10 Random Facts About Me

I've been so busy with various other things in my life that I ended up putting pressure on myself to blog...with the result that anything I write seems forced or harsh and impersonal.

So, taking a slight cue from near twin Roger, I am posting 10 random facts about myself - mostly because, well, I could use a little bit of a break from my usual posting style.

So without further adieu, here are 10 facts which you may - or may not - know about me:

1. My last name - in Polish - means "smoker of meats", as in "person who smokes meats over a flame" and not "person who smokes meats like tobacco."
   
2. My grandmother, due to her maiden name, once had me believing that we were related to Steve Allen. That's right, Steve Allen.
3. In the mid 1990s, I was very involved in writing several fan fiction Doctor Who round robins. If this doesn't say geek, I don't know what does.
4. Here are all the other distinguished people who went to the same high school that I did.
5. In college, I wrote a hard boiled mystery based screenplay about a college student who's the son of a private detective. No, that's not a great premise for a television series, is it?
6. Speaking of Doctor Who, I have in my possession an autographed copy of Mawdryn Undead - autographed by Peter Davison and Nicholas Courtney. I also own a signed paperback of Earthshock by Ian Marter just months before he passed on.
7. In my life, I have only had about three serious dating/intimate relationships. Usually, I end up wildly infatuated, but stuck "in the friend zone". However, for some reason, I find women taking the initiative in flirting with me. I only wish I had this mojo in my 20s.
8. I learned to drive in a 1975 Ford Maverick. The only way to describe it is to try to force yourself to lay down comfortably in a small laundry basket.
9. My first comic...well, this is tricky, because I have three different memories, and am not sure which came first: getting a copy of Superman featuring the Galactic Golem out of the old-fashioned comic machines; purchasing a coverless copy of X-Men # 35 (Or "Along Came a Spider"; and an 80 page Batman SuperSpectular with Wildcat, Blackhawk, and others on the cover.
10. As a child, I once attended a taping of Bozo's Circus, and got in trouble with my grammar school because my mother informed them that I was missing school...to be on Bozo's Circus

And now, because you've been good, a music video:

Delinquency For A Dime

History is full of key flash points between generations - the late 50's rise of rock 'n'roll. The Summer of Love. The Vietnam War. The grunge movement.

Ok, maybe that's a stretch, but one of the key ideas behind David Hajdu's The Ten-Cent Plague: The Comic Book Scare & How It Changed America is that one of the first clashes between generations happened...around comic books (more specifically, crime and horror comics). Given that this period of comic history has often been glossed over, this is a book that helps provide some well-needed details, shedding light and providing greater insight into why comic books were seen as potentially harmful.

This is definitely one of those must-read books for fans of both comics, graphic literature, and those who are interested in pop cultural history. Much like Gerard Jones' Men of Tomorrow, Ten Cent Plague talks about the players behind the scenes (like Charles Biro) as well as the major players like William Gaines. In an era of heightened paranoia (it was, accordingly, in the midst of HUAC activities), the fact that comics at the height of their craft were simply seen as compendiums of highly violent and sexualized imagery and amoral storytelling - and, as a result, the "cause" of juvenile delinquency - seemed only natural.

But to Hajdu's credit, he provides a well-needed sense of balance to the proceedings - in many ways, revealing key pieces of hypocrisy from the "older generation." One key passage describes how certain adults "used" youth to sell an anti-comic message - one youth, in particular, who never even read or had access to comics. How the early Comics Code Authority, far beyond their mission, acted as a censorship body. But a key passage is how Hajdu, within four pages, tears apart Frederic Wertham's arguments in Seduction of the Innocent, revealing it as an amalgam of poor science, bad logic, and poor straw man arguments. Even though we have an "don't-we-know-better-now" attitude about that period of time...some of the seeds of youth rebellion seemed to have been sown during that time. (Of course, it also provides much greater insight into how Mad magazine not only came about, but how it seemed to carry a greater anti-establishment message to youth who later acted on it. Small consolation, but perhaps some good comes out of greater hard).

Much like it began, Hajdu's book ends with a listing of artists and writers who did not work after the Comics Code Authority instituted its changes. In a time when fans decry the Siegel family for suing Time Warner for rights to Superman, this is one of those books that desperately needs to be read...and cries out for a "mandatory" rating.

