Sunday, June 29, 2008

Our Friends From Frolix 8 by Philip K. Dick

When the future comes, will we know it’s here?

Philip K. Dick was incredibly prolific. His body of work includes such notables as Do Androids Dream of Electric Sheep? (which would become Blade Runner on the big screen), Flow My Tears, the Policeman Said (one of my favorite novels of all time), and Ubik, one of Time Magazine’s top 100 novels.

I’ve read a lot of Dick’s novels, and I keep expecting one of them to be disappointing, or at least mediocre. He’s written so many that I’m sure some of them are going to be. But I’m honestly kind of surprised to say that Our Friends From Frolix 8 is not one of them.

With a title like Our Friends From Frolix 8, it’s easy to walk into the reading experience with a bit of skepticism. And like a lot of Dick’s writing, the characters are a bit flat, some of the description a bit flavorless, and the dialogue a bit blunt.

But the ideas…if it were possible to see inside this man’s thought process, I’m not sure I would want to. There’s something I’ve discussed, the possibility that when one is writing, one is afraid to let go of all of those loose ideas for fear that there will never be another one. This is clearly not a belief that Philip K. Dick ever held. Each and every novel he wrote was filled to the brim with ideas, each page replete with fascinating topic after fascinating topic. And if he ever had anything more to say about a past idea, why, he’d simply return to it without any compunction.

Our Friends From Frolix 8 is about politics and morality and death and humanity and Yeats and choice. It’s about Nick Appleton, a tire regroover. His father was a tire regroover, as was his father before him. It’s the future, and the government is run by two separate parties: The Unusuals and the New Men. These two groups have evolved differently from the rest of the population, and mandatory tests are given to the rest of the people, the Old Men, to give them a chance to become a member of the two parties. But everyone believes the tests are rigged, and that the only way to get in to one of the two governmental parties is basically to have been born into them. And it turns out that this is true; that the tests are rigged, and that the people who give the tests decide on a whim who will pass and who will fail.

A two party system where the same families keep putting their offspring into office? Hm, sounds completely unfamiliar.

All of the Old Men believe a savior is coming, a man who left Earth long ago to find alien life that would be willing to come back and help him free the world from the tyranny of the New Men and the Unusuals. And he is coming back; they’re right to believe in him. He’s coming back, and he’s bringing with him an unfathomable alien being. And together they’ll free the Old Men, but to do so they’ll have to do something completely horrible.

It’s interesting that in a lesser novel, this would be the climactic moment of the novel. But the final confrontation between this savior and the New Men/Unusuals occurs off the page. This alien landing in Times Square and doing something truly evil is observed only on the television, and Nick Appleton only observes it and reflects upon what it means about the future, about the choices they’ll have to make, and about what it means about the nature of humanity.

I would love to talk about the ideas presented in Our Friends From Frolix 8 at length, but in the end it’s almost unnecessary. Just know that I highly recommend the book if you’ve any patience whatsoever for science fiction mixed in with your philosophy, because the metaphysical and political ideas presented in this novel are well worth exploring, and trip’s not so bad, either.



My favorite part:
The discussions of the corpse of the God-like organism found in deep space. Mostly unrelated to the plot, but fascinating and a perfect example of the bounty of ideas present in his works.

Saturday, June 28, 2008

Pocket Full of Rain by Jason

What is the opposite of anthropomorphism?

The Norwegian comics creator Jason has quite the impressive body of work. His most recently published book, Pocket Full of Rain, is a collection of some of his early work, much of which has not, as far as I am aware, been published in English until now.

Jason’s comic storytelling typically exchanges human faces for animal ones. This is typically referred to as anthropomorphism, ascribing human characteristics to animals, but I almost feel that his art ascribes animal characteristics to humans, and I’m not sure what the word for that is.

In any case, the majority of this volume does not employ this technique, which was surprising to see. Because the stories within Pocket Full of Rain come from such an early time in his career, there is a lot of experimentation in style here. This book serves as a very interesting slice of Jason’s evolution as an artist.

