Year: 2008

This Week’s Haul

Comic books I bought the week of 19 March 2008.

  • Batman: The Killing Joke HC, by Alan Moore & Brian Bolland (DC)
  • The Brave and the Bold #11, by Mark Waid, Jerry Ordway & Bob Wiacek (DC)
  • Countdown to Final Crisis #6 of 52 (backwards), by Paul Dini, Adam Beechen, Keith Giffen, Mike Norton & Jimmy Palmiotti (DC)
  • The Death of the New Gods #7 of 8, by Jim Starlin & Art Thibert (DC)
  • Ex Machina #35, by Brian K. Vaughan, Tony Harris & Jim Clark (DC/Wildstorm)
  • Fables #71, by Bill Willingham, Mark Buckingham & Steve Leialoha (DC/Vertigo)
  • Sandman Mystery Theatre: The Hourman and The Python vol 6 TPB, by Matt Wagner, Steven T. Seagle, Guy Davis & Warren Pleece (DC)
  • Tangent: Superman’s Reign #1 of 12, by Dan Jurgens, Matthew Clark & Fernando Pasarin (DC)
  • Marvel Masterworks: Captain America vol 93 HC, collecting Captain America #114-124, by Stan Lee, Gene Colan, John Romita, John Buscema, Sal Buscema & Joe Sinnott (Marvel)
  • Thor #7, by J. Michael Straczynski, Mark Djurdjevic & Danny Miki (Marvel)
  • Invincible #49, by Robert Kirkman & Ryan Ottley (Image)
Batman: The Killing Joke Deluxe Edition Batman: The Killing Joke was arguably Alan Moore’s last really major contribution to comics, coming in 1988 which puts it right on the heels of Watchmen. Originally a “prestige format” graphic novel (which meant it was on nicer paper and was squarebound, but otherwise not much longer than your typical comic), it’s been reissued in a 20th-anniversary deluxe hardcover edition, recolored by artist Brian Bolland. It’s a very nice package.

It’s a pretty good story, a hard-hitting look at the Joker’s psyche and why he acts like he does. It provides an origin of sorts for the character – a twisted variant of his Silver Age “Red Hood” origin – without committing to it. In the story, the Joker kidnaps Commissioner Gordon and cripples his daughter Barbara in order to prove a point about his sanity (or lack thereof) to Batman. The ending is perhaps a little too cute for its own good, but all-in-all it’s a good story with terrific art by Bolland. It’s told in a manner very similar to that of Watchmen with clever scene transitions and a restrained, “realistic” layout. Moore also lets some of Batman’s heroism show through, which I appreciate since I can’t stand the psychopathic character he’s become since the publication of The Dark Knight Returns.

The crippling of Barbara Gordon – the Bronze Age Batgirl – has been controversial, since female characters often seem to get tortured to “prove a point” to or about the male heroes (c.f. Women in Refrigerators). Barbara’s character was rehabilitated by turning her into Oracle, the computer-savvy mastermind behind the Birds of Prey series (also providing tech support for Grant Morrison’s JLA). In isolation, the event is brutal and effective in this story; in a larger context it does feel rather cliché. It’s worth noting that it’s now been nearly as long (20 years) since Barbara was crippled than the time (22 years) that she served as Batgirl. Generations of comics fans (as comics generations are measured) have grown up knowing her only as Oracle (unless they watched the Batman animated series); at what point does her current persona become her defining one?

Anyway. It’s a good story, influential mainly in how it defined and changed several of its characters, less so than for its storytelling. And the art is beautiful.

Sandman Mystery Theatre vol 6: The Hourman and The Python Speaking of relatively brutal comic book series, Sandman Mystery Theatre was a noir-ish detective/superhero/thriller series set in 1930s New York which ran for 70 issues in the 1990s. I picked up the first 8 issues (the first 2 story arcs) and then dropped it, mainly because I wasn’t a fan of Guy Davis’ artwork in the first arc, and I liked his replacement in the second arc even less. DC has been collecting the series in paperback form, and I was moved to pick them up and try it again. Not only does it read much better in collected form than as individual issues, but I’ve warmed to Davis’ artwork (large noses on his characters and all) and it turns out he does most of the drawing in the series. With this volume, number 6, we reach the halfway point in the series.

Wesley Dodds is a rich man-about-town who is tortured by dreams of killers, and who at night puts on a gas mask and employs a gun of sleep gas of his own making and hunts down these killers, even though he’s often at odds with the police. Besides this adventure, SMT is also a romance, following Dodds and Dian Beaumont gradually falling in love and moving towards their lifelong relationship. Dian is a strong adventurous woman, a little out-of-place with the societal roles her position forces her to play. She’s also deeply conflicted about Wes’s nocturnal habits, which she’s well aware of by the time of this volume. The tentative dance the two engage in, two steps forward and one step back with each arc, is agonizing and yet delicately crafted.

The adventure ain’t bad, either. The first arc in this volume features Hourman, another golden age hero, who joins with Sandman to catch some jewel thieves. Hourman’s superhuman powers are cleverly portrayed, showing them obliquely to make their full impact greater when he does something truly remarkable. The second story, The Python, is one of the more routine tales in the series, regarding some mysterious stranglings around the city.

If you find run-of-the-mill superhero comics dull, but would be interested in some mystery and romance to go with the adventure, then I recommend this series.

(Incidentally, there was a sequel mini-series published a year or so go, which I didn’t care for at all. It bore very little resemblance to this one in style or theme, so I don’t recommend it. A better coda to the series is a story arc of James Robinson’s excellent Starman series, collected in the volume Sand and Stars.)