However, consider this - those who ignore history repeat it despite themselves.

Highly recommended.

Season Four Saturdays: The Fires of Pompeii

(After much thought, I've decided that, much like my previous efforts on The Prisoner, I'm going to do a weekly review/recap of Doctor Who season four debut. As always this will be a spoiler-free review)

When I first saw the previews for The Fires of Pompeii, I have to admit, I had a slightly snarky attitude, and thought to myself, "You know, I think I liked this episode better when it was The Shakespeare Code".

Of course, thankfully, I actually watched the entire episode, and I have to say that, production value and script wise, it's one of the best episodes Doctor Who has done - in fact, the script is surprising in that it's the beginning of (what I am speculating) to be the most in-depth exploration of the Doctor's morality.

It begins with the Doctor and Donna arriving in Pompeii in 79 AD, just before the major eruption of Mount Vesuvius. Even within the pre-credits trailer are some clever touches - a slightly witty attempt at speaking Latin within the TARDIS' "telepathic circuits"; some sly references to past stories; and the beginning of exploring why the Doctor can interfere in some circumstances rather than others.

However, the script takes an interesting turn - it does become a treatise on the ethics of changing history...but more importantly, it soon becomes a great meditation on foreseeing the future. The rights of one species versus another. In short, despite its talk of the Doctor knowing about "fixed points in history" - as well as a hinted at sense that, as a Time Lord, he has a unique perception of time - it becomes not just a cliche, but a real exploration of the Doctor's ethics.

Ethics and morality have always been key themes in the series. The First Doctor declared, "You can't change history - not one note!". The Fourth Doctor asked, "Have I the right?" (to which the Seventh Doctor seemed to answer, "Yes, I do!") The Fifth Doctor once remarked, "There should have been a better way", and the Ninth Doctor spent his sole season dealing with the aftermath of not knowing a better way during the unseen Time War. But this is the first time - through Donna's eyes - that we are beginning to get a sense of the huge burden that the character carries - knowing what might need to be done, and knowing that there is a conflict between that and more "human" qualities. Underneath its lavish exterior, "The Fires of Pompeii" seems to indicate the direction that season 4 will be heading: not so much the "return of an old enemy", but moving towards some life-and-death choice for the Doctor (suggested a piece of slight foreshadowing which might have been effective...had it not been "spoiled" in the last episode).

I also have to admit that this is a personal favorite because it hit on my two teenage obsessions: Doctor Who and Roman history. From the mentions of household gods to the use of soothsayers...this is a script that I probably would have attempted to write as a teenager but failed miserably. It's an indication that series four may be the best, most tightly written season of DW since its reboot in 2005.

No spoilers, but some final thoughts: the main plot eventually reminds a viewer of a quote from the past Christmas special, and the last shot seems almost chilling in its implications.

More Kids in the Hall Madness

I'm sorry - I'm just excited over the Kids in the Hall touring with new material!

(The first video is definitely NSFW - just wanted to give fair warning)



The second video - just picture me and, oh, either Roger or Mike doing this stuff:



So, who thinks I should do a monthly viewing/blogging on each KITH season?

Open Letter to Dave Campbell

Dear Dave,

First, I am really saddened to hear that you are ending your comics blog - quite frankly, it was a pioneer. A breath of fresh air amongst the pontificating, mostly my own. You brought me many hours of joy, whether it be focusing on Power Girl, or bringing us the best in climactic moments from films....or even furthering the English language...which is much more than Sims ever did.

I'll even forgive you for featuring that goofy guy from Days of Our Lives. And that "marching in my plaid shirt" video.

But anyway, I wanted to say - thanks for making the blogosphere fun again. My only wish is that you and Sims had fought against a common foe (I even said so about a year ago). But I understand that ABC calls, and that Tom Bergeron is probably hipper to hang with than say, oh, Mike Sterling.

(Which, if that's the case, I want to head to a parallel universe where the opposite is true)

But thanks again. And I would like to offer the following as my meager tribute to your genius:



Thanks again, and best of luck.

Your pal,
Gordon

P.S. I could take Sims in a bar fight. Honestly.