The graphic novella Pocket Full of Rain takes up the first fifty or so pages of the book which bears its name. Here the characters are human, but the story does not lack the sense of surreality that exists in almost all of Jason’s books. Occasionally a zombie or a monster will appear, and an ostrich seems to rescue a man; evidently it is possible to vacation on the moon. But the story itself very much remains within Jason’s wheelhouse: a police sketch artist falls in love with a woman with a troubled past, and together they have to deal with her hitman of an ex-boyfriend. Later in the volume we see some early strip ideas, some short one and two page comics, and just a few that are slightly longer than that, though nothing approaching the length of Pocket Full of Rain itself.

The one and two page stories are a mixed bag. All are worth reading, and all are very interesting. They run the range from downright bizarre to utterly disturbing to absolutely brilliant. And of course there’s a fair bit of humor mixed in.

I would would find it hard to believe that anyone, after reading a few Jason books, could not list him among his or her favorite cartoonists. He has a universal appeal that, I believe, will only grow. Each of his books is as good or better than the one released before it. And though this volume cannot compare to his more recent works, it certainly gives someone with a love for Jason a bit of insight into the process.

Another neat thing about this book from a personal perspective is the small amount of commentary by Jason in the index of the book. The wonderful introduction by another acclaimed cartoonist, James Sturm, is the icing on the cake.

While I wouldn’t recommend this as your first Jason book, it is an absolute must for anyone who has enjoyed his previous releases.



My favorite bit:

A zombie holding a sign that says DEAD while saying ‘Y’got a dollar?’

Friday, June 27, 2008

Concrete Vol. 1 Depths by Paul Chadwick

What else have I missed?

Welcome to 1986, and the beginning of a giant shift towards comics as we know them today. Dark Knight Returns appears on the scene and shifts our ideas of what superheroes should be. Not much later, a little comic book called Watchmen comes along and completely changes our expectations for comics in general. The second Love & Rockets collection is printed, marking the true beginning of the strength of this ultra-important indie comic. And the brand new Dark Horse Comics began publishing.

Nowadays Dark Horse is a well-established publisher known for its licensed properties. With Buffy, Star Wars, Conan, Firefly, and Indiana Jones just for starters, they’re an important mainstay in the comic book world. But in 1986, they were the rebellious young upstart, and Concrete was one of the characters that made them work.

Our protagonist, a speechwriter named Ron Lithgow, finds himself trapped within a twelve hundred pound body made of stone. His mind has been switched out by pesky aliens, but this book does not go down any path that this scenario would have inevitably explored in a Marvel or DC book of the time. Rather, the book’s creator Paul Chadwick uses Concrete’s dilemma to explore the human condition, isolation, and a man’s worth in the world.

Though Concrete has superhuman abilities, he does not fight supervillains or aliens, nor does he have it easy. He spends his time crossing the Atlantic Ocean for fun, exploring the depths of the sea and the tops of mountains, and being probed by government scientists desperate to understand what has been done to him. And even when he does attempt to save people, it goes wrong as often as it goes right.

I’m honestly blown away by how good this comic book was. It’s perhaps an accident of when this comic book came out, but people don’t regularly bring up Concrete in discussions of the canonical comic book runs. While I know this comic book was a big deal when it came out, it just doesn’t get the kind of recognition that, frankly, I now think it deserves.

This naturally makes me wonder what other gems were overlooked for one reason or another and that I now have limited exposure to.

This book stands up extremely well, too, a constant concern when reading a book twenty years old in such a young medium. I also understand that Chadwick’s art and writing only got better as the book aged, so I’m very excited to read the other books in the series.

Highly recommended.



My favorite bit:
Concrete at the birthday party, playing with the children. This was a very happy moment and I was glad to see it in the book.

Wednesday, June 25, 2008

Mini Reviews for Comics Released 6/25/08

This is a decidedly Marvel heavy week.

New Avengers #42 – The truth about Spider-Woman is finally revealed, and it’s not quite how we pictured it. This comic has been among my favorite superhero books since the beginning, and this issue is no exception. Cheung’s artwork is always a treat on a book like this, and I’m intrigued by how the Secret Invasion and the House of M will tie together…scary stuff.

Mighty Avengers #15 – Similarly, this issue deals with the truth about Hank Pym. This story was strangely more tragic than the Spider-Woman one, and there’s a strangely ominous tone to the last page. Another nice Secret Invasion tie-in.

