T. C. H.', pal." But sitting in class one day a week, I've realized that what you do is actually turn it around. "How DO you spell that? What's the sound of the first letter?" "It is 'wuh', Daddy." "Right, so what is that?" "Uh...W?" "Exactly, you little rocket scientist! Good job!"

To the point where even if they're not spelling a word correctly (A "cuh" sound could be either a "K" OR a "C"), the important thing at this stage isn't that they're spelling it right or wrong (they're only five and six!), but that they're developing the tools to FIGURE OUT how to spell it. The actual spelling correctly part comes later -- confidence is the skill to install right now.

As far as I can tell, nearly EVERY kid in the class is making AMAZING progress... and thanks to their awesome awesome teacher, they're ENJOYING making that progress. Schoolwork isn't "work", it is FUN, which is EXACTLY the kind of attitude that I was hoping school would inculcate.

We feel hugely lucky that we got the Kinder teacher we got at the public school that we got -- for security sake I'm not going to really broadcast those details -- because we really won the lottery for the type of school environment we were hoping for where learning is something that not only every child sees has value, but that they encourage in one another as peers. I (naturally) think my kid is pretty inherently smart, but to have an environment that really works at encouraging that is something we weren't sure we were going to get from public school.

And it makes it even that much more exciting to volunteer into that kind of environment where you can help OTHER people's kids make the same kinds of leaps, too!

Kids WANT to learn, really. It's pretty awesome to watch them do so, so well.

******

A comic review? Sure why not...

SECRET INVASION #8: I'm not so bugged by the What of this, as I am of the How. I mean, no matter what, you've got to give the Marvel universe some props for changing up the status quo every few years, and doing so in FAIRLY organic ways. By this I mean, by and large, the things that have changed have largely flowed from character, rather than being imposed from above. Sure there's been a few mis-steps (most of them involving Spidey), but overall, the generalities of the Marvel U have been reasonably logical and satisfying.

YMMV, naturally.

While I might dun Secret Invasion for misreading the post-'08 Election environment (the ending feels a lot more suited for a McCain/Palin administration), you have to give it points for setting up what will POTENTIALLY be a story-rich new Status Quo. That doesn't mean that writers WILL be able to draw that potential out... but it is there.

But I'm more convinced than ever that Bendis just shouldn't be writing this kind of a story -- he's just not very good at it.

As a conclusion, SI #8 is marred off the bat by its structure: you WANT to see the Big Fight Scene at the end. We've had seven previous issues that were basically nothing than unimportant fights, and when we finally get to the Title Bout (as it were), Bendis decided that it's best to mostly cut away from it, or to handle it perfunctorily and via narration (!)

It opens with a completely pointless death -- one that isn't really relevant to the 150-ish pages that proceed it -- and one that can be retconned faster than Bendis drops to talking heads: Thor just sent her someplace that she'll end up getting saved. She'll be back faster than Mockingbird was, bet on it.

But even if it wasn't so trivially reversed, what sucks the most about it is that it was a punk death, where none of the characters involved were even remotely heroic. I have no problem with death (or even "death") in comics, but I do very much want for it to invoke heroism and sacrifice for the greater good. If the character who died did so by stopping the Skrull doppelganger she was most associated with by using a weapon based upon their technology, that might be one thing, but instead the character died from plothammer and fiat, where it wasn't even explained WHAT was happening, or really how it was resolved. Yuck, that's just awful storytelling, lacking any thematic resonance, IMO.

I also have to say that one of the few genuinely human relationships in recent comics has been Luke & Jessica's. I truly like those characters as "people", so for us to have a "The Dingos ate mah baby!" scene... and without ANY payoff; and with that being on top of what now appears to be a complete red herring of that "glowing eyes" thing... well, most of my goodwill is just utterly pissed away.

I'm also upset that the well-toted idea that the Skrulls had this religion, and that this was actually meaningful from a story perspective, and to have it all basically come to nothing in the end... sheer anti-climax. They had a real opportunity to make the Skrull newly significant in the Marvel U, and it all feels pissed away to me.

As for the "Illumi-naughty", I really am not buying it. Oh, it's a clever enough conceit, but not those characters in that way. I mean, really, do you think Doom and Namor and Loki are going to give 10 seconds consideration to Mr. Crazier-than-a-shit-sandwich, and the jumped up thug? Really? Emma doesn't make any sense to me either, in the post-San Francisco world. Gah, plus that coloring -- I thought Namor was a Skrull, at first...

So, yeah, I didn't like this as a comic. It was pretty stupendously EH, and your Big Finish to your Big Event needs to be a lot more than that.

What did YOU think?

-B

Oh Disneyland, my Disneyland

It's a field trip report for those of you who care about such things... find it under the jump... (with some cute pics, as well!)

It was just Ben's birthday, and is my wont, I took him for a trip. Theoretically, these are "father/son" trips, but this year Ben wanted Mama to come along as well, and since it's HIS birthday, we went along with his plan.

Like last year, we headed south for Disneyland (but I'm not set on this being a Disney trip every year... taking ideas for next year already, folks!), but because Mama was with us, we made it a little more of a production number than last year.

Last year it was a "day trip" -- we went in the night before, went straight to bed at a motel, then spent the whole day at the park. THIS year, we left butt-early on Sunday, and came back on the last flight on Monday night, giving us two full park days.

Also, because Mama was with us, we decided to not stay in the cheap motel across the street (I liked the Park Vue Inn... it is a clean place to sleep, about 1/3 of the price, AND it is actually physically closer to the front door of the park), and instead stayed at the Disneyland hotel. The only real advantage there is that the Disneyland hotel has a MUCH nicer pool, with a huge model of Captain Hook's pirate ship, and some water slides (which, uh, Ben can't actually use because he doesn't KNOW how to swim [yet], and we can't slide down in tandem). We made a point of getting in an hour or two at the pool because of that... but it really isn't worth the triple price by itself.

I've noted Ben's affection for Ariel from THE LITTLE MERMAID, which, can I say, it sorta surprises me that she doesn't have a bigger Disneyland presence, as she appeals to both boys AND girls, and she basically single-handedly saved Disney animation in the 1980s...

But she's got a little statue by the (heated!) little kid's pool, so here's the first of the cutie-pie pics....

From CE

(let's hope that worked... thanks to Jeff Lester for putting the pic up and giving me the HTML...)

Anyway, we started the first day at the California Adventure park, the newer of the two parks on the complex. We did this because, mostly, we'd never been there before (either together, or singly). It's alright, and it looks and feels a lot more like a "traditional" amusement park -- it sure felt to me that there were longer walks between rides, and it doesn't have that super-compact feeling that, say, Fantasyland has.

We started the morning by beelining to the... well, I don't remember the proper name, it's something like "Grizzly Mountain White-water rafting", and it's your basic water-coaster, except that it spins a bit, like a whitewater raft. It's fun, but we probably should have done the "Flying over California" ride first thing, because by the time we got back there at the end of our day, the line was WAY too long to wait through. Oh well.

We went over to the pier area, and no one was willing to go on the Sky Wheel with me (chickens!), not even with the non-moving cars. Bah. We did some sort of rise-and-drop ride, which Ben liked, but I was bored with, and Ben couldn't go on the big coaster (height reasons), so we opted for standing in line for the "hot new ride", Toy Story 4-D. That took nearly an hour (ugh!), but it was nearly worth it, as it is a really clever updating of the Buzz Lightyear Astro-Blasters in dland proper. With a 15 minute wait, we'd have done it several times, it was that cool, but the line was really hellish.