P.P.S. Ever watch Ironside? The man is drinking bourbon out of diner coffee cups in the afternoon. He rolls in a 1930's police van. Hardcore.

Obligatory Comics Post

With the New York Comic Convention drawing to a close, I thought I would put out some brief comic-related thoughts and tidbits. Nothing major - just that I haven't really focused on them recently.

• First, a hearty welcome back to Lorien Javier - if you're not reading his blog on diversity in comics, you're really missing out.
  
• Lorien - along with other reputable sources - have posted the above image of several of DC's female characters. Rather than complain about who's left out or shout sexism, I just want to say...it's an incredible piece of art.
• Unlike, say, DC's competition (Thanks, Rich!), who seem increasingly bent on pushing the boundaries of good taste and decorum.
  
• If you know someone who still believes that the recent DC/Siegel settlement is motivated purely by greed, I suggest hunting down a copy of Men of Tomorrow by Gerard Jones. (I can't find it on Amazon). It's a great read about the early days of comics...but also outlines why the settlement was so important - it's not about the purchase of rights, but about giving creators their due.
  
• Am I the only person enjoying the heck out of Annihilation and Tangent: Superman's Reign? Probably...
• ...but I'm also enjoying Captain America and especially Immortal Iron Fist. It's hard to believe that the book's mix of martial arts, eastern philosophy, and pulp fiction could work, but it does. And now, Brubaker and Fraction are leaving the book. Darnit!
  
• My personal favorite unsung comic would have to be Dynamite's The Lone Ranger and The Lone Ranger & Tonto. Brett Matthews has a great way of integrating the character's "traditional" values into a slightly grittier setting than it's used to, fleshes Tonto's character out a lot more...and honestly, it works! If you do not agree, I will fight you on it.
• On Winick & Churchill's Titans # 1: I liked it better when Wolfman & Perez first wrote it in 1980.
• Playing catchup - OK, I'm enjoying Blue Beetle and Booster Gold, even though I only started reading both in the past month. Yes, I'm an idiot for not doing so sooner.
  
• I'm also liking Straczynski's The Twelve for Marvel - however, it's more out of being a slight Golden Age geek, as the story has JMS' trademark strengths and weaknesses.
• After reading JSA # 14, I have to say...I'm starting to suffer from Kingdom Come fatigue. OK, I get it, heroes need to be moral and in check, they need to work with human beings, etc - now, can we move on? Please?

And now, a special message to Doctor Who fans from Sgt. Hulka, our favorite drill sergeant from Stripes:

Your Friday Piece of Silliness

Forwarded to me via e-mail; enjoy!

Having An Above Average Weekend

I love the Kids in the Hall. I make no apologies for it.

It was a love that led me to travel to Toronto in 1995 for one of the last tapings...and met several of the Kids. I had a slightly extended flirtation with a fellow KITH fan on the classic Prodigy online service. (Meaning, she thought I was sexy and I wondered what was wrong with her for thinking so, such was the extent of my insecurity). I got to speak to Paul Bellini several times on the phone. When they played live in St. Louis several years ago, I went to see them, and had my head promptly crushed by Mark McKinney. In fact, I even maintained a now abandoned web site with KITH transcripts.

So buying all five season boxed sets was of no consequence...but there was one holy grail to pursue...the original HBO pilot, little seen since 1989, to be released on DVD. Yes, it had been released (in highly shortened form) on the Season One boxed set, but that wasn't enough - we needed to see it uncut.

In a way, watching the newly-released pilot (delayed due to "complicated rights issues) on DVD seems almost anticlimactic - not that the material doesn't hold up; moreover, it increases the confusion as to why the material wasn't included on the Season One DVD set.

Think of it as a sampler - a great hint of greatness to come. Although many people point to the Kids' tendency to portray women in a forthright manner, it was their exploration of darker comedy, their honest, insightful portrayal of sexual politics (both gay and straight), and a greater sense of characterization and "shared universe" in their sketches that set them apart from the rest.

(Compare them to their only other competition, In Living Color. Although both embrace stereotypes, one uses it as a way of articulating insights into culture; the other recycles lame jokes. I'll let you guess which is which).