Tangent: Superman's Reign #1 One of the more fun mini-series of the last 20 years was Tangent Comics. Tangent was created to fill a “skip week”; you see, most comics are published monthly, but comics ship every week. This means that four months each year there’s an extra week, so companies have the choice of spreading out their offerings across five weeks in those months, or producing some new material. For a little while, DC comics would publish some new material to fill the “skip week”, and the best of these was Tangent.

The premise was that an entirely new world was created under the oversight of Dan Jurgens, completely unrelated to any of DC’s other properties, except that the names of the characters and places and things would be re-used in completely new contexts. So in this world The Atom was a series of Superman-like figures who descended from a man who gained powers from early A-bomb tests. His presence caused Cuba to nuke the southeastern United States in 1962, resulting in even more super-beings, as well as New Atlantis, a futuristic city built on the site of Atlanta. The original set of comics were all snapshots of this world, with insight into its past and perhaps its ultimate future and doom. It was very clever and entertaining, well-written and well-drawn. The setting was re-used a year later in a second set of titles, which were considerably less enjoyable, re-imagining the “big three” heroes Superman, Batman and Wonder Woman, in each case in a rather unimaginative manner (the Wonder Woman issue was especially noxious), and some redux issues of characters from the first series. Ultimately it felt like an attempt to “cash in” on the original concept, and predictably (and deservedly) the series disappeared after this second set of issues.

Now, ten years later, Tangent is back in Tangent Comics: Superman’s Reign, as one of the worlds in the new DC Multiverse (as Earth-9), and the Justice League is going to visit their world, which it turns out has been subjugated by their Superman figure, a superevolved human who I assume thinks he was doing the world a favor by taking it over and imposing his own order on it. A 12-issue series feels somehow like overkill, and integrating it with the Justice League sort of takes away some of what was special about Tangent, but it could still work out. The set-up here is pretty decent, and Matthew Clark’s got a clean line and pretty dynamic sense of layout. If writer Jurgens can get back to what made the first series fun and establish it once again as its own thing, not truly beholden to the main DC Universe, then this could be a good series. If it ends up being caught up in the Final Crisis muddle or falls apart storywise midway through, then it will probably be entirely forgettable.

But I’m going in with some optimism, because my memories of the first batch of Tangent Comics still burn brightly in my mind.

Thor #7 This month’s Thor wins the award for “hardest-to-spell creator names” for the month – maybe the year. Straczynski, Djurdjevic, Eliopoulos, Arbona, and even Danny Miki. Ye gads.

The story is still ridiculously slow, though. This issue is mostly a flashback one, in which Odin relates a tale from his youth while Thor is visiting him in the afterlife. That’s pretty much all you need to know, since nothing’s really happened in several issues.

Doctor Who, Season Three

It took a while, but we finished watching the third season of Doctor Who last night, which means it’s time for the review of the whole shebang. (If you missed them, you can go back and read my wrap-ups for Season One and Season Two.)

Please be warned that there are some spoilers in the discussion below, so if you haven’t seen the whole season, you might want to come back after you have to read this.

Here’s how I thought the episodes stacked up, from best to worst:

  • Blink (written by Steven Moffatt)
  • Utopia (Russell T. Davies)
  • Human Nature/The Family of Blood (Paul Cornell)
  • Smith and Jones (Russell T. Davies)
  • The Sound of Drums/The Last of the Time Lords (Russell T. Davies)
  • The Shakespeare Code (Gareth Roberts)
  • Daleks in Manhattan/Evolution of the Daleks (Helen Raynor)
  • Gridlock (Russell T. Davies)
  • 42 (Chris Chibnall)
  • The Lazarus Experiment (Stephen Greenhorn)

(We haven’t seen the two post-Martha Jones episodes listed as part of the season, due to the peculiar way in which we watch the episodes. No, it doesn’t involve BitTorrent downloads, because if it did then we’d certainly have seen them!)

In the large, I thought this season was considerably weaker than the second season, and you’ll recall that I thought the second season was a disappointment compared to the first. As is usual with such things, I think the fault lies in the writing, as even several episodes in the first division were badly flawed, and several episodes during the season were downright cringeworthy. I think many stories strive to be too cute or too clever and end up just being ridiculous. Granted it can take a truly outstanding writer to take a silly idea and make good drama out of it, but I’d hope that any decent writer would at least be shy away from the silly ideas that they can’t make work. On the other hand, obviously I have a different idea of what “works” for Doctor Who than the show’s creators.

On the casting side, I enjoyed Freema Agyeman as Martha Jones quite a bit. I appreciated that she came from a less-nebulous background than Rose Tyler, as Martha was a medical student. It was sometimes frustrating that Martha would have moments of whining about the Doctor not noticing her, mainly because I thought the show didn’t spend enough time on her unrequited feelings until the very end and so it always felt a little out-of-place. (Not to mention that it felt like a reprise of the main running theme throughout Season Two.)

I still haven’t fully warmed to David Tennant as the Tenth Doctor, and still pine for Christopher Eccleston’s more nuanced character. I think I’ve decided it’s not really Tennant’s fault, it’s just that the character is written as a one-dimensional figure: A hopeless do-gooder who’s sort of a brilliant oaf. This leads to some very unsatisfying plot developments, often involving the Doctor seeming completely baffled until he pulls a rabbit out of his hat at the very end. This exacerbates some of the silly stories that the episodes are based around. The Ninth Doctor’s air of self-superiority tended to give his stories a firmer ground on which to stand; when he seemed baffled it was usually because he genuinely had no idea how to proceed, while you never know where you stand with the Tenth Doctor: It he really baffled, or is it just bad writing?