Then Ben wanted to go on the Merry-Go-Round, so we did that (it was King Triton themed, about as close to Ariel as we could get), and the ride operator decided, unprompted, that Ben should be "Prince Ben", and he got a little crown and was announced to all of the other kids on the ride. That was nice for the boy, though I noticed when he repeated the ride (no line for a carousel!) that the operator wasn't naming a prince or princess on each go round, so not sure what the thinking was there. Still, nice surprise!

By then we're hot and tired, so its food time. Ugh, this is the real difference in staying two days -- you're basically eating three meals a day on dland property, and they are EXPENSIVE. Yikes, brutally so...!

(I thought Tzipora's burrito was horrific, but my Chinese Chicken Salad was pretty decent)

We then wandered over to the "Bug's Life" area (so much space devoted to such a minor movie!), which is okay-ish, but is really aimed at teeny kids. Ben will be too old for that next year, but this year he was fine with the gentle rides, and the joke of a bumper cars, and especially the "sprinkler park" (which purported to teach you about how irrigation worked in large scale farming, but was mostly an excuse for kids to get SOAKED). It was a hot enough day that by the time we walked to the next section, Ben was mostly dry.

I quite liked the "Hollywood" area, which has this GIANT illusion of a summer day, and a street receding into infinity down it. Must be 60 feet high, and Ben and I talked about how they do that kind of visual trickery for film, so it was almost even educational. Had we more time, I kind of wanted to go into more of the exhibits in the Hollywood area (how animation is done, that kind of thing), but the day was quickly creeping closed, so we limited ourselves to the Monsters Inc ride (a classic "Dark ride", which like all of them, doesn't make a ton of sense if you haven't seen the movie) (Ben hadn't... but wants to now), and the Muppets 3-D thing which is AWESOME. Seriously, that one alone is worth the price of California Adventure admission, and if we had more time, I would have gone through it a few more times. It was both hysterically and injokey, but it also had some of the best 3-D I've ever seen anywhere, as well as environmental things happening in the theater. Great great stuff.

I wanted to do the Twilight Zone "Tower of Terror", but neither Tzipora or Ben did, and I got outvoted, so we headed back to the hotel for some swimtime. Overall, the Hollywood area was the only part of the CA park that I actually *liked*. the rest was fun, but not stellar.

After swimming for a while, the family was bushed. We ordered in some room service (ugh, expensive!), and Tzipora and Ben crashed, hard.

I was still awake enough (it was barely 9!), and Disneyland was open until midnight, so I left them sleeping and went on the prowl with myself. It's fun walking around by yourself in a park at night with your iPod giving you your own soundtrack, I have to say!

I tried to hop back over to CA, to do the TZ thing, but that park closes at 9. Um, OK. Dland it is, then!

Since I knew he was too small for it (4 more inches to go!) I made for the Indiana Jones ride. The first pass through was about a 30 minute wait, but after that a staffer said to me that the ride had a "single rider" option, and I could skip the line if I wanted to do it again. Which I did. Three more times.

Here's a good place to note this: most of the rides (in both parks) SUCK for three people. Why? Because most of the time most rides only seat two across, which meant one of us rode with Ben, while the other was stuck alone. And, OF COURSE, Ben wanted to do most of the rides with D-A-D-D-Y, leaving Tzipora as the third wheel. Not fun for her.

(Indy seats 4 across, which is why they can do single rider to fill in the holes)

So: go to Disneyland in multiples of two if you want to have the best time, is the lesson!

(And, ask for "single rider" on Indy, instead of standing in the line the first time!)

I also did the Haunted Mansion solo (twice), since I just love the Nightmare Before Xmas decorations this time of year.

I missed the fireworks, though, because I was waiting for Indy...

Anyway, we get up early on Monday to pack as much in as we can. Monday was the first time I'd ever personally experienced the Santa Ana winds. HOLY COW. Now I understand how those SoCal wildfires happen. Especially standing at the monorail station in "downtown Disney", it was like being inside of a shotgun, the wind was blowing so hard!

Once in Disneyland itself, it wasn't too bad, but man that monorail station was a rare form of torture!

Last year we went mid-week, and the lines were all pretty small -- except for last year's "hot new ride" (The Finding Nemo Submarine ride), which was at least an hour, and we skipped) -- nothing took more than, say, 15-20 minutes. THIS year we went during Columbus Day, so lines were AT LEAST twice as long. Another lesson learned! We did about 20-25 rides in '07, but this year I think we made a dozen?

Knowing my boy's taste, we stuck mostly to the Jungleland/New Orleans Square area in the morning -- Haunted Mansion (twice!), Pirates of the Caribbean (this is where Tzipora started to say "Wow, this is amazing!"), then Ben and I climbed around the Tarzan treehouse while Tzipora used the Single Rider trick to do Indy. (She was GLOWING after that one!)

Tzipora still wasn't done with indy when we were ready, so I talked the staff into letting me and Ben "do the line" for Indy. The line area is at least as cool as the ride itself, going through an "archeological dig", with runes on the walls, and spike traps and stuff, and even Indy's office in the back, where the normal line doesn't actually go (that's where singles and Handicaps line up). Technically, they were breaking the rules, but we got a personal tour of the Dig, and Ben was happier than a pig in shit, even without being able to do the RIDE. We got through it at about the same time as Tzipora did the ride, so we exited as a family which was nice.

It was hot then, and definitely Sit-Down time, so we did a no-line "Jungle Cruise" (Which Ben adored more than I would have imagined), and also did the Enchanted Tiki Room. It's easy to dismiss those kinds of rides as an adult, but 5 year olds really do seem to love them, plus they rested and refreshed us.

Off to Tomorrowland, where we did Star Tours, and Buzz Lightyear (twice!), and Space Mountain (Tzipora vows she'll NEVER do a coaster again, but Ben loves the mountain just like his Daddy, yes!). If the lines hadn't been so long, all day long, I probably would have tried to do Honey I Shrunk the Audience and the World of Tomorrow, but we were beginning to run short on time.

Tzipora, for some reason, was dead-set on doing Nemo, so I let her and Ben do that while I took a little chill-out time for myself, hurray. They said it was worth the 45 minute line, but I doubt that, myself.

Then it was the big one: Jedi Academy.

This is an outdoors, in-the-round kind of show, where a "Jedi Master" picked 10 or so kids to be "Padawans", and taught them how to use a lightsaber. They do this maybe 5 times a day, so only about 50 kids a day get to participate, out of the 10k+ that go through the park. Last year, I steered around it, but this year Ben was eager to try.

What's cool is that the floor opens up and Darth Vader (and sometimes Darth Maul?) comes out, and "fights" the kids.

Long story short, Ben was lucky enough to be one of the kids picked (it prolly helps that he looks like a young Luke Skywalker... and that his dad was standing behind him waving HIS hands as well!)

Let me tell you, as an American male who was 9 years old when STAR WARS was released (and I saw it 2 weeks-ish pre-release, too, with the print we watched having the Biggs-on-Tatoonie scenes), there was nothing NOTHING that's given me as much as a thrill since seeing Ben BORN, as watching him fight Darth Vader! Yah, boyeeee!

