Read Comics. Become Superhuman.

“What? You’re not mutants? I thought this was the Xavier School for Gifted Students!”

Judging from the muffled giggling and undisguised irritation that the remark above elicited from the students of Xavier School for Boys in Greenhills at their recently concluded Comics Forum, one is tempted to say that comic books have successfully penetrated Philippine popular culture. At the very least, comic books seem to have been successfully introduced to the students of Xavier School, notwithstanding the lack of mutant powers in its student population.

But other than to point to the eternal struggle between the geeks and the jocks, which has been documented more fully and to greater effect in the movies, what are comic books good for?

Acquired Tastes: Benjamin Loong II on The Watchmen Movie

While I haven't found the time to see The Watchmen on the big screen, therefore putting my already precarious "uber-nerd" status in peril, fellow comic book fan and cineaste Benjamin Loong graciously provided me with his quick review of the big screen adaptation of one of Alan Moore's most influential works. Enjoy!

Watchmen movie review
By Benjamin G. Loong II

This review will be brief and not so detailed since I've only seen the movie once, on Thurday.

First of all the introductory scene featuring the murder of Edward Blake was just beautifully done. It was a brutal, well-choreographed fight scene that, I found, was a welcome addition. This was followed by an Easter egg-laden montage set to Bob Dylan's "The Times are a Changin'," which was used to set-up the alternate timeline of the world of Watchmen. It did so rather well in my opinion.

What follows is a faithful adaptation of the original story with some minor changes that were necessary for translation into film. The first half of the film rather excellent, in my opinion, but in the latter half the time constraints of the theatre release were quite noticeable: the film would jump from scene to scene while lacking any subtle transition at all.

The time constraints were possibly the cause for the film's other major shortcoming, which involved failing to develop several characters adequately, namely: Rorschach, Ozymandias, Bubastis, and the various minor characters who died in New York. With Rorschach I felt that the interrogation scene in the film did not adequately convey the character's psyche nor his philosophy. It managed to give hints of characterization, but not enough for people who never read the book to sympathize with the character. With Ozymandias the problem is similar as the film barely touched upon his origins, and while it does partially explain his motivation, other aspects of the character are not touched upon. As for Bubastis, no explanation is given for her existence and she just appears as soon as the story gets to Veidt's arctic reseacrch facility, Karnak. The minor characters were not given any characterization at all, leading to less sympathy for their deaths than what one would feel reading the comic. This omission was not as necessary to the story as the characterization of the main characters, but I felt it noteworthy. I mention these because the original story was essentially a character piece. It's central theme was the deconstruction of the idea of the superhero through and examination of the story's major characters. The main plot was just the framework around which this happened and failing to do so for any of the characters is a major shortcoming.

Another notable omission was that of the scene of Hollis Mason's murder, which had been filmed, but ended up on the cutting room floor due to time constrains.

Despite these shortcomings in the characterization of some of the characters, the acting by the cast for all of the characters was excellent. To borrow another reviewer's description, Jackie Earle Haley's Rorschach was “sublime.” Jeffrey Dean Morgan managed portray the Comedian in an incredibly sympathetic manner. And Matthew Goode, despite the reservation of some fans, managed to pull off Adrian Veidt so well that I barely noticed when his dialogue deviated from that in the novel. This was particularly true during the movie's climactic scene in Karnak. But perhaps the most impressive of all was Billy Crudup's portrayal of Dr. Manhattan. Perhaps this was because his was the character that had the most development, and thus gained the audience's sympathy the most.

Overall, I'd give it a 7.5 out of 10, and suggest waiting for the director's cut to come out.

Photo Credits:

Picture of the Watchmen Babies comes courtesy of The NERD of HER!

Dispatches from the Fortress of Solitude: Fables #76

It seems I only get to peel off blog entries in between jobs. Rather than bore you with "New Adventures in Venue Management and its Attendant Obstacles: an Unfunny Comedy of Errors", let me bore you into reading what is, in my humble estimation, one of the most inventive and delightful long-running series in comics: Fables by Bill Willingham.

While most long-running comic book series are burdened with a particular mythology that could prove indecipherable to new readers, Fables #76, at the conclusion of the almost 75 issue story arc concerning the Adversary, makes it easy for readers of all stripes to discover or rediscover the wit, warmth, humor, inventiveness and depth that have come to characterize this title.

If anything else, Gepetto (yes, that Gepetto, of Pinocchio fame) has an extended digression on the thoughtless use of cellular phones that captures both the spirit of crusty curmudgeons and deposed bloodthirsty despots everywhere.

Did I just say deposed despots? My apologies for the inadvertent spoiler. At any rate, enjoy either exploring or renewing your wonder at Fables.

Photo Credits:
Picture of Fables #76 comes courtesy of The Flight of the White Ravens.

Acquired Tastes: Project Superpowers

Let's take a break from the shameless self-promotion that I have been indulging in lately and turn to something that truly deserves an audience: Jim Krueger and Alex Ross' Project Superpowers.