This isn't wall-to-wall brilliant, but the high points easily surpass the low ones. Of course, the highlight is the Headcrusher, which carries the stink of Lorne Michaels and "catchphrase comedy." (Yes, it's funny, but as the series progresses, one can see the Kids gradually shaking off Michael's influence and coming into their own). Mixing the surreal with the incisive, the highlights demonstrate a willingness to go all-out: three construction workers talk about women, but wouldn't throw certain women "out of bed...for aging. A young man finds romance with an older woman. Many "classic" Kids in the Hall characters make their debut. The "restored" material...isn't horrible, but still, one wonders why it was taken out (or even, why the pilot wasn't split into two "Best of" episodes)

Even in the supporting material (which is minimal, and which does not include Bruce McCullough, who was presumably off making the horrid Carpoolers), there is a sense that this was their point of discovery, their asserting themselves as a solid troupe. It's not mandatory viewing...but it's a far cry from comedy then...with contemporary comedy only now catching up.


If you're a completist fan, it's a necessary buy. If you're not a completist fan - or new to the Kids in the Hall - it's worth renting through Netflix. But if you get a taste and want more, you can always order the boxed sets - there's a brand new KITH-only subpage at the Blog THIS, Pal! store.

I tell you, between the Kids in the Hall, Homercat, and Siskoid, Canada more than redeems itself for inflicting Bryan Adams upon us.

P.S. The Kids are going to tour with brand new material. Thanks to Ian Brill for posting this new sketch and other info.

Recommended.

My Newest Favorite Comic

First, I hope you're enjoying the new-yet familiar - layout of the blog. Most of what I did was minor tweaking - I miss having the "previous posts" signpost, but hopefully, a better reading experience will result. Oh, and I will, more than likely, resume with the Season 4 Who reviews either tomorrow or Thursday, but pledge to keep them spoiler free.

Any, I had alluded to this last time, but thanks to the local branch of the library, but I've been catching up on two series I missed before...and now, I'm kicking myself for not checking out 100 Bullets earlier.

This will seem like hyperbole - and it is - but, in its way, 100 Bullets does for comics what Lost and Battlestar Galactica are doing for serial drama - exploring uncharted territory and taking unusual (yet logical) twists in a slightly overused genre.

The book initially starts with a rather unique premise: we meet someone, usually in a great deal of trouble. He/she is met by the mysterious Agent Graves, who offers them a briefcase full of untraceable bullets, a gun, and key information. Basically, if the person decides to take revenge - and use the gun - they're essentially given a get-out-of-jail-free card (or an appropriate alternative). However, as the book progresses, it becomes even more intricate, with layer upon layer of plot. Imagine, if you will, Quentin Tarantino directing a Raymond Chandler script for The X-Files, and it kind of suggests the spirit (although, to be honest, it cheapens it at the same time).

Although much of the press has been about how this book deals with the theme of revenge, writer Brian Azzarello is much more clever than that. Intermixed with the main plot are some great explorations of character, some subtle, smaller themes...and this truly surprised me, since I felt Batman: Broken City didn't quite work. (It seemed more Travis Bickle than Bruce Wayne for my tastes - it was OK, just not great). In tandem with Eduardo Risso's art, Azzarello creates an entire world of move, counter move, and suspicion - I've always enjoyed good noir when it works, and here, it works on all cylinders.

Of course, now I'm playing catch-up with the series, since issue 90 will be at a comics store near me this week. (Thanks, Heidi!) But don't wait until your local library has the trades - DC/Vertigo allows you to download the first issue for free.

Then, work your way up to the trade.

This is the kind of book that, in a few years, will be seen as groundbreaking.

You heard it here first.

Highly Recommended.

Waiting Breathlessly For The Joe Meek Revival

Just some random items about some things that are going on - because, as Mike likes to remind us, blogging about blogging is a sin. A nasty, evil sin that we'll be pushed eternally for.

Ok, that latter part, Mike never said - I just made up.

• Monday, April 14th, is Blogger Appreciation Day. So please, feel free to contact one of your favorite bloggers, say 'hello', and thank them. I know I will. Hey, give them a hug. Or send them some brownies.
  