Now you can thrill as well...:

From CE

Our day was approaching done, but we had time for ONE more ride, and we picked a (probably THE) classic Fantasyland ride: Peter Pan. I wanted Tzipora to see a "classic" Dark Ride, and I think we picked well.

Then it was time to start heading back (already?!?!), with us still not making it back to Toon Town for the second year in a row.

FOR SURE *if* we go back again it will be midweek (I'll pull him out of school, if I need to) for the smaller lines mean being able to do a WHOLE lot more rides.

I'd say we had a great time -- Ben certainly did, which is the important thing, and he got to be a Prince, speak to Jack Sparrow, and fight Darth Vader, which was more than was on his agenda in the first place.

Bringing your wife, staying on dland property, staying for two park days, all of that QUADRUPLED expenses from last year, but I have no problem working a little harder to give the little guy that much fun. Next time (IF), we definitely go back to doing it CHEAPLY, however.

That was my trip, and I hope you enjoyed reading about it.

-B

(oh, and Virgin airlines? Very nice carrier. I'd take them again anytime, for sure)

Hibbs' thought for the day

It's said that this week's ACTION and DCU: DECISIONS were also pulped because of some sort of other problem -- ACTION for showing Clark drinking beer on the cover. His bottle is now very glaringly labeled "SODA POP". You just know that Pa Kent has a moonshine still...

But DCU: DECISIONS is even weirder for me -- apparently it was to "de-Condi" one of the candidates, but between solicitation and publication, the cover suddenly now has a piece of graffiti on a wall that says "Heroes don't vote!" which, to me, is like 10,000 times worse than Clark drinking a brew, or Condi in the DCU. To me, I read it as "Hey kids, be a hero: Don't vote!"

*brrr*

God, I have to finish this Tilting I'm writing, more later.

-B

Diana's 50 Favorite Moments In Comics

Because all the cool kids are doing it! In no particular order, my 50 favorite moments in comics:

1. SWAMP THING #56, "My Blue Heaven": Stranded on a distant planet, the Swamp Thing recreates his hometown and is content to live an empty fantasy until a replica of John Constantine starts voicing some inconvenient truths. It's even creepier when you realize that every character on the Blue Planet is really just Swamp Thing throwing his voice.

2. BOX OFFICE POISON: Towards the end of the book, Hildy tells Ed about her little sister Marlys. It turns out the reader has already met Marlys in an earlier, seemingly-unrelated part of the story... a part that becomes incredibly tragic once the missing context is in place.

3. WHY I HATE SATURN: Anne sets out for California to find her sister, only to get hit by the Deluxe Edition of Murphy's Law. If it can go wrong, it will. If it can't go wrong, it will anyway.

4: NIKOLAI DANTE, "Amerika": After a decade of watching Tsar Vladimir commit atrocity after atrocity, Nikolai reaches his breaking point and stabs the Conqueror, only to be struck down a moment later by Konstantin.

5. SPIDER-MAN 2099 #25, "Truth Hurts": One of the better examples of the "everything you know is wrong" plot twist - Miguel learns about his mother and Tyler Stone, and the whole story gets turned on its head.

6. FANTASTIC FOUR #524, "Tag": The Fantastic Four are racing across Manhattan to reclaim their lost powers, but Reed has sabotaged Ben's equipment, intending to become the Thing himself and leave Ben human. But Ben figures it out and swaps his gadget with Reed's, unwilling to let his best friend take the fall for him.

6. STARMAN #80, "'Arrivederci, Bon Voyage, Goodbye": Jack Knight leaves Opal City.

7. CATWOMAN #19, "No Easy Way Down": Still reeling from the aftermath of the Black Mask's attack, Selina gets drunk and decides to rob a museum, until Batman talks her out of it.

8. RUNAWAYS #16, "The Good Die Young": Alex is revealed as the Pride's mole. Quite literally the last character I suspected.

9. INCREDIBLE HULK: FUTURE IMPERFECT: The Hulk defeats the Maestro by sending him back to the gamma bomb detonation, turning Bruce Banner's entire history into an ouroboros.

10. DAREDEVIL #182, "She's Alive": Convinced that Elektra faked her death, Matt digs up her coffin, expecting it to be empty. It isn't.

11. FRAY #8: Melaka kills Urkonn, her mentor and friend, when she realizes he murdered Loo to get her to accept her destiny.

12. DEADENDERS #16, "Smashing Time": Even after the universe rewrites itself, Noah (formerly Beezer) has a moment of distant recognition when he finds an abandoned scooter in the middle of the road. For a split-second, he can almost remember the friends and the life he left behind.

13. BONE #37, "Harvest Moon": In a genuinely creepy scene, a disoriented Thorn pulls her cloak over her head, looking exactly like the defeated Hooded One. It was ultimately a red herring, but that doesn't change the "brr" factor.

14. BATMAN: THE DARK KNIGHT RETURNS: Jarred out of a vegetative state by the return of his nemesis, the Joker's first words are "Batman. Darling."

15. SPIDER-GIRL #41, "Funeral For A Fiend": Normie Osborn (Harry's son) stops by the hospital to visit Mary-Jane Parker. As he turns to leave, he bumps into Peter - and for a moment, Peter only sees the Goblin and Normie only sees Spider-Man. Then Peter offers his hand; a moment later, they embrace, finally laying the past to rest.

16. TOP TEN #11, "His First Day on the New Job": This is such an Alan Moore thing to do: Joe Pi, the latest officer to join the Neopolis police department, is a robot. He's also the most human character in the series. When Joe realizes Irma Geddon's kids were attached to the late Sung Li, her previous partner, Joe decides to cheer them up with a trick of his own.

17. NEW X-MEN #149, "Phoenix In Darkness": In many ways, I see this as the quintessential post-Claremont Magneto story - "I am your inner star, Erik. I am the conscience you can never silence. I will never let you be."

18. HELLBOY: THE RIGHT HAND OF DOOM: Igor Bromhead has bound Hellboy using his true name, Anung un Rama; moments later, the demon Ualac steals the Crown of the Apocalypse off Hellboy's head. Things seem pretty bleak until Hellboy is informed that "Anung un Rama" quite literally means "he who wears the crown" - that no longer applies to him, so it's not his name. The spell is broken, and much butt-kicking ensues.

19. DEADPOOL #11, "With Great Power Comes Great Coincidence": Deadpool and Blind Al time-travel into a Stan Lee/John Romita Sr. issue of AMAZING SPIDER-MAN. The whole issue's hilarious, but special mention goes to Deadpool's reaction to Harry's (and Norman's) "unique" hairstyle.

20. ASTONISHING X-MEN #15, "Torn": Cassandra Nova turns Wolverine into a six-year-old girl. Awesome.

21. THE AUTHORITY #12, "Outer Dark": The death of Jenny Sparks.

22. GRAVITY #5: His nemesis, the Black Death, has been defeated, but Greg Willis still doesn't feel like a superhero... until Spider-Man stops by to congratulate him on a job well-done.

23. ULTRA: SEVEN DAYS #8: Having been told by a psychic that she would find her true love in seven days, Pearl reaches the end of day 7 alone. When she realizes it's not going to happen, she maintains her composure until someone asks her for the time, at which point she starts crying.