Okay, to be fair we may be pushing the limits of the various elements which go into the Doctor’s personality: Haughty, noble, self-aggrandizing, super-competent, bumbling, clownish. These are the elements which largely define each of the Doctor’s incarnations. The really good Doctors tend to expand and deepen their core aspects (think Tom Baker and Chris Eccleston as prime examples) while the lesser ones seem to flog the same horse over and over (with the Colin Baker character being the worst such figure). The ones in the middle all have their various flaws, by Tennant’s Doctor still feels a lot like the Peter Davison and Sylvester McCoy characters: The bumbling do-gooders who are largely undercut by inconsistent writing and oft-incompehensible plotting.

As for the episodes themselves, “Blink” was the clear winner here. Yes, the foundation is a bit weak, as thinking about the ecology of the Weeping Angels makes you realize that they don’t really make any sense except as a one-off plot device. But man, what a plot device! Sending characters into the past to kill them through the sheer passage of time, and telling the story through the character of Sally Sparrow (Carey Mulligan, who arguably out-acts almost everyone else in the season), with nifty little time dependencies and paradoxes, it’s creepy and moving and dramatic and it just hangs together better than anything else in the season.

“Utopia” is the other excellent episode of the season, and is the lead-in to the two-part finale. Derek Jacobi as Professor Yana is terrific, as one expects from Jacobi, and seeing Jack Harkness (John Barrowman) again and bringing closure to his disappearance after the end of Season One is a lot of fun. I still haven’t seen any of Torchwood, so I don’t know how his character has worked out there, but his presence here is entirely explained in the context of this series, and he’s a nice addition to the end of the series. Anyway, “Utopia” takes place near the end of the universe, and it’s built around a relatively modest concept – trying to help the last band of humans escape a hostile planet for a purported promised land – while being used as a vehicle to introduce the season’s climactic villain. And it does this very well, using bits set up in earlier episodes to build the suspense gradually. I think Russell Davies’ writing works better when his story’s venue is constrained like this; given a much larger canvas on which to work, his stories seem to get away from him.

Paul Cornell’s “Human Nature” two-parter is one of the stories which is basically a house of cards (the Doctor’s motivations for becoming human seem spurious in the extreme – he did all this to be merciful? What the–?), but it’s a pretty effective story nonetheless. The Doctor’s turn as a human results in a character with more depth and range than the Doctor himself has, which serves to underscore that the Tenth Doctor is one of the weaker Doctors, but it does give Tennant more to do than usual, and he does a good job with it. (This is one reason why I think the fault in the character lies in the writing and not the acting.) The story is perhaps overlong, but still pretty good. Special mention to Harry Lloyd as Baines, the prefect who’s taken over by the Family, who makes Baines into one of the creepiest human-looking antagonists I can recall in the show.

From here the season declines from “noteworthy” to “merely adequate” or worse. “Smith and Jones” was kind of a mess of an episode, although it gets extra points for the “Judoon on the Moon” line. The Judoon feel too much like unusually-silly Sontarans and the premise of transporting a hospital to the moon is even more ludicrous than the usual Doctor Who plot device. “The Shakespeare Code” was so pedestrian I have basically nothing to say about it.

Of the really bad episodes, “Gridlock” had a completely ridiculous premise which I just couldn’t get past to enjoy the rest of the episode. I haven’t really warmed to all the “New Earth” stuff which pops up in the series from time to time; I’d be happy if they just jettisoned the venue entirely. “42” felt like a poor redux of Season Two’s “The Impossible Planet”, which itself was not a great episode. And “The Lazarus Experiment” started out as a science fiction cliche, and ended up as an unusually implausible Big Monster Story. Really bad stuff. This made the first half of the season hard going indeed.

That leaves the other two two-parters. “Evolution of the Daleks” lands as a slightly-below-average story, largely squandering the promise in setting a Doctor Who story in Depression-era New York, overshadowing it with the rather silly idea of evolving the Daleks into human-Dalek hybrids. This story certainly had the feel of the Daleks being well past their sell-by date; unlike the Jon Pertwee-era Dalek stories, which felt all to mechanical and predictable, the Tennant Dalek stories have turned the Daleks into some sort of bogeyman, seeming slightly pathetic and overused, and only frightening because they happen to be armored machines carrying guns. All of the emotional resonance of the excellent Eccleston episode “Dalek” (arguably the best episode of the new series overall) feels very much a thing of the distant past. “Evolution” has too much of the feel of two over-the-top Colin Baker episodes, “Attack of the Cybermen” and “Revelation of the Daleks”, seemingly thrashing around to figure out in what new direction the monsters should be taken, while simultaneously undercutting their essential menace.

Lastly, there’s the climactic two-parter of the season, in which the Master (William Hughes) returns to the 21st century (apparently a few decades in advance of our own era, as they have flying aircraft carriers here) and arranges to take over the world and use humanity to launch a war to conquer the cosmos. The Master here is portrayed as both calculating and flamboyantly insane, which is certainly quite different from his past personas, who were dark, manipulative villains. It’s a weird effect; it certainly makes him a surprising antagonist as he often acts in ways that I found surprising compared to his past behavior, but then, that’s sort of the point of regeneration, isn’t it? Arguably it was just a coincidence that the Roger Delgado and Anthony Ainley Masters had basically the same personalities.