Captain America #39 – I miss Epting’s art. Having said that, wow. There’s a lot of politics in this book, and this issue really pushes the comic towards an interesting end. Plus we get to see a pregnant, drugged up Agent 13 kicking ass.

Daredevil #108 – I love Michael Lark’s art on this book. This is a really interesting story arc which has allowed us to see more of Dakota North, which has been really neat. It’s also nice to see Daredevil stop moping for a little while and start acting. My favorite part: Dakota beating the snot out of the guy who assaulted her last issue. Turnabout is fairplay, right?

Final Crisis #2 – I’m not going to pretend like I understand everything that happened in this comic book. But I actually think it’s the kind of challenging read that makes me want to know. Not that I’d blame someone for giving up. We’ll see what happens. Not to be nitpicky, but there are some art issues with this comic. Ordinarily I wouldn’t nitpick little things like this, but in a book like this, where little details in the art are so important, I’d think this would be kind of a major issue. In particular I am referring to John Stewart’s Green Lantern ring, which seems to disappear off of his hand, yet it seems really important that he was wearing the ring on that hand later in the issue…

Fantastic Four #558 – I really enjoyed this issue. It’s got super science, romance, and Franklin Richards acting like super villain fights are no big thing. It also features some people breaking Dr. Doom out of prison so they can kick the crap out of him. (Okay, maybe that’s not the real reason, but it sure does seem like it!)

Ultimate Spider-Man #123 – A creepy look at Eddie Brock’s life. Actually this was really good, one of those issues that showcases Bendis’s strength with dialogue. Venom is a scary dude.

Superman #677 – Wow, this was fun. From the science police basically here to clean up after Superman and fix problems when he can’t be there, to a game of fetch with Krypto, to conversations about the lunacy of superheroes with Hal Jordan…this was a fun comic. Here’s to plenty more James Robinson Superman.

Thunderbolts #121 – Perfect. Shall we coin the term Deus Ex Bullseye? Yeah that doesn’t translate quite right, but it’ll work.

Trinity #4 – Uh oh. I really liked the first story in this issue, but I had a hard time caring about the back-up…I hope that trend doesn’t last. But the beginning was super fun. Mindless superhero violence and I’m okay with that.

Uncanny X-Men #499 – This story was just…weird. I’m glad it’s over, frankly, though it had some good laughs in it.

Marvel 1985 #2 – I’m excited about this book. I hope it lives up the promise of the first two issues.

No Hero #0 – Now this was an exciting primer for the series. Warren Ellis rarely disappoints, so I’m looking forward to reading this book as it comes out. Especially given the $1.00 zero issue, you have no real excuse to not at least give it a taste and see what you think.

Caliber #3 – This is a really cool book. The high concept: King Arthur set as a Western, I suppose. The art is great and the storytelling accomplished. I’m impressed.


My Favorite Comic Moment of the Week: Thunderbolts #121

Moonstone: Oh, no.

Hm, I guess you kind of have to read the issue to get that one.

Monday, June 23, 2008

A Rabbit’s Eyes by Kenjiro Haitani, translated by Paul Sminkey

Sometimes it’s hard to see beauty when it’s covered in dirt.

I’ve always had trouble judging something that was orignally written in a different language. Should I attribute the blame for awkward phrases upon the author or the translator? Or for that matter, what about beautiful passages; are they the author or the translator?

A Rabbit’s Eyes apparently rocked Japan when it was originally released in 1974. The novel by Kenjiro Haitani sold millions of copies and opened a debate about the state of education amongst Japanese citizens. In 2005, Vertical released the novel in the States, freshly translated by Paul Sminkey.

It describes the events at Himematsu Elementary, a school located near a garbage disposal plant, which produces a great deal of pollution and is also home to several families who work at the plant. The children of these families attend the elementary school, and because of their dirtiness and their lower-class upbringing, there is a certain amount of discrimination in play at the school, even from the teachers.

The focal character of the story is Ms. Kotani, a relatively new teacher, who has a lot of heart and wants desperately to find a way to teach every kid in her class. Each page brings a new heartbreak or a new smile to your face as Ms. Kotani goes through great pains to provide an education for kids other teachers might have overlooked. I can’t count the number of times that this book made me want to cry, but its depiction of the human struggle and the importance of the educator in a child’s life rings true.