24. BIZARRO COMICS: Mxyzptlk browses through the Hall of Superman Spin-Offs.

25. VEILS: Vivian discovers the truth behind the story of Rosalind and the Sultan.

26. WATCHMEN: The whole book is one big Favorite Moment for me, but if I have to pick a scene, I'll go with Ozymandias' revelatory monologue in the penultimate issue, coupled with the immortal "I did it thirty-five minutes ago." I'll bet you guys anything the studios will rewrite that "downer" ending so that Rorschach and the others save the day.

27. Y: THE LAST MAN #30, "Ring of Truth": Hero faces her demons.

28. COMMON GROUNDS #4, "Time of Their Lives": Forty years after their last battle, Blackwatch and Commander Power meet again. But they're not who you think they are. That last panel with the newspaper clipping turns the whole story on its head.

29. ALIAS #28, "Purple": It's a complete deus ex machina, but I can't help smiling whenever I see that double-page spread of Jessica punching the Purple Man square in the mouth.

30. SANDMAN #37, "I Woke Up and One of Us Was Crying": Barbara defiantly crosses out Alvin's name on the tombstone, and - in Tacky Flamingo lipstick - writes WANDA instead.

31. SUPERMAN: WHATEVER HAPPENED TO THE MAN OF TOMORROW?: With the Fortress of Solitude under siege and Superman preparing for his last stand, Jimmy and Lana sneak out to fight the gathered villains themselves. "We're only second-stringers, Jimmy, but we'll show 'em... Nobody loved him better than us. Nobody!"

32. ASTRO CITY #0.5, "The Nearness of You": Michael's decision to remember Miranda puts your typical Crisis-esque multiversal time-travel epic in a completely human context.

33. FABLES #55, "Over There": Having heard the Snow Queen's plans for the conquest of Earth, Pinocchio lays out a surprisingly vivid counter-scenario where the human race unites with the Fables and tears the Adversary's Empire apart.

34. H-E-R-O #4: Jerry finally does something heroic, after losing his superpowers.

35. EXILES #34, "A Second Farewell": Mariko gets another chance with Mary.

36. DOCTOR STRANGE: THE OATH #5: Doctor Strange and Night Nurse get together. Aww, they're so cute!

37. MY FAITH IN FRANKIE #3: "You've broken Commandments One through Three, Seven and Nine. I'm taking you down, Frankie."

38. THE ADVENTURES OF BARRY WEEN: MONKEY TALES #6: Barry jumps into the past to save Sara's life; when he realizes he's succeeded and everything's back to normal, he heads into the kitchen and promptly bursts into tears. It's a powerful reminder that, despite his intellect, Barry's still just a kid.

39. EMPIRE #5: Golgoth realizes his daughter Delfi has become as corrupt and monstrous as he is. So he snaps her neck.

40. MARTHA WASHINGTON: GIVE ME LIBERTY: President Howard Nissen tears down Cabrini Green at Martha's request.

41. THE BIRTHDAY RIOTS: Troy Adams' death shakes Max to his core - when the rioters surround his car the next day, Max just opens the door and lets the crowd beat him, in penance for his betrayal.

42. SUPERGIRL #79: Seconds after she decides to live Kara Zor-El's life, Linda Danvers chafes at all the "secret weapon" talk and goes public, changing everything.

43. LOKI #1: It's a blink-and-you'll-miss-it thing, but Rob Rodi suggests a different angle on the Loki/Thor rivalry: in a flashback, we see them as teenagers, and Loki idly carves a heart in the dirt as he watches Thor.

44. MAUS: Not so much a "favorite" moment as one that haunted me for a long time; Vladek describes a particular instance in the Nazi purges where they murder crying children. Despite the fact that it's cats and mice - or maybe because of that - it's an image that stuck.

45. THE SURROGATES #5: Rather than face the reality outside her apartment, Greer's wife kills herself. The real world has a price.

46. ZENITH PHASE 3: Everyone's pretty shocked that the self-absorbed, spoiled superbrat Zenith sacrificed his life to save the Multiverse. Turns out he didn't: that was his mirror-universe double Vertex, the guy who actually was a hero.

47. CRIMINAL #5: For a split-second, you think Leo might have made it in time to save Greta. But, of course, he doesn't.

48. I, JOKER: The unnamed protagonist finds the last recording of Bruce Wayne prior to his death.

49. V FOR VENDETTA: Valerie's letter.

50. WE3 #3: 1 starts howling and wailing for 3 as it goes off to face 4 alone. Breaks my heart every time.

 

Tuesday-Type Content: 50 Things Jeff Likes About Comics.

I really liked David Brothers' '50 Things I Like' list he did recently over on 4th Letter, as well as some of the lists he reprinted and linked to as a result. And last time I saw him, David said, as we parted, "hey, you should do a list." Somehow that led to me not being able to sleep past 6 AM on a Sunday morning as I sorted and re-sorted the little sublists I'd do.

Anyway, post-jump: 50 things I like about comics, with hopefully just the right amount of commentary.

5 Great "Eras" for Publishers

DC in the late '50s, early '60s: A legacy that's like the pyramids in Egypt--lovely to look at, but I'm damn glad I didn't have to work on 'em. (Reading Weisinger-era Superman is like having dinner at the home of a wife abuser: you feel sick at your complicity but, you gotta admit, the pot roast is perfect.) The mix of genuine talent being ground under by fierce editorial formula, the considerable resources of the company, and an aggressive approach to creating IP (although at the time it was probably called something like "following the marketplace") paid off in a huge back library of material and properties that DC could reinvent for years to come.

Marvel in the early to mid-'70s: Of course, I'm going to pick this era since it was the era I fell in love with comics, but still: Marvel finally being able to publish as many titles as it wanted, combined with a ton of new talent inspired by Marvel's heyday who had absolutely no conception of what work-for-hire work meant. I mean, it's not just that you had more than twenty issues of a title called Man-Thing; it's that you had Howard The Duck, a character in Man-Thing so popular he got his own book.

Fantagraphics in the early '90s: Los Bros Hernandez were still doing Love & Rockets (at what could be argued was their most ambitious period, if it wasn't for the fact they've always been, and continue to be, outrageously ambitious); Peter Bagge was doing Hate; Clowes was doing Eightball. While none of these books were monthly, their publication schedules were such that if you kept coming to the comic book store every week, it seemed like one of them would pop every sixth visit or so.

Despite all the praise and accolades at the time, I think nobody--not the readers, not the publishers, not the retailers--realized how exceptional a line-up this was. I'm not a sports guy, but the closest analogy that comes to mind is when the 49ers replaced Joe Montana with Steve Young. Sure, we San Franciscans knew we were fortunate to have two great QBs in a row, but we didn't realize how unbelievably fortunate: we also believed that, hey, of course we got two great QBs in a row because the 49ers are the greatest football team in the world, and San Francisco is the greatest city in the world, etc., etc. I think that there was a similar feeling at Fantagraphics that, yeah, these guys are geniuses, absolutely, but when they start to burn out (or slow down), we'll have the next generation of geniuses ready to come up. And when they published the first issue of Acme Novelty Library #1 in 1993, it looked like that would actually be the case. But it wasn't.

Vertigo in the mid- to late-'90s: Preacher, The Invisibles, and (pulled over from the failed Helix line) Transmetropolitan. Also, the last great era of letter pages.