The downfall of the story is that it relies far too much on cheap tricks to work. Aging the Doctor to an old man, and then a ridiculously old man, was certainly creepy, but seemed gratuitous. And the story’s climax was nothing more than a deus-ex-machina, essentially allowing the Doctor to save the day by having all of humanity “think good thoughts” about him at the same time. Any time your heroes win because of a figure bathed in a glowing light, your story has gone badly wrong. (I’d been expecting that Martha had been telling humanity about the Doctor’s good works on their behalf in order to have them passed down the years to their descendants to short-circuit the Master’s plan from the other end.) This sort of magic solution was just as unsatisfying in “The Parting of the Ways” – the Davies script which concluded the first season – and I hope it doesn’t become a habit in what should be nail-biting season-enders.

The episode has a moment seemingly drawn directly from the film Flash Gordon when the Master’s ring is picked up from his funeral pyre by an unknown hand. I guess he’ll be back…

The new Doctor Who series is still fun, but it feels like it’s going steadily downhill. I hope they can turn things around in the fourth season, but I’m losing my optimism. Guys, a little madcap hilarity is okay once in a while (after all, how else could you really spin an episode called “The Christmas Invasion” than to have killer Christmas trees in it?), but I’d like more serious stories with believable premises and sensible resolutions, please.

The Golden Age Greats

I’ve noticed a few comments around the Web (for example, on Peter David’s blog) that with Arthur C. Clarke’s passing the last of the great SF authors of the golden age are gone and this marks the end of an era.

Although Clarke was the last of the “Big Three” to die, the label of the Big Three always seemed rather arbitrary to me, and there are in fact several popular, acclaimed and beloved science fiction writers still alive who were contemporaries of Asimov, Heinlein and Clarke in the 1940s:

  • Ray Bradbury, born 1920, first published 1941.
  • Jack Vance, born 1916, first published 1945.
  • Frederick Pohl, born 1919, worked as an editor and agent in the industry starting in 1939.

I think placing these gentlemen on a lower tier or in a later generation than the Big Three is splitting hairs – or, at most, a matter of opinion. The era of the golden age greats may be nearing an end, but it’s not there yet.

R.I.P. Arthur C. Clarke

Arthur C. Clarke passed away today, at the age of 90.

Clarke was one of the “Big Three” science fiction writers, along with Isaac Asimov and Robert A. Heinlein. As far as I could tell they were the “Big Three” because they were all prolific, popular, and had helped shape modern science fiction through the 1940s and 50s while continuing to sell well into the 1970s and 80s. (How Ray Bradbury feels about this, inasmuch as he meets all the same criteria, I don’t know.) Asimov once joked about hoping to outlive his peers to be the “Big One”, but Clarke outlived him by 16 years. (Heinlein died in 1988.)

Having been born in 1969, naturally I discovered Clarke relatively late. I actually got into science fiction through H. Beam Piper, whose “self-reliant man” stories and strong sense of historical context put him more firmly in the Heinlein tradition, but I never cared much for Heinlein’s own work. Instead I was more attracted to Asimov’s cool rationalist approach (Vernor Vinge is much in the Asimov tradition, and Vinge is one of my favorite authors), and to Clarke. Clarke – much like Bradbury, actually – had a more literary bent to his writing than did Asimov or Heinlein, some of his work perhaps even having a feel of magic realism to them.

Like many of his peers, Clarke was a prolific author of short stories (that being the most common form of SF publishing until at least the 1960s), and I read most of the ones collected at the time. He also wrote quite a few novels. His novels can be rather hit-or-miss; for example, Rendezvous with Rama is a nigh-impenetrable story of the exploration of a huge alien ship. Clarke unquestionably could present intriguing ideas clearly, but he did sometimes lose sight of actually having a story to hang on the ideas, and Rama is a good example of this. Another good example is the work he’s probably best-known for: The film 2001: A Space Odyssey, which had the misfortune of being a thin story directed by a greatly overrated director (Stanley Kubrick) with a lousy ending. (To be fair, 2001 was and is a controversial film, and it was a landmark in presenting science fiction in a serious and dramatic manner. I still think it’s not even close to a good film, though.)

At his best, though, Clarke’s writing had a strong humanist bent. One of his rare late-career novels not co-written with another author was 1986’s The Songs of Distant Earth (sadly out of print, it seems, as I write this). The novel concerns a spaceship stopping at one of Earth’s many colonies, all created with robotic seeder ships centuries before, and the clash of cultures and nature of such visitations in such a future. (One chapter of Dan Simmon’s excellent novel Hyperion has much of the feel of Songs.)

But Clarke’s best work, for my money, is Childhood’s End, which concerns the transcendence of humanity beyond our Earthbound forms, a sort of biological equivalent of the technological singularity, only published in 1953, the novels largely concerns the lives of the last human generation before the transcendence. Powerful, sad, poignant, and optimistic all in one, it was one of the most moving novels I recall reading in my teenaged years, and certainly the best written by the Big Three (second place going to Asimov’s Foundation).

The grand masters of a modern genre are rarely remembered because they were more polished or more technically adept at their craft than those who came later. They’re remembered because they were the trail blazers who covered important ground before anyone else, and did so in a decisive and influential manner which shaped the genre. Clarke was certainly one of these, and you can see his influence – direct or indirect – in writers such as Kim Stanley Robinson and Karl Schroeder (well, I can see some influence, anyway!).

He’ll be missed, but we’ll always have his writing with us. Science fiction wouldn’t be what it is without his skills and efforts.

This Week’s Haul

Comic books I bought the week of 12 March 2008.