I should mention that A Rabbit’s Eyes is meant to be an all ages book. Much of the writing caters to a reader who may not be familiar with complex phrasing, though it doesn’t shy away from big words. I can’t claim to know whether it is this fact or whether the blame falls on the translators head, but the book certainly contains a number of clichés and awkward turns of phrase. But there’s an important thing to keep in mind.

It doesn’t matter.This book wasn’t meant for the elite, nor was it meant to sit on the bookshelf next to Catcher in the Rye. A Rabbit’s Eyes is a call to arms for a nation that had become goals oriented in its approach to education. It’s interesting that our view of the Japanese educational system is so different from the picture painted by this novel. Kenjiro Haitani, the author of the novel, was apparently himself a teacher for years before the release of the novel, and formed a nursery school some time after. This personal insight into the nature of the system is very valuable.

I found the novel to be very moving and engaging, and despite any awkwardness in dialogue and language, I would highly recommend it to just about anyone. Unfortunately it looks like the book may be going out of print, so until Vertical issues a second print, track down whatever copies you can, because it’s worth a read, and I promise whenever you’re finished you’ll think of a dozen people who should borrow it from you.



My favorite part: Chapters 11 through 15 deal with the student Minako. I’m pretty sure every single page within this section had something on it that made me want to cry, but in a good way. Certainly the most memorable part of the novel.

Sunday, June 22, 2008

Thunderbolts Vol 1 Faith in Monsters by Warren Ellis & Mike Deodato

There’s no such thing as good or evil, but there may be a right and a wrong…

There’s a high concept at work in the newest iteration of Marvel’s Thunderbolts comic. When it becomes illegal to be one of the good guys, do the bad guys, by definition, become the good guys? Warren Ellis wants you to see that the answer is kind of, but not really.

Thunderbolts: Faith in Monsters, written by Warren Ellis with art by Mike Deodato, Jr., is a truly post-Civil War superhero comic. For those who haven’t been following their superhero comic news, the Civil War in Marvel comics was a seven issue miniseries that truly changed the status quo. At the end, vigilantism in any form was made illegal, and anyone using superpowers is required to register them with the government and receive training like any officer of the law. Those who do not register are criminals and are treated as such by the authorities.

A direct result of this paradigm shift leads to the formation of the new Thunderbolts team, a group of former super villains who now track down these unregistered superheroes to bring them to justice. The team includes such A-list characters as Bullseye and Venom, and also several lesser known characters: Moonstone, Songbird, Radioactive Man, Swordsman, and Penance. The team’s director of operations is Norman Osborn, the former Green Goblin. A bad, bad dude.

This book oozes cool on every page. Periodically, we see Norman Osborn interviewing one of the super villains/heroes. The interviews with Bullseye are particular chilling. These are the people defending your nation, folks: A man who just likes to kill, a man with an alien symbiote that wants to eat your brains, a woman who’s willing to give a psychopath the wrong medication to give herself a better chance at promotion…

Deodato’s art fits this book like a glove. Darker and moodier than a lot of superhero work, his pencils here suit the very nature of the characters. This isn’t Spider-Man and Superman. I haven’t been a huge fan of Deodato’s artwork outside of the Bruce Jones Hulk stuff, but I’m second-guessing myself after Thunderbolts. His work here definitely makes me want to go back and give his other stuff a better look.

The only negative I can attribute to Thunderbolts is its frequent reference to Marvel continuity. While I think this is actually one of the strengths of the book, I can see this causing some confusion among newer fans. But to those willing to accept that they may not catch every reference, know that what Warren Ellis is doing here is admirable. He’s weaving together eight characters with very dense histories. There are references to Frank Miller’s Daredevil run and obviously to Civil War, and he certainly doesn’t skirt away from acknowledging the Thunderbolts stuff that has come before. There are even references to the Spider-Man clone saga.

I could talk about the little touches in Thunderbolts all day, (seven characters, just like the Justice League, just like the first Mighty Avengers team; the use of tilted panels to express insanity; the insertion of parody advertisements; etc…) but suffice it to say I highly recommend checking this book out. If you’ve any fondness for superheroes at all, you can’t get much better than this in the market today.


My favorite part:

“This ain’t super hero registration. This is making the skies safe for flying whitey.”