Viz, right here in the mid-'00s: This is my own opinion deliriously unmoored from anything like historical knowledge, but Viz strikes me as generally lazy and complacent, willing to write off its lack of hustle as a commitment to the long haul. So it took Tokyopop licensing and dumping materials cheaply on the shelves to get Viz to step up its publishing schedule, and it took Vertical publishing high-end niche materials to get Viz to dip its fiscally conservative toes into riskier waters. Whether my opinion is at all close to the mark or not, all I know is I've got Drifting Classroom, Death Note, Monster, Tekkon Kinkreet, Cat Eyed Boy, and thirteen volumes of Golgo 13 on my shelves. And I've got 20th Century Boys to look forward to in 2008. I feel exceptionally fortunate.

5 Creators I'd Kill To Make Documentaries About

Dave Sim: I mean, c'mon. I can't think of a better post-Crumb documentary subject.

Eastman & Laird: Counting them as one creator is a bit of a cheat, but I think cutting between, say, Eastman and his wife Julie Strain doing bondage photoshoots of models on their palatial estate to Laird handing out Xeric Awards in some half-empty convention hall, would be worth it.

Evan Dorkin: And it's a bit of a cheat not including Dorkin's wife Sarah Dyer in this category, since she's an interesting creator and cartoonist in her own right. But just Dorkin talking, talking, talking, while alternating between his detail-filled panels, and the more depressing views of Staten Island? How can than not half-fill a screening room at Opera Plaza for thirteen days?

William Moulton Marston: Again, a gimme.

Rob Liefeld: Kind of the rise & fall of the Image Seven, as focused through this one guy who, from what I can tell, has never been honest about a deadline a day in his life.

5 Perfect Comic Books

Boom Boom #2Boom Boom #2: David Lasky's retelling of Joyce's writing of Ulysses using pages rderawn from The Origin of Marvel Comics. Up there with Spiegelman and Moore as far as sheer formalistic brio.

Eightball #7: Featuring "Art School Confidential," "Chicago," and, yes, "Needledick the Bug Fucker." The first time I read this, I realized how people could talk about how reading Mad back in the '50s could completely change the way they saw everything.

OMAC #1Omac #1: If you had to pick one last superhero comic to read, this would be the one. Every panel of this is jammed with subtext and possibility. Even the rest of the Kirby issues aren't half as good as the comic series that exists in your brain after you've read this one issue.

Arcade #6Arcade #6: The first comic where I finally "got" Crumb, but it's also got Spiegelman's 'Malpractice Suite,' which still floors me. And S. Clay Wilson! And Bill Griffith! And Rory Hayes! And Mark Beyer! Pretty much bifurcated into Weirdo and Raw, both of which I loved, but never quite in the same way I loved this.

Sam & Max Freelance Police SpecialSam & Max's Freelance Police Special #1: The inspiration for Hit The Road and one of my picks for all-time funniest comic book. Most of my perfect comic book picks were chosen by how many times I've read and reread them; this issue of Sam & Max has to be in the double digits by now.

5 Writers Whose Work For Marvel in the '70s I'll Always Adore

Steve Gerber: Yeah, that's probably a given.

Steve Englehart: Somewhere tucked away in my brain is an essay about how Englehart made comic contuity work in a way that fooled just about everyone into thinking it was an easy and positive benefit to superhero universes than it actually is.

Don McGregor: My goal for this year is to re-read Panther's Rage, which was pretty much my version of Watchmen when I was, I dunno, nine? And review it here, is the plan.

Doug Moench: Overwrought? All these guys were overwrought--it came with the territory. But Moench's overwroughtness also underscored the fact that he seemingly took every assignment seriously, be it Planet of the Apes, dialoguing duties on Rich Buckler's Deathlok, Godzilla, or, of course, Master of Kung-Fu.

Chris Claremont: Claremont was pretty much the last and latest of this generation and, of course, by far the most successful. For better or for worse, so many of the techniques (both strengths and weaknesses) of the '70s Marvel writers found their apotheosis in Claremont's work on Uncanny X-Men.

5 Portrayals of Comic Characters in Other Media I Love More Than The Originals

Buster Crabbe's Flash Gordon: I saw these serials when I was really young and they were perfect. I wish I could show you what I see in my mind when I think back on these.

Robert Downey Jr.'s Tony Stark: Yeah, absolutely. Tony Stark of the comics is pretty much a whiny beeyotch, when he's not being painted as a great big tool. RDJ somehow transcends all of that, while remaining faithful to it? Like, how the hell did he do that?

Chris Evans' Johnny Storm: Kinda similar to the above. Never liked Johnny Storm until Evans gave him crack comic timing.

300 The Movie: Zack Snyder's 300 is so much better than Miller's 300, I think, in the same way Pierre Menard's Quixote is so much better than Cervantes' Quixote.

(I'm shocked I left both Heath Ledger's Joker and Bava's Danger: Diabolik off this list. But that speaks to how much I love the original material, I guess.)

5 More Perfect Comics, With Far Less Commentary

Acme Novelty Library #1: Barely edging out that one awesome issue where Jimmy, his Mom and Superman get stuck on a desert island (and mainly because I can never remember the issue number on that one).

Frankenstein #1Seven Soldiers: Frankenstein #1: Barely edging out Seven Soldiers #1.

Swamp Thing #32: "Pog."

Love & Rockets #4: the conclusion of the first Heartbreak Soup story and 100 Rooms.

Giant-Size Captain America #1Giant-Size Captain America #1: A collection of Lee & Kirby Cap stories that were just excuses for Kirby to draw fight scenes for six or seven pages at a stretch. True comic book crack: I didn't even have an opinion about it the first 15 times I read it.

Twenty Other Things I Like About Comics, Unsorted & Without Comment:

Paul Pope
Angel & The Ape
The Fortress of Solitude
Dr. Slump
"Tricky Cad"
Skull the Slayer
Those Giant Working Props (in Finger & Sprang's Batman?)
Analogues of corporate controlled characters
Letter pages by Ennis and Morrison
Ghost Rider
Guido Crepax
Snoopy's Doghouse
The Giant Gil Kane Heads o' Drama
Sgt. Frog
Bêlit
Kirby fingers
Golgo 13
The initials "LL"
Alan Moore's beard
The comics blogosphere

Reminder: Garage Sale is Today

You can also consider this post a reminder that I still have no idea how to use a flash:

These and other fine books, only a quarter each. (I should mention I've got a box full of old Comics Journals, and I'm letting those go for only fifty cents each.) I'm on Cortland Avenue between Andover and Moultrie, 94110 (although this isn't the address use 515 Cortland to get a close enough fix on my location). We're going to be near the rubble of the old library, and next to the storage containmnent cube. Yes, it's a garage sale, Armagetto-style! And I hope you can turn out. We'll be there from 9 to 4.

See you there!

 

Time for the Garage Sale: Jeff Talks Prep and Pleads

As always, my timing sucks because I'm so happy Graeme's got a post up that I hate the idea someone might miss it with all the following hoo-ha I'm about to throw your way. So please make sure to see Graeme's post below! Thank you.

So it's time for the annual hillwide garage sale in Bernal Heights this Saturday: that means people all over the hill will be having sales in front of their homes and apartments. And it means that, once again, I will be out on Cortland Avenue with a table, a bunch of long boxes, and some embarrassingly low prices: after much consideration, I've decided to hold my prices to a quarter a book.