  • Booster Gold #7, by Geoff Johns, Jeff Katz, Dan Jurgens & Norm Rapmund (DC)
  • Countdown to Final Crisis #7 of 52 (backwards), by Paul Dini, Adam Beechen, Keith Giffen, Tom Derenick & Wayne Faucher (DC)
  • Countdown to Mystery #6 of 8, by Matthew Sturges & Stephen Jorge Segova, and Steve Gerber, Justiniano & Walden Wong (DC)
  • Salvation Run #5 of 7, by Matthew Sturges, Joe Bennett & Belardo Brabo (DC)
  • Suicide Squad: Raise the Flag #7 of 8, by John Ostrander, Javier Pina & Robin Riggs (DC)
  • Annihilation Conquest #5 of 6, by Dan Abnett, Andy Lanning, Tom Raney & Scott Hanna (Marvel)
  • Nova #11, by Dan Abnett, Andy Lanning, Paul Pelletier & Rick Magyar (Marvel)
  • B.P.R.D.: 1946 #3 of 5, by Mike Mignola, Joshua Dysart & Paul Azaceta (Dark Horse)
  • Locke & Key #2 of 6, by Joe Hill & Gabriel Rodriguez (IDW)
  • Atomic Robo #6 of 6, by Brian Clevinger, Scott Wegener & Nic Klein (Red 5)
Booster Gold #7 Booster Gold has been pretty well received by the comics blogosphere. Although it’s a continuity-obsessed time travel yarn, it works because of its solid characterization – you know who all the characters are and they all feel distinct – and Dan Jurgens’ always-clean artwork. That said, being a continuity-obsessed time travel yarn does rather drag it down. Currently the story is wrapped up in the events of Infinite Crisis from a couple years ago, specifically the Maxwell Lord/OMAC stuff which I neither know much about, nor care. It’s the sort of book I enjoy as light reading: It doesn’t insult my intelligence, it’s basically fun, and it feels like it’s going somewhere. In a sense it’s like Geoff Johns bucking to become the new Mark Gruenwald.

This may seem like faint praise, but given the legions of crappy books out there, you could do a whole lot worse.

By the way, if you enjoy Booster Gold, I highly recommend you week out Justice League America #72-75, from Jurgens’ run on JLA in the “post-bwah-hah-hah” era. It’s one of the best alternate timeline stories in JLA history.

Salvation Run #5 Speaking of doing worse, Salvation Run has turned over its creative team since the first issue: Bill Willingham left after #2, turning the book over to his Jack of Fables co-writer Matthew Sturges (note: I stopped buying Jack of Fables after a year), and now Sean Chen – the reason I bought the book in the first place – has been replaced by Joe Bennett. Remarkably, the story is still fairly cohesive. Pedestrian, but cohesive. Of all the mini-series which have come out during Countdown to Final Crisis, this one’s probably the least essential.
Nova #11 Speaking of Sean Chen and creative turnover, Chen was the original artist on Nova, which was awesome, but the replacements since he left have been pretty good, too. Now Paul Pelletier takes over as penciller with #11. I was a bit worried about this, since I wasn’t impressed with his work on Fantastic Four, finding it rather under-rendered, and with the impression that he took some shortcuts in drawing the faces and expressions (his Invisible Woman looked downright weird, for instance).

But his art here is better than I’d feared; a little soft in the backgrounds maybe, but the figures are quite good. I suspect inker Rick Magyar has something to do with that, as he tends to bring a good feeling of texture and shading to everyone he inks, but it looks like Pelletier will be okay. Maybe he was just mailing it in on FF.

Meanwhile, the current story is coming to a head, and I suspect that next issue may be the big climax. Stay tuned!

Atomic Robo #6 And as for something that has nothing to do with any of that, Atomic Robo wraps up his first mini-series this month (a second one is being advertised for later this year). Having now read the whole thing, I can definitely say that this falls into the category of “pulp-oriented action-adventure, Hellboy sub-category”, which is to say, if you like Hellboy and B.P.R.D. (or, for that matter, The Perhapanauts), then you’ll like this, as it has a very similar tone and style. Even though Robo is science-based, he’s the same sort of powerful, unique smartass that Hellboy is. I imagine the creators might be a bit tired of being compared to Hellboy, but the similarity is so strong that it’s unavoidable.

This issue does tie the series back to its first issue, so it wasn’t quite a series of vignettes, but it’s not a fully cohesive whole. And it’s clearly a broad instruction to the character, who’s been around for 80 years and thus has a lot of history. Although my feeling is that they could have led with a stronger, more hard-hitting story as the opener, I can live with this.

I do like Scott Wegener’s artwork, though. It reminds me of Mike Mignola, but also of Michael Avon Oeming, yet it seems cleaner and more dynamic and either. If the human characters’ faces were a little more nuanced, then I could really groove on it. (Wegener seems to go for the “a few broad strokes” approach to faces.)

Anyway, I’ll have higher expectations for the sequel, that it will be more than just a pulpish adventure yarn, since as I’ve said recently I’m getting kind of tired of pulpish adventure yarns. Showing how Robo has changed the world – and how the world has changed Robo – ought to be one of the central facets of a series like this. I hope the future holds some character development.

This Week’s Haul

Comic books I bought the week of 5 March 2008.