Friday, June 20, 2008

The Originals by Dave Gibbons

All that is old will be new again…

In 2004, Vertigo published a graphic novel called The Originals, a vaguely futuristic take on the mod culture of the 60s. Dave Gibbons, best known for his art on the super-hit Watchmen, is the sole creator on this book, and his experience in the industry shows.

I’ve just had the chance to read The Originals for the first time, and I wish I’d read it sooner. While it would be easy to compare this work to A Clockwork Orange or even Akira, the book truly stands on its own as an original take on teenagers, violence, and friendship.

It’s interesting that the first few pages relay images of the future, while the words relate a story of the past. This juxtaposition of the future in visuals and the past in narration matches the tone of the entire graphic novel, for while the story seems to take place in the future, (everyone’s obsessed with buying hovering motorcycles, for example) the characters within the story are clearly stuck in the past, embracing sixties archetypes and carrying out their fights with fists rather than weapons. In fact later in the story, when one of the characters does bring a knife to a fistfight, it is jarring and disturbing, and serves as one of the major catalysts for change within the story.

It is these kind of themes that make Dave Gibbons such a great storyteller.

At its heart, The Originals is a very familiar story. Lel and Bok are friends since childhood who have always been obsessed with the idea of joining the Originals, the hippest mod gang in the world. The Originals have an archenemy in the Dirts, who dress in leather jackets and have a penchant for growing awesome sideburns. They join the gang, Lel meets Viv, and madness ensues.

Gibbons’s art emphasizes the theme of juxtaposition I touched upon earlier. Right on the cover, a checkerboard pattern is predominantly featured, the black and white standing out starkly with the greytones found through work. Unlike many black and white works, The Originals doesn’t see fit to use a color cover, mostly because, in my opinion, this work would not function in the same way in color. The grey scale of the comic itself is an important part of the narrative. The first thing Lel purchases is a checkerboard suit matching the pattern on the front, and while this will be a plot point later on in the graphic novel, more importantly it allows the character to be decked in extremes: his skin, grey, his jacket, black and white, his shirt, black, his collar, white.

The Originals is a strong work that I would highly recommend.

My favorite part:

Lel and Bok at The Place taking zebs for the first time. A two page spread of highs and lows as they experience a drug far stronger than anything they’ve taken before.

Thursday, June 19, 2008

Life Sucks by Jessica Abel, Gabe Soria, and Warren Pleece

A bad first impression may doom a relationship, but a bad third act does far worse things to literature.

Life Sucks, a graphic novel written by Jessica Abel and Gabe Soria with art by Warren Pleece (and lovely color by Hilary Sycamore), explores the notion that being a vampire in the modern world is no more exciting than being a human.

Part slice of life drama and part situational comedy, the first two thirds of the book introduces us to the charming cast of characters. Dave (our protagonist) and Jerome are young vampires. They work for their ‘masters’, the old-school, ‘ve talk like zees’ vampires who turned them. Then there’s Wes, the Hottie McHotpants surfer boy vampire, who thinks of Dave as his brother, since they were both turned by the same man.

Ah, and then there’s Rosa.

It’s always the girl, isn’t it? Their mutual interest in Rosa is what causes Dave and Wes to bump heads. And for a good part of the book, Dave, Jerome, and their human friend Carl have good times going to clubs, flirting with girls, and generally trying to find ways to get Dave and Rosa together. The dialogue between the friends is fun and the courtship scenes are enjoyable too.

It’s that tricky third act that has left this sour taste in my mouth.

The book takes a very odd turn. I don’t want to ruin it for anyone, but suffice to say that the humorous, fun nature of the first half of the book is not present in the last thirty pages or so. And maybe that’s the point. After all, the idea from the beginning was that vampirism is not pretty, and it’s not fun, and it’s rather tragic. But I still felt disappointed.

Over all, though, it was an admirable effort. The last thirty pages or so just kind of killed it for me, and I can’t say I’ll be recommending it to many people. I really wish I could, because the art is nice, and some of the dialogue made me laugh out loud.


My favorite part:

Dave, Jerome, and Carl have gone to a goth club to see Rosa. The bartender asks Jerome: Can I get you anything? Jerome says: Yes. I’d like to buy everybody in the house a sense of humor and a better wardrobe.