• Since Doctor Who starts on the Sci-Fi Channel on April 18th, I'm thinking of postponing my reviews of new Who until afterwards, and maybe doing them the day after. Any and all thoughts on this matter are appreciated.
• On April 15th, be sure to check out the latest edition of TV Party on Comic Related. (And also, say "hi" to Chuck"). Since one of my last comic-related posts nearly cracked the Internet in half (or, at the very least, was posted on Newsarama), this one will...be interesting, to say the least.
  
• In terms of feedback, I'm also thinking of doing a Cafe Press-style store with, at the very least, coffee mugs...but I'm looking for one that is relatively affordable for readers. (I mean, a basic price of $11 - no markup - for a printed mug seems a little expensive). If anyone has any experience, please feel free to drop me a line.
• Current trade faves via the Chicago Public Library: 100 Bullets and Y: The Last Man. Yes, I know, I should have started sooner. I'm really enjoying both.
• Being a glutton for punishment, I've started a blog as class representative for my high school graduating class.
  
• Finally, there are going to be some changes to the blog - nothing major; I'm actually switching from classic to New Blogger, although very reluctantly (I recently read this article, and most of the widgets I use only work for new Blogger). So, for the time being, the blog may look a little awkward, and unofficial blog proofreader Roger will have his work cut out for him. Hopefully, by next week, everything should look a little more streamlined, and some unused stuff will be left by the way side.

And the title of this post? A lyric from a song by this songwriter about this relatively obscure 1960's producer in a cheap attempt to get the attention of one of the writers of one of my favorite blogs.

Neither Tarnished Nor Afraid

Crime isn't a disease, it's a symptom

About one month ago, I discussed how much I was looking forward to rereading Raymond Chandler's The Long Goodbye as part of the Chicago Public Library's "One Book, One Chicago" program. It was a good chance for me to revisit my youth, as well as, well, get reacquainted with one of my favorite writers.

Obviously, this is going to be a positive review, but my first impression upon rereading this was how cinematic the writing is...and how Robert Altman's film really missed the point of the novel, sacrificing its meditations on friendship, corruption, and creativity to create a slightly more generic private eye film. (I still like the film on that basis...however, I'm willing to adapt it in screenplay form for an HBO mini-series. It deserves that kind of treatment).

The novel begins with Chandler's hero Phillip Marlowe meeting up with Terry Lennox at a bar. (As, well, all good noir should begin). As the two men become friends, Lennox asks Marlowe to drive him to Mexico, no questions asked. As the novel progresses, Marlowe finds himself "babysitting" for an alcoholic writer named Roger Wade...and throughout the novel, Marlowe finds himself revisiting Lennox, who makes his presence known, even though he is reported to have killed himself in Mexico.

What impresses me, years after first reading this, is how eminently quotable this book is - this is Chandler writing at the top of his game. It was also written at a very traumatic time in Chandler's life, as he was dealing with his wife's illness, decline, and death. (Which may also account for the "social criticism" that permeates the novel - this is Chandler at his most cynical and venomous, but his remarks sting not with harshness, but honesty). Remarkably, it is the only Chandler novel that did not recycle stories previously published in Black Mask.

Despite the "historical significance" that the novel has...it also burns with razor-sharp language. It feels like it could have been written yesterday, despite taking place in the early 1950s. It doesn't quite make me feel like I first read it in my twenties, but that's all right...because it hits with a much stronger impact upon rereading it at this point in my life.

And it's proof that good literature - no matter what genre - will stand the test of time.

I am planning to head up to the Harold Washington Library this Saturday for the 11:00 am discussion group. If you're planning on attending, please don't be shy in saying "hello". In fact, if anyone's interested in a pre-event Panera Bread gathering, I'm game.

Highly recommended.

While You're Waiting

Unfortunately, I seem to have hit a little bit of a dry spell, blog wise - nothing major or traumatic; just that the old creative juices aren't flowing. Probably means that tomorrow, I'll be blogging up a storm.

Until then, please enjoy some spoiler free Battlestar Galactica videos from Hulu.com, the new lazy blogger's friend.





Have a frakkin' good day, y'all.