Google maps is being kinda dicky without map links, but here's one to my rough location: 515 Cortland Avenue, 94110.

http://maps.google.com/maps?f=q&hl=en&
geocode=&q=515+Cortland+Ave,+San+Francisco,+CA
+94110&sll=37.739601,-122.412007&sspn=0.007772,
0.019312&ie=UTF8&ll=37.74296,-122.413852&spn
=0.007771,0.019312&z=16&layer=c&cbll=37.739054
,-122.416435&panoid=HLCG6xVb0K-nW0iBtW78qg

The Bernal Heights Neighborhood Center, which organizes the sale, hasn't told me the exact location, but it's somewhere on Cortland between Andover and Moultrie.

Interestingly but probably unsurprisingly, in the year since I've stopped working at CE, the number of books I've bought has diminished significantly: this is probably because not having them right in front of me for eight hours at a stretch has made them easier to resist. I'd made it a point to try and spend less on comix when I left CE but I don't think that influenced things much--more of my spending has moved toward trades, archives, and manga than the actual floppy/pamphlet/single format. (Fortunately, I'm a notoriously poor bellwether for the rest of the industry, otherwise I'd be worried for future of the singles market.) So whereas in the past few years, I've had something like eight longboxes of books for sale, currently it looks like it'll be at most five.

That said, I'm looking to get rid of a lot of duplicates and stuff that has been traded (or at least in good-enough Essential/Showcase format) from across the range of my collection. Here's three quick pictures to give you an idea of what I mean:

Although it's still a work in progress. I mean, having just picked up the HTD omnibus, I really don't need all my issues anymore, so I pulled them and put 'em in the to-sell pile. But those issues have a particular hold on me--some of them I can remember what I was eating when I read them for the first time, or where I bought them, or the quality of light in my room as I reread them for the third or fourth time--and I'm finding myself skittish about letting them go. I was always a reader, not a collector or a speculator, but I find myself wishing now I'd been more of one (I was flipping through my copy of Hulk #181 today and, sure enough, I'd clipped the stamp like a good little Marvelite), just so that the filthy lucre could provide a tipping point in this tug-of-war between my past and my present. Strangely, it's the more personal stuff--like Howard The Duck--I feel more like letting go for a quarter. It's like returning an animal to the wild or something.

Uh, anyway, that's all a long winded way of saying there are going to be some very good deals. Depending on how manic or depressive I let myself get about all this, maybe some very, very good deals. If you're in the city this weekend, please think about showing up between 9 and 4 on Saturday on Cortland between Andover and Moultrie. Introduce yourself and I'll try to press a free comic in your hands or something. Feel free to drop me an email with any questions, or leave 'em in the comments link.

WE'RE LIVING IN A CIVILIZATION!!!!

To quote George Constanza and all that.

It's really hot in San Francisco this week, kind of unseasonably so. Sure, I understand that it isn't as gross and hot as it is on the EAST coast, but still. Public transportation is even more grueling in High Heat.

With gas prices rising rapidly, more and more people are turning to (or at least considering) public transportation.

I, myself, have always been a bus guy. I don't know how to drive, and while our family has a car (preschooler, kinda have to), I still buy a monthly bus pass every month, and try to use the bus as much as humanly possible.

I don't know if it is just that no one ever taught people (I mean, when I was in elementary school in Brooklyn, they taught us things like "when you're in the library, and you don't know where to reshelve the book, just leave it on the table for the librarian to do -- that's MUCH better than mis-filing it!" Today, I think all they're really concerned about is making sure kids can pass standardized tests...), or if people are just stupid and rude, or what exactly the problem is, but here are some tips if you find yourself on public transportation:

(I apologize that this has nothing to do with comics)

1) If you HAVE to stand RIGHT IN the DOORWAY, at least be aware of your surroundings, and move out of the way as someone approaches the door to exit the vehicle. I really don't understand why people CHOOSE to stand in the door, but jesus, people, please let your fellow passengers use it for its intended purpose.

As a corollary to that, you CAN NOT get upset if you get elbowed, or smacked, or pushed, or yelled at because you're standing in the doorway and aren't letting people go past. The doorway is not an aisle!

2) If you wear a backpack REMOVE IT FROM YOUR BACK ON A CROWDED BUS. Wear it over one shoulder, or, even better, hold it by the loop in your hand. Your full backpack on your back takes up the space of a second person, nimrod, and every time you turn your body, you're smacking people all around you, even though you don't know it.

3) Let people in pain, or children, or the elderly have your seat. Don't be an ass.

4) Unless it is an EMERGENCY, please please please don't talk on the phone. NO ONE wants to hear your half of your conversation, and EVERY SINGLE OTHER person on the bus thinks you're an inconsiderate asshole.

5) If you don't have a bus pass or transfer or equivalent thing that allows you to just stroll onto the bus, it's really inconsiderate to shove other people out of the way to board, then hold up the entire line by fumbling with your fare at the fare box.

There's a lot more, but it all boils down to: don't be an ass; pay attention to your fellow people; be considerate and polite.

Thanks, and have a great day!

-B

The Inventory #1: Jeff Considers Immortal Iron Fist #10-14

From time to time, it's been suggested in our comments that we post follow-up reviews of story arcs after reviewing them in issue-by-issue fashion for so long, as a way to see whether or not the whole thing came out in the wash. The Inventory doesn't quite do that but it's close: I'm so far behind on my non-manga reading that I thought I might review a batch of purchased issues of a single title at one go and see how they shape up.

First up, The Immortal Iron Fist #10-#14, plus The Immortal Iron Fist annual.

As you may remember, I've been a fan of Iron Fist from way, way back (like back when Claremont and Byrne first worked on the character) so I was delighted when writers Ed Brubaker and Matt Fraction, and artist David Aja tackled the character by crafting a story arc that re-examined the character's origin and took it as the jumping off point for an epic story that spun backwards in time even as it moved forward.

Part of what thrilled me about that it was unabashedly such a classic piece of Marvel storytelling: when I was growing up, Marvel characters were always having their origins re-examined, the gaps of believability being grouted over with more backstory and, whenever possible, more continuity. (The examples that stand out the most for me are both from Steve Englehart: his sprawling storyline in Avengers that revealed the true history of the Vision; and that great Captain America story that puts the Captain America of Marvel's '50s comics in continuity.) That stuff will probably always resonate with me, but never more so than when I was at the age where I was starting to figure out the underlying cause and effect in the world around me. There comes some point when it really sinks in that everything existed before you came into the world, and that everything has a history, and the effect is a little bit like those Marvel epics: even as you're moving forwards, this epic backstory of the world is spinning out before you simultaneously.

The first six issues of The Immortal Iron Fist have Danny Rand, the current Iron Fist, meet Orson Randall, the previous Iron Fist, and discover the true nature of his origin. At the end of it, he's whisked away to the magical city of K'un L'un where he was raised, so he may fight in the Tournament of Heavenly Cities. Issues #7-14 show that tournament, re-introduce us to K'un L'un and the political struggle behind its facade, introduce the other Heavenly Cities which are tied to K'un L'un, as well as the champions of those cities, fill in the backstory with Danny's dad and Davos, the villain of the first arc, and, in the end, set the warriors of the tournament and the warriors of K'un L'un against the forces of Hydra.