  • Countdown to Final Crisis #8 of 52 (backwards), by Paul Dini, Justin Gray, Jimmy Palmiotti, Keith Giffen, Carlos Magno & Rodney Ramos (DC)
  • Countdown to Adventure #7 of 8, by Adam Beechen, Allan Goldman & Julio Ferreira, and Justin Gray, Fabrizio Fiorentino & Adam DeKraker (DC)
  • Clandestine #2 of 5, by Alan Davis & Mark Farmer (Marvel)
  • The Twelve #3 of 12, by J. Michael Straczynski, Chris Weston & Garry Leach (Marvel)
  • Echo #1, by Terry Moore (Abstract)
  • The End League #2, by Rick Remender, Mat Broome & Sean Parsons (Dark Horse)
  • The Boys #16, by Garth Ennis & Darick Robertson (Dynamite)
Echo #1 Terry Moore made his name in comics in the 90s with his long-running series Strangers in Paradise, which was a sort of female buddy comic with a big helping of romantic tension on the side. The original mini-series was moving and hilarious, with just the right amount of implausible lunacy to make it exciting without being ridiculous. It then launched into an ongoing series, which frankly lost me pretty quickly: The grim details of Katchoo’s past, the endless and tedious introduction of the main antagonist, it wasn’t funny, and it quickly ceased to be fun, and I stopped buying it about 12 issues in.

One thing that was just as good even when I gave up on it was Moore’s artwork, which was expressive and inventive and leaped off the page even though the page was in black and white. (Some folks love black and white artwork. I feel it’s an extremely rare artist whose work looks as good in B&I as in color. Moore is one of those few.)

Having wrapped up SiP last year, Moore is now back with Echo, whose first issue came out this week. Like – it seems – a lot of first issues these days, not a lot happens in this one; rather it’s some very broad set-up with “uncompressed” storytelling. It opens with a woman apparently test-driving a high-tech flying suit – which is somehow nuclear but looks like shiny metal – when her controllers double-cross her and hit her with missiles. The suit fragments and rains pieces onto our presumptive heroine, Julie, a photographer who, we learn, lives alone with her dog and whose husband is divorcing her. The largest remaining piece she finds attaches itself to her skin – and the issue fades out.

So, lots of questions: Who’s conducting the test? What does the suit do? What will it do to Julie? Why’s the book called Echo? Will it at all resemble the long-ago Peter B. Gillis/Kelley Jones series Chrome? (I’m almost – but not quite – the only one who remembers that series, it seems.) All things considered, it’s way too soon to tell.

Fortunately, Moore’s art is as good as it was ten years ago – maybe better. Will I like it better than I did SiP? I hope so.

Bonus Long Weekend

I’m taking a long weekend this weekend, which is nice. A little extra time to relax, and a lot of extra time to get stuff done around the house. Not to mention reading Robert Charles Wilson’s Spin for tonight’s book discussion group. (Review forthcoming, natch. 🙂 )

A couple of strange thing happened on Friday. First, I had a lot of trouble getting through to Debbi at work. At first I suspected my cell phone, but after calling around a little I realized it must have been her work phone. Sure enough, later she told me that their phones had been down for much of the day – along with their Internet service. How frustrating!

More directly annoying to me was getting a call from my bank (on the home answering machine) that they have reason to believe my ATM card has been compromised, and they’re sending me a new one. What made this strange was that the time on the message on the machine was the exact same time – to the minute – that I’d been taking money out of an ATM, 5 minutes before I got home. I called my bank and it seems that that was sheer coincidence; apparently they had several hundred cards flagged this way, so I’m just part of a mass event. No word on exactly what happened; I don’t use my card for anything except ATMs (I’ve never used any card I’ve ever owned as a debit card), and I haven’t lost the card. So it’s possible that my card actually hasn’t been compromised, but they’re using some algorithm to identify cards which “might have been”, somehow, and mine happens to be a hit for whatever algorithm they’re using.

Anyway, assuming the new card arrives on time and nothing bad happens in the meantime, then it won’t be anything worse than a little extra stress. Still, kind of annoying.

Otherwise we’ve been taking care of things around the house and running errands, as well as going for a bike ride. The weather has been sunny and close to 70 degrees out, which after all is why we live here, right?

Oh yeah, and last night we went out with Subrata and Susan to catch a Hitchcock double feature at the Stanford Theatre. The first show was To Catch a Thief, which I first (and last) saw in 2002. I’d forgotten how whimsical it was, how snappy its script was, and I enjoyed seeing it again more than I’d expected. Of course, I always enjoy seeing Cary Grant – and Grace Kelly ain’t bad, neither.

The second film was Dial “M” For Murder, which I’d never seen before. It’s a sort of locked room mystery, except that the viewer knows exactly what happens, indeed gets to see the plan, execution, and aftermath of the whole thing. Former tennis star Ray Wendice (Ray Milland) married rich girl Margot (Grace Kelly). He later learns that she still carries a flame for her American friend Mark Halliday (Robert Cummings), and resolves to do her in to inherit her money. To this end he blackmails a ne’er-do-well college chum, Charles Swann (Anthony Dawson) to kill her. Things go badly awry, but he then manages to set up a last-second frame to throw suspicion away from himself, while Chief Inspector Hubbard (John Williams) looks into things.

The film almost entirely takes place in the Wendice’s flat, making it a small-cast suspense flick. Wendice is cool and calculating and seems to have set up the perfect murder, but Hitchcock manages to squeeze every ounce of suspense out of the film, by having trivial things go wrong with the event followed by one really big thing, followed by the characters circling each other – with little idea of who knows what – as they pursue their own agendas. The whole puzzle hinges on a single fact, and I’d expected it would be something cheesy, yet it turned out to be an elegant and entirely sensical fact.

The film’s downside is the wan acting; no one here manages to rise above the level of a cliche character, although Dawson as the hired gun does his darndest to give him a little depth and uncertainty. Kelly, in particular, sleepwalks her way through the role and seems almost unrecognizable compared to her role in Thief.