While Alex Ross was previously best known for taking popular mainstream heroes from heroic to iconic (as he did in collaboration with Mark Waid in the critically acclaimed DC Elseworlds limited series, Kingdom Come), he deserves to be recognized for the way in which he elevates previously unremembered Golden Age comic book heroes and turns them into fully fleshed characters who you can't help but root and feel for.

The storytelling, as one has come to expect from Alex Ross, is mythic in scope, but intimate in execution. The art is gorgeous and the storytelling shows the sure, mature hand of people who have learned that the most compelling stories have much in common with an observation made regarding the remarkable career of Sean Connery: in the end, it is the quiet, noble resolution of the hero as opposed to any number of explosions that makes the viewing experience worthwhile. In other words, true storytelling leaves audiences stirred, not shaken.

Project Superpowers is published by Dynamite Entertainment.

Photo Credits:

The cover of Project Superpowers #0 comes courtesy of Comics 212.

Acquired Tastes: Invincible Iron Man by Matt Fraction

There's been a lot of spirited debate on the RH Bill, but while I try to articulate a thoughtful reply to some interesting posts, let me share the sheer awesome fun that is Matt Fraction's run on Invincible Iron Man.

Longtime readers would not be unfamiliar with my unabashed admiration for the sequential art genius that is Matt Fraction. He is responsible for my rediscovery of Immortal Iron Fist, Thor, and one could say, comics in general. While some comic auteurs are noted for their intellectual approach to comic books as art, Matt Fraction takes, I suspect, a deliberately different approach in telling stories. While he is justly famed for his uncanny sense for characterization and dialogue, not enough has been said about his ability to re-imagine how comic book stories should unfold. His sense of what works in comic books is very similar to David Bordwell's use of the fabula and syuzhet in discussing narration in film. Fraction is always aware of the need to create a seamlessly unique and entertaining comic book reading experience; as such he always makes sure that his "plot" is best served by the "story as told".

Of course, to intellectualize Fraction needlessly is to miss the point. Fraction is good reading. So, read him!

Photo Credits:

Picture of Invincible Iron Man comes courtesy of Marvel Comics.

Addendum:

After reading my final paragraph, particularly the sentence "Fraction is good reading", I realized that by unifying both Math and pop culture I may have inadvertently bent the laws of grammar beyond all repair. I don't care. Fraction is good reading!

Comics are Fun: The Immortal Iron Fist

The comic book character Iron Fist came from rather humble beginnings. Co-creator Roy Thomas wrote that he and artist co-creator Gil Kane created Iron Fist:

because I'd seen my first kung fu movie, even before a Bruce Lee one came out, and it had a thing called 'the ceremony of the Iron Fist' in it. I thought that was a good name, and we already had Master of Kung Fu going, but I thought, 'Maybe a superhero called Iron Fist, even though we had Iron Man, would be a good idea'.

But then, many good things hail from small beginnings, and by the time writers Ed Brubaker and Matt Fraction came across Iron Fist, one of the finest martial artists in the Marvel universe became truly a character to marvel at. Let's make a list of what makes The Immortal Iron Fist such an enjoyable read:

Engrossing origin story with a nuanced, delicately unfolding mythos rooted in vividly imagined other-dimensional concepts? Check.

Fantastically written dialogue which nestles itself comfortably within the confines of sequential story-telling? Check.

A lead character with a deep, warm, and self-deprecating affection for an underground coalition of superpowered individuals collectively known as Heroes for Hire? Check.

Cool martial arts? Check.

But don't take my word for it. If you want to read a comic that combines the elegant wit of Chinese calligraphy with the sudden, hyperkinetic, fluid brutality of the martial arts set against a fully realized universe that exists just a hair's breadth of surreal outside the real world, then you will enjoy The Immortal Iron Fist.

Photo Credits:

The cover to The Immortal Iron Fist #1 comes courtesy of Marvel Comics.

Comics are Fun: Fables "The Last Castle"

In an earlier post, I discussed briefly how inaccessible comics could be when they don't tell well-crafted, coherent, and thought-provoking stories. The ongoing comic series Fables is an example of how the comic book, thus elevated to a true sequential art form, could be used to tell powerful stories. For those who are not familiar with this intelligent, compassionate series about fairy tales, "The Last Castle" is a good way to immerse one's self into the wonderfully engrossing, poignant, deliciously inventive world created by Bill Willingham.

The premise of the series is fairly simple. Fairy tales and other anthromorphic representations of such culler from folklore (who refer to themselves as "Fables") have been forced out of their Homelands by a mysterious enemy known as the Adversary. Thus exiled, these Fables formed a clandestine community in New York City known as Fabletown where, after several centuries of "normal existence", things change.

"The Last Castle" features Boy Blue, and his recollection of the Fables' last stand against the Adversary's forces in the Homelands. Central to this tale of epic sacrifice and nobility is a tale worthy of the inescapably saccharine, but ultimately remarkable stylings of popular songsmith, and reputed Fable, Barry Manilow---Fables who had the right love at the wrong time.