It's all audacious as hell, jammed to the gills with characters and action, cool fights and finishing moves. Even with the wit and insouciance of Fraction's dialogue, these issues of Immortal Iron Fist feel like Scott Pilgrim's deadpan cousin: Hong Kong movies from the '80s and '90s, video games, and Marvel comics all hold equal sway over the proceedings. At its best, the book becomes almost operatic while still being cobbled of out of little more than thirty years of beloved pop culture detritus.

Yet, weirdly, by the time I'd plowed through issues #10-14 (and the Annual, must not forget the Annual), I found myself simultaneously satiated and hungry, pleased and grouchy, content and unsettled. While comics have many, many advantages over movies and videogames, several of the biggest differences can work to their disadvantage: neither movies nor video games are assembled in a linear fashion, and the work on the slam-bang finale can be the first task undertaken. Also, comics both benefit and suffer from being the product of a much smaller team of creative personnel--when a member of the team takes a powder or loses interest, the change in the product is noticeable.

All of which is a fancy-dan way of saying that in issue #10, artist David Aja contributes fifteen pages, and Kano contributes five. By issue #13, Aja contributes three pages, Kano contributes six, and Tonci Zonjic the other eleven. And in the big finale, Kano does five pages, Clay Mann does five, Tonci Zonjic does the remaining twenty, and Aja is nowhere to be seen. (Unless he did the cover--why the hell aren't they crediting the cover artist on these books?)

Now, Zonjic has a clear, clean style--and Matt Hollingsworth's colors (which are so superlative throughout the entire series he deserves to be counted as one of the key creative personnel) help provide a visual unity with the preceding issues--but Aja's work gains its power from fluidly moving from elegantly simple linework to byzantine detail, and often in the same panel, in a way that underlined the ambitions of the book: Immortal Iron Fist similarly swings from the simplicity of a big, gaudy kung-fu fight book to a richly backstoried epic in almost as short a span. And so the big final issue, with all of the legendary warriors fighting side-by-side in Zonjic's clear, clean style, has a flattened feeling to it, just because a dimension has visually dropped out.

Additionally, the "Seven Capital Cities of Heaven" arc manages to more or less forget about the main character entirely, which is something Marvel's '70s epics never did. While some of this is because Brubaker and Fraction are too dutiful to succumb to mere hackwork--after setting up the reader's expectation that Iron Fist will fight against six other awesome kung-fu adversaries in the Tournament of Heavenly Cities, they have Danny lose his first match and remove him from the action--I can't help but feel, despite the writers' insistence in interviews, Brubaker and Fraction don't have much interest in Danny Rand.

Indeed, the real center of the piece turns out to be Davos, who starts off as a villain in search of vengeance, and ends up conflicted, torn between his self-righteous anger and the opportunity to truly act righteously. Issue #14 of Immortal Iron Fist really turns on that choice, and it's the resolution of his story that gives the arc tremendous power. It's kind of like if Lucas had done Star Wars right, and we really had started the story thinking it was about Luke Skywalker and finished it realizing it was actually all about Darth Vader.

And yet: couldn't the arc have also been about Danny Rand? As much as I appreciate that Brubaker and Fraction make Danny a genuine hero, noble and self-sacrificing and kind, I'm sort of frustrated they are either unable or unwilling to figure out what to do with the character apart from discover his origin. As Claremont and Byrne did before them, they surround the character with the flashiest supporting cast around. By the end of the arc, it's not enough that Danny already has an ex-girlfriend who's a detective with a bionic arm, a best friend who is a steel-skinned superhero, and a good friend who's partners with the bionic-armed ex and has been trained as a sword-wielding samurai--he ends up accompanied to Earth by the five other champions from the Tournament of Heavenly Cities. Danny Rand, Brubaker and Fraction seem to be saying, is basically a kung-fu Richie Rich from a magical city: after you've spent a story or two on that gimmick, you've got to bring in Robota and Dollar and Jackie Jokers, all of whom also come from magical cities, but who have an endless number of cool finishing moves that are fun to think up and splash across action panels. You have to keep attaching cool geegaws to hide that the center is dramatically inert. And that may be the case, but I didn't get the sense the creators were trying very hard to see if that was actually true or not. (That the creative team is pulling up stakes so soon after the conclusion of this story lends some weight to that suspicion.)

And so, if I had read and reviewed each of these issues on their own, they would've ranked along the spectrum of the Very Good rating (apart from the Annual, which I thought was shockingly close to Awful--all geegaws and nearly no point) but, read as whole, I would rank the storyline as highly Good, maybe a little more than that. Issues #10-14 of The Immortal Iron Fist are ambitious, clever, and the high points are, really, everything I want in a superhero comic. But the formidable skills of the creators may not be enough to conquer the realities of the marketplace, where a fastidious artist can become overwhelmed. Indeed, the skills of the creators may not be enough to outweigh their own creative passions, which may be drawn to places darker than a unambiguously good man may be able to take them. These issues of Immortal Iron Fist are certainly worth buying and worth reading. But they're also worth considering for their negative space, for the areas where they cannot, or will not, reach.

NYCC: The Dream

One of the big downsides of being sick is that you sleep a lot, but you're not really sleeping WELL -- tossing and turning all night long, waking up in pain, and the latest one, now that the antibiotics have started to work, the pain in the tonsils has switched to a sinus drip in the back of the throat, so that sleeping at night is sort of like being slowly waterboarded in your sleep. Joy.

But, last night I finally had like 6 solid hours of REM sleep, and what do you know I dream about a comics convention.

Actually, it was more like New York City itself had been turned INTO a giant comics convention, because my dream took place nowhere near the Javitts.

The first bit I remember (because I think it had been going on for a while before then) is that Peter David and I were coming back from some sort of CBLDF event (I was on the Board of the CBLDF for about 2 years, a while back), and we were meant to go to something in (of all places) Connecticut, so Peter went to go get his car, while I waited in the nearby park (I think it was Tompkins Square Park). While I'm there I'm hailed by Bryan Talbot, who, for some reason, is walking around with Piers Morgan, and a 12-year old boy with a british accent and mohawk wearing a name tag saying "Phillip Tan" (?!?!!?). I hang out with them for a few minutes before I realized that I've totally lost wherever Peter is supposed to meet me.

A car pulls up with several of my customers in it (including Shelton Yee, who used to own a comics shop in SF many years ago), and they offer to drive me around the park to look for PAD. Of course they take the wrong turn, and just as they pull away we get stuck in horrible midtown traffic (yes, we've shifted that far in dream logic) because there's an Iron Man float coming down the street to promote the movie.

In the rear view window, I see a distant PAD waving frantically, so I hope out into traffic, and dodging cars (including the Speed Racer cars, and a procession of vehicles from the new Indy movie), make it across the street, where I am now in Washington Square Park, except that it has these long ramps added around the edges, with another "level" of park added. This additional level is Escher-like.

I'm trying to puzzle out how to navigate this when The Joker runs past, gassing people in the park. Batman then comes running, and kicks the shit out of him in front of me. Blood and teeth everywhere. I then see Dave Sim (circa 1989), Jeff Smith (current), and Rob Liefeld (!!) (circa Gap Commercial) and ask them if this is a promotion for the film, and Dave tells me, kind of archly, that no, Batman is real and has been running around New York for weeks, where have I been?

"Well, I'm trying to get to Connecticut," I say. Oh, that's where we're going, the three of them say in chorus, in the same voice, and then Tzipora walks in the door of the room where I'm sleeping and I wake up and there's no more.