Still, despite its limitations the film is overall a win and I’m glad I saw it.

Neal Asher: Gridlinked

Review of the novel Gridlinked by Neal Asher.

Gridlinked by Neal Asher
Gridlinked

Neal Asher has been on my radar screen as one of the biggers names in high-tech SF in this decade. He’s published nearly a dozen novels, which means I have a lot of catching up to do. (I’m reading his blog, too.) Before diving into Gridlinked I’d read a couple of his stories in the SF magazines and liked what I’d read.

Gridlinked opens with Ian Cormac, one of Earth Central Security’s top agents, pursuing a group of anarchists on the planet Cheyne III. Although he disrupts their operations, they had him ‘made’ from the beginning, since he is constantly linked into the computer grid, which has gradually dampened his emotional reactions to things over thirty years. He also fails to capture of kill the group’s ringleader, Arian Pelter, although he does kill Pelter’s sister, Angelina.

Cormac is them abruptly pulled off the mission and shipped to the planet Samarkand. Humanspace, you see, is connected by a set of matter transmitters, called runcibles, which are controlled by the governing collection of artificial intelligences which run Earth Central. Something managed to disrupt the runcible on Samarkand, destroying it and effectively dooming all life on the cold, partially-terraformed world. Moreover, his superiors decide that it’s time for Cormac to be unlinked from the grid since his detachment from humanity is making him a less effective agent. Naturally this cuts Cormac off from being able to instantly access information and communicate with the local AI, as well as forcing him to rely on his human memories. Nonetheless, he complies.

Arriving at Samarkand Cormac finds several enigmas, including some creatures which remind him of a powerful alien being he’d encountered years before, as well as a well-defended artifact buried in the ice. Unknown to Cormac, while he investigates the event, Arian Pelter, his hired mercenaries, and a cyborg psychopath called Mr. Crane have been arming themselves and following Cormac to Samarkand so that Pelter can avenge his sister.

Gridlinked can best be categorized as “high-tech suspense”, concentrated more on building the suspense and executing the action scenes which resolve the plot and less on a high ideas content. After all, the core concepts here are pretty routine: An AI government, cyborgs, linking into cyberspace, interplanetary teleportation, and a variety of supporting technologies such as antigravity and energy weapons. That’s not bad, but I had expected a more ideas-driven story a la Alastair Reynolds or Karl Schroeder.

The book’s serious demeanor and sense of mystery is what makes it enjoyable. It’s not a mystery the reader can really solve, but watching Cormac poke around on Samarkand and deal with an old adversary is fun. Honestly, I’m not entirely sure what motivated the Samarkand disaster in the first place; I think the bigger ideas ended up getting swamped by the adventure and shooting and running around. The book comes to a rather abrupt, and somewhat unsatisfying, end in this regard.

The characterizations tend to be thin. Cormac himself is very much a cipher, perhaps deliberately given what being gridlinked for three decades has done to him, with little background or relationship to the other characters. Pelter and his aide Stanton are more well-drawn: Pelter pretty much goes around the bed during the story, while Stanton is a calculating but flawed mercenary who ends up in an untenable situation. None of the other characters are especially memorable (I don’t really count the mute Mr. Crane as a character, though his presence is certainly memorable).

And then I wonder why the book is titled “Gridlinked“, since Cormac of course becomes unlinked during the story, and the grid (or lack thereof) plays relatively little into the story. It feels like a marketing title, not a title truly representative of the story.

So I was rather disappointed by Gridlinked. It reads like the first novel that it is, with pieces that work and pieces that don’t, and pieces that feel out-of-place. Asher has written quite a few novels since this, and this one holds enough promise that I’m certainly going to read more of them, in the hopes that he develops both as a writer and as an idea-smith. But this one isn’t essential reading.

This Week’s Haul

  • Action Comics #862, by Geoff Johns, Gary Frank & Jon Sibal (DC)
  • Countdown to Final Crisis #9 of 52 (backwards), by Paul Dini, Justin Gray, Jimmy Palmiotti, Keith Giffen, Tom Derenick & Wayne Faucher (DC)
  • Fables #70, by Bill Willingham & Niko Henrichton (DC/Vertigo)
  • Justice Society of America #13, by Geoff Johns, Alex Ross, Fernando Pasarin & Richard Friend (DC)
  • Legion of Super-Heroes #39, by Jim Shooter, Francis Manapul & Livesay (DC)
  • Thor #6, by J. Michael Straczynski, Oliver Coipel & Mark Morales (Marvel)
  • The Clockword Girl #3 of 4, by Sean O’Reilly, Kevin Hanna & Grant Bond (Arcana)
  • The Many Adventures of Miranda Mercury #295 (#1) of 6, by Brandon Thomas, Lee Ferguson & Marc Deering (Archaia)
  • Mouse Guard: Winter 1152 #3 of 6, by David Petersen (Archaia)
  • Primordia #3 of 3, by John R. Fultz & Roel Wielinga (Archaia)
  • The Secret History #5 of 7, by Jean-Pierre Pécau & Leo Pilipovic (Archaia)
  • RASL #1, by Jeff Smith (Cartoon)
  • Project Superpowers #1 of 6, by Alex Ross, Jim Krueger & Carlos Paul (Dynamite)
Legion of Super-Heroes #39 Three issues into Jim Shooter’s return to the Legion of Super-Heroes, results are mixed. His characterizations have been brutally heavy-handed at times, and it’s still not at all clear to me where his long-form story arc, “Evil Adventus”, is going: So far we’ve gotten an invasion of Neptune’s moon Triton by unknown aliens, and Lightning Lad having trouble holding onto the reins of Legion leadership.