Saccharine?

"What little courage I can summon up to stay depends on the sure knowledge that I've bought your life by doing so. Otherwise, this is meaningless."

Maybe. But it's a good read. Enjoy!

Fables "The Last Castle" was written by Bill Willingham with art by Craig Hamilton and P. Craig Russell.

Comics Are Fun: Alias #10

Let's just say that #100 didn't blow me away. Don't get me wrong. I am quite sure that Wizard magazine has some pretty good reasons to list Ghost Rider #68, "The Curse of Johnny Blaze" as one of the 100 Best Single Comic Issues Since You Were Born. I just couldn't care less. Part of the problem with commercial comics in general, and superhero comics in particular, is that they seem to require a rather alarming amount of familiarity with the backstory of the comic in question to be moved by it.

What separates #99 from #100 is that the story doesn't require you to have voluminous knowledge of failed superheroine Jessica Drew to appreciate it, but there are enough wonderfully subtle elements that reward the truly knowledgeable comic book fan. Alias #10 tells the story of how famed anti-superhero adherent, Daily Bugle publisher J. Jonah Jameson, after insulting Jessica Drew's past attempts to be a successful hero in her own right, hires Ms. Drew to find out the secret identity of Spider-Man. And in the best comic tradition, in both senses of the word, hilarity ensues.

From the clever, and innovative paneling, to the spot on dialogue, conveyed beautifully in theatrical format, this little gem is well worth considering as a brilliant introduction to modern day comic books and how the medium could be used, effectively, to tell funny, intelligent, and recognizably human stories.

Alias #10 was written by Brian Michael Bendis, with art by Michael Gaydos.

Image comes courtesy of New Kadia.

Comics are Fun: “100 Best Single Issues Since You Were Born.”

I just recently got back to reading comics, and I can't believe how much good stuff I missed. (Well, I also can't believe how much bad stuff actually got published, but that's a topic I'd rather not discuss.) Fortunately, the otherwise faceless, ruthlessly cruel industry pandering comic guide, Wizard, came up with a list of the "100 Best Single Issues Since You Were Born." While I believe that Wizard perpetuates an industry that tries to keep comics infantile and exploitative, their editorial staff, perhaps in recognition of their servitude to their evil overlords, normally tries their best to come up with adroit choices for their lists of significant comic issues, events, and personalities.

In recognition of Wizard's efforts on behalf of comic geeks everywhere, and because I don't have the time to make a list of my own, I'm going to go through the 100 comics on the list and review those which I find interesting enough to comment on. Here's to comics, a sense of wonder, and an unflagging belief in the heroes inside all of us. At the very least, there will be some cool funny pictures in this blog from time to time.

Comics are Fun: Sinestro Corps War

When I was much younger, I devoured comics. Good or bad, exploitative or inspiring, I read them all. Now that I'm older, and presumably wiser, I still read comics from time to time, but sadly, I don't have the luxury of exploring the brave, bold, exciting, and, at times, dangerous world that contemporary comics represent. While some of the advances in visual art, such as color separation and the use of computers to create incredibly detailed background work have been nothing short of amazing, too many comics fall victim to an over-reliance on technology. The best contemporary comics are those that, while using these technological advances to good effect, tell good stories, period. The visual narrative, as demonstrated by Scott McCloud, can tell stories in ways that other, more traditional modes of storytelling can't. The key to any comic class, therefore, is that it must tell stories that only a comic can.

That being said, I can't quite bring myself to call the Sinestro Corps War a comic classic, but it comes very, very close. It's similar to what Genevieve Koski discovered, much to her delight, about the Indiana Jones trilogy:

The word that people always throw out when they're berating me for not seeing these movies is "fun." They're such fun movies. That's just about as vague an endorsement as you can get, but it's probably the most apt descriptor, and the best frame through which to view the films a quarter-century down the road. Raiders is arguably the best example. Approached as a cinematic touchstone, it's a pretty silly action-adventure movie. A cynic could spend hours ticking off the series of ridiculous logic leaps—how are all these ancient tombs somehow mechanized? Why do the baddies always let Indy's sidekick go free, essentially ensuring his escape? Why can't any of these gun-toting henchmen hit, well, anything? But approached as a whiz-bang send-up of B-movie actioners, well, now you're talking. And that's exactly what Raiders is supposed to be. In a short featurette that's part of the new Indiana Jones: The Adventure Collection DVD set, George Lucas explains, "It was always meant to be a B movie.

The Sinestro Corps War features iconic heroes, and a refreshing new wave of heroes tossed right into their baptism of fire. You don't need a PhD in the particular workings of the Green Lantern Corps and the DC Comics multiverse to understand, enjoy, and even be moved by the story. Pick it up. The Sinestro Corps War is, and I mean this in the best possible way, fun.