At least my throat has stopped hurting.

I'm now going to go back to sleep, because my NYCC sounds more fun than the real one!

-B

Tonsillitis

Tuesday, while I was in the middle of pulling the comics, I started to get chills, then fever, then chills again, and I was feeling very logy.

When I got home Tuesday night, I passed out for nearly 24 hours.

On Wednesday, the searing throat pain began, and the only reason I didn't sleep continuously for the next 24 hours was that pain.

Thursday I finally went to a doctor -- Tonsillitis is the verdict and anti-biotics should knock it back fairly soon, but if you wonder why I've been completely silent here (and only writing Priority One emails), its because I feel like someone stuck a rusty dagger in my mouth, and really all I want to do is sleep.

Regular blogging will probably resume... Monday? Doc says I should be over the worst by then...

-B

Almost On-Topic: Jeff Talks Briefly About Morpheus, Obama, and Politics.

The only letter I ever had published in a comic book was in Transmetropolitan. I don't remember the issue but I'm pretty sure it's issue #16, above--this cover of Spider as The Statue of Liberty rings some bells. Somewhere, Ellis had written about the '92 election race that was currently underway, and posited a pretty good theory about who gets to be President. (As I recall, the theory is basically, "Whoever wants it the most, gets it." Clinton, Ellis pointed out, wanted the Presidency in a way Bush I didn't.

I wrote back a response suggesting that, in fact, what we were seeing from Bush was petulance--the speed with which we devoured news media had changed, and what had been some very classic re-election gambits had fallen flat because of it. Consequently, Bush was upset and frustrated by having done everything right and still losing. Because I mentioned Hunter S. Thompson's Fear and Loathing on the Campaign Trail '72 of which Ellis is a fan (although is there anyone who reads that book who doesn't become a fan?), and maybe because I laid on the Transmet rah-rah thick at the end (hey, what can I say? I was a fan), Ellis ran the letter.

Last week, getting ready to leave Buenos Aires, I saw this Obama ad that repurposes dialogue from Neil Gaiman's Sandman.

Think these two bits of trivia--my letter in a comic book, and a political ad that takes language from a comic book--justify me writing about the Presidential election on a comic book blog? If not, don't follow me after the jump.

I suppose another connection between Presidential campaigns and comic books--superhero books in particular, I'm thinking--is the true and pressing need for character and continuity: just as Marvel and DC must make turn out dozens of stories a year about Batman or Spider-Man and make sure the heroes remain "in character," so too must the people running presidential campaigns create a "character" out of the running politician with which the public can identify (or at least consistently recognize), and tell dozens of stories about that character from one state to the next, from one puff piece to the next, from one debate to the next.

The stories a political campaign tells about a candidate are either variations on one story or smaller stories that reinforce a larger narrative, and while the details of the narrative may vary, but the point of every political narrative is the same: this politician has earned the right to hold the position they're running for, and their experiences will ensure they will represent the people in doing so. Because the point of the narrative is the same for every person running (and every superhero), the creation of character, the public's attachment to this character, and the degree to which the narrative's details resonate with the current concerns of the public, are what allows politicians (and superheroes) to survive and/or thrive in their respective arenas. These things distinguish them.

Consequently, the first move of the opposition is usually to point out areas of contradiction between the created persona and the actual person, pointing to incidents in the politician's past that do not gibe with the current persona; the opposition uses continuity to back up their condemnation of the politician, similar to the way an outraged fanboy might use continuity to condemn a current handling of a superhero as "out of character." If an opponent can't undermine the created persona, they might attack the candidate's narrative by trying to convince the public that their concerns aren't the concerns the narrative addresses.

My letter to Ellis all those years ago talked about how Bush's petulance stemmed from doing all the work to create a narrative for the upcoming election--that of a successful military commander who had led the country into and through a successful military operation--to no avail whatsoever. Unfortunately for Bush, the period of good will created by a small, successful military operation had been drastically reduced by the influence of CNN and the public's exposure to 24 hour news--the exposure meant a story's hook became stale more quickly, and Bush entered the election with the successful gulf war as "old news," and the troubled economy as what people really cared about.

Bush was also frustrated and petulant because the only successful weapon his campaign had against Bill Clinton--Clinton's infidelity--was checked by Bush's own profligate tendencies: the Democrats had info that strongly suggested Bush had continued, at least through his vice-presidency, to keep a mistress, and so the issue of morality never entered into the '92 election.

Bush had been handicapped by both his own indulgence and a change in the culture he couldn't have predicted. No wonder he seemed resentful, angry and dismissive during the '92 campaign, and no wonder he lost. His re-election narrative held no power, and the conflict between his public persona and his private character had left him unable to attack his opponent.

Now, although I'm an Obama man (with some reluctance) and have very little patience for Hillary Clinton, I find the "I Am Hope" ad more than a little depressing, not least because it highlights for me the degree to which Hillary, like Bush I, has had her narrative derailed.

I couldn't tell you for how long Hillary has been planning her campaign (I'm gonna guess it's been at least since '96) but I can tell you it was pretty obvious what her campaign narrative was going to be: her election to president was going to be a historic achievement--not for her, but for the country. Making her the first woman president would show how far the U.S. had come in gender relations. It was going to be an unavoidable sign of a new day in American politics, and it would imply a centuries long struggle between the genders was if not over, then at least at the beginning of its end. The goal from (let's say) '96 on was to acquire enough practical political experience to check the naysayers who would try to derail this narrative as so much glitter and happy hippie smoke.

However, just as Bush I was unprepared for 24 hour news cycle to erode gulf war good will, Hillary was unprepared for Barack Obama to enter the campaign and, essentially, usurp her narrative. Suddenly everything Hillary would've been saying about her campaign was being said by Obama; the only angle she really had was to fall back on was her practical political experience, and attacking Obama's narrative, suggesting that her narrative, not his, was the one that mattered most to the public.

The "I Am Hope" banner ad suggests how well that's going for her. Throw in her own character failings (from what I can tell, Hillary, like many lawyers, reserves her charm and grace for those she believes to be equals and superiors but isn't nearly as good with those serving under her--Washington is supposedly littered with secret service men who'll complain bitterly she turned them into baggage handlers and errand boys, dismissing their job duties as secondary to the chores she assigned them), and Hillary is now in the role of Choronzon, smug demonlord brought low by the prince of dreams. Considering all the years she expected to be playing the Morpheus role, I find it kinda painful, kinda like the way it's painful to watch the worst kid in acting class (who's of course convinced he's the best) see the casting sheet and realize he's not going to be playing the lead.

The Democratic race for the nomination isn't over yet, but it could be very soon. If it ends with Obama taking the nomination, will Hillary be able to re-craft her persona to make a suitable running mate? Will she be able to mesh her narrative with Obama's?

I wish I could take this entry the extra mile and bring Neil Gaiman's Sandman back into all this, but it's been too long since I last read the series and the books aren't nearby. But isn't Sandman about, among other things, the usurpation of narrative? I'm thinking here of the early arcs in particular where stories are never resolved by Morpheus in the way his enemies intend, and frequently open characters to a new understanding of their place in their universe. In Sandman, the loss of one's intended narrative and the revelation of one's true character is usually a beneficial thing. In presidential campaigns, it frequently is not.