Issue #39 is somewhat better: It focuses largely on Princess Projectra, the illusion-caster whose world was destroyed during Mark Waid’s run on the book, and who is now a princess without subjects. Shooter effectively subverts Projectra’s own heavy-handed characterization to help her character grow a little, and it’s easily the best sequence he’s yet written in his return. There’s also an enjoyable sequence with several Legionnaires cleaning up some escaped alien pets, although it doesn’t seem to move the story forward.

Francis Manapul is a decent Image-style penciller (if that’s not an oxymoron), although I find his layouts o be awkward, keeping the story from really flowing. He and Shooter combine for the issue’s low point, in which two of the female Legionnaires have a midnight conversation while in skimpy undergarments, and one of them then seduces a male Legionnaire in short order. The whole scene felt uncomfortable and pointless.

So all things considered I’m not as enthusiastic about Shooter’s run as I was at first, though I’m giving him a lot of latitude for being rusty as a comic book writer. Signs point to “getting better”, but I’d be a lot happier if he’d completely abandon the occasional attempts to present an “adult” comic book.

The Many Adventures of Miranda Mercury #295 The Many Adventures of Miranda Mercury‘s central conceit is that it’s #295 in a long-running series (the first 294 have never been published), and is the first issue of the six-issue sequence which will lead to the end of the series. It’s a little silly, but it’s no less silly than lots of what’s in Robert Kirkman’s Invincible and that’s a very good series. If comics can’t be silly once in a while, what’s the point?

This issue is mostly a run-of-the-mill adventure in which Miranda and her aide, Jack Warning, capture a high-tech Rubik’s cube which actually contains an alien genie, and they want to do the impossible and open it, so the opener can get his heart’s desire. At the end of the story we find out why this is the beginning of the end for Miranda.

It’s an extremely well-crafted story, and it’s been getting good reviews around the Web: Brandon Thomas’ script flows nicely, with excellent pacing and dialogue. Lee Ferguson’s pencils are just as good, if not better, with colorful designs, a terrific sense of motion, and a (presumably deliberate) throwback style to the days of adventure comic strips. This is a fun comic book, and I hope the last 5 issues are as good.

Archaia Studios Press seems today to be much where Dark Horse was twenty years ago: A small company which somehow is managing to attract some top-class talent with fun story ideas, and which is getting a lot of notice as a result. ASP does unfortunately have a problem with shipping items in a timely manner, which will probably limit the company’s success until they iron out these issues. But I can’t complain about the quality of their content so far.

RASL #1 Jeff Smith’s Bone was one of the best comics of the 90s, and after doing a 4-issue SHAZAM! mini-series for DC, Smith is back with a new ongoing series, RASL. RASL is about a thief who can apparently walk between dimensions – though he doesn’t have full control over the power, which he calls going into “The Drift” – and who sprays the letters “RASL” on the walls of his targets. In this issue, something goes wrong and he ends up in the wrong world being pursued by a man with a gun, with the suggestion that he knows who sent the man. He runs away and ends up in a desert landscape. So it’s a bare introduction to the premise, and not much clue of where it’s going to go from here.

RASL could hardly be more different from Bone: The latter was comical and romantic, while this one is hard-hitting and noir-ish. That’s certainly not bad, but it was surprising to me. The fantastical elements of the premise remind me a little of Quicken Forbidden (and whatever happened to that series, I wonder?), but no doubt Smith will put his own stamp on the series soon enough.

So I still have little idea what to expect from RASL, but I’ll certainly be back for more.

Happy Leap Day!

Wow, I really have not written very much this month! My head just hasn’t been in a journalling space, I guess. I have at least 3 half-written entries which I should really finish and post sometime soon. I just always seem to have other stuff to work on.

This past week a lot of my time has gone into doing stuff around the house. For instance, when I cleaned out the front closet over the Christmas break, I left four boxes of stuff sitting in the front room waiting to be gone through and mostly gotten rid of. Last Sunday I spent several hours upgrading the desktop computer to Mac OS X Leopard, and while it was chugging away at that I shredded boxes of old checks, pulled out and shredded pages from old APAs (mostly ones with my old addresses on them) and then chucked many of the APAs.

(Perhaps some of my old APAhacking friends are scandalized that I would be doing such a thing, but alas my sentimental attachment to boxes full of paper has waned in recent years, especially for the APAs that I was only sorta-kinda involved in, mainly in the mid-to-late 90s. I don’t expect to ever read these things again, and I don’t want to keep lugging them around, so out they go. Ditto some fanzines from the mid-90s, since I was never really part of fanzine culture.)

I’ve also been cleaning up and cataloguing my Magic card collection (which I think makes Debbi roll her eyes whenever I buy new cards or work on them). I went through and chucked a whole bunch of computer-related packing material (such as the boxes our wireless mice came in), books and CDs of software, as well as various other odds and ends. So things are generally looking a lot cleaner up there.

But between stuff like that, and gaming, and poker, and reading, and comic books, that just takes up a whole lot of my time.

And now I have this year’s Baseball Prospectus to read, and fantasy baseball season to prepare for, and a variety of housework to take care of, and movies at the Stanford Theatre to go see, so my March looks at least as busy as my February.

At least it’s been bright and sunny and warm out lately. Always nice to be able to move to short sleeves and start being active outdoors at the beginning of March!

I’ll try not to neglect the journal quite so much next month, though.