A Blog This Pal! Exclusive

(Please don't ask me where I found this video. After viewing it, I doubt you'll want to know)

(Oh, that sound you're hearing? The sound of a gazillion Who fanboys' heads exploding)

Bringing the Silly Back to Doctor Who

(This will be a relatively spoiler-free review)

Sometimes, it's hard to be a Doctor Who fan.

Much of it is due to the obnoxiousness of certain fans - where some have well-reasoned objections (a tendency towards "magic", slight spottiness in the writing, and making it more child-oriented versus family-oriented), others are much more pretentious, and seem unable to take a joke. (See fellow blogger Dorian's photo essay). In fact, I was kind of not looking forward to "Partners in Crime", after the major misfire of "Last of the Time Lords". (Although "Voyage of the Damned" did redeem the franchise somewhat).

What I didn't expect was for "Partners in Crime" to be so silly, so goofy, so much fun...and I enjoyed every single minute.

It won't go down in history as one of the "classic" episodes, but you can get the almost palpable sense that Davies needed to write this script...if only to get away from the sturm und drang of Season Three. In fact, the episodes kicks off in a similar way to last season's "Smith and Jones"...only the near-misses between the Doctor and his new companion are done in a slightly screwball comedy style which - surprisingly - works well. (Even their first meeting, done in relative silence, has a slight mix of humor and drama).

In fact, I found myself liking Donna a lot more than I did in "The Runaway Bride" - there, I thought she was rather shrill and, well, obnoxious. Here, Davies gives us a context for her nature...and in fact, this is refreshing. If Rose was the great love of the Doctor's life, and Martha was the companion with the schoolgirl crush, Donna is the companion who wants to travel with the Doctor - in fact, she pretty much cashes in on the Doctor's offer. I'm not familiar with Catherine Tate's comedy work, but I'm at least more open to having Donna return. (Plus, the speeches that Donna gives to her grandfather - portrayed by Bernard Cribbins - are simply touching, tender, and poetic).

And now, the "big bad" - OK, I'll grant you, it might be a little cutesy, but I think Davies is shooting for the kind of relevant-to-our-times vibe that Barry Letts and Terence Dicks attempted during Jon Pertwee's era. Does it work? Kind of - it's one of those menaces that, although you want to laugh, as the episode progresses, there definitely is a threat. Miss Foster will not go down as one of the great Doctor Who villains, admittedly, but this entire episode sets the tone for a full, fun season ahead. In fact, just switch the two lead characters, and you would have a typical episode of The Avengers.

Now, the episode does have its drawbacks - the ultimate resolution seems to be an "oh-great-I-need-an-ending" moment from Davies, and a brief scene, despite being spoiled multiple times on the Internet, still seems clumsy. However, all in all, this is a pretty good debut for what will be the swan song season for two members of the Doctor Who production team.

P.S. to Mr. Lefty Brown - Sci-Fi starts showing these in April. Don't have an exact date, but warm up the old Tivo, or DVR, or whatever you use.

Highly recommended.

Public Domain Drive-In: Fleischer Studios' Superman

And now, a brand new feature to the blog - with April 15th coming up, and in these rather tough economic times, it means that we all have to tighten our belts.

In that spirit, I am announcing the new, semi-regular "Public Domain Drive-In" - that is, films and other materials of interest that are in the public domain. It would be easy to find obvious trashy stuff to feature (like Plan 9 from Outer Space), but this is more about the treasures - things that might not be as well-known, but thanks to sites like Public Domain Torrents and the Internet Archive, will be released for you, the reader, to enjoy.

(When possible, I'll also try to find ways to embed the videos in the post - that way, you can watch at your leisure. Our first entry is a little tricky, but rest assured - my job is to help you gain access).

Our premiere piece focuses on Superman, whose copyright has been recent news. These are the famous Fleischer Studio cartoons from the 1940s - these are the toons that served as the basis for the art style of Bruce Timm's later work on Batman: The Animated Series, and stylistically, are extremely impressive - the plots are basic WW2-era plots (mad scientists, saboteurs, etc), but watching them just to enjoy the artwork...is a real pleasure.

So, you may be asking yourself - since DC had owned Superman, how could these cartoons be in the public domain? Wikipedia has a great explanation of the circumstances, and these cartoons have been released...repeatedly. Much of it is through cheaper editions, but higher quality (though more expensive) editions still exist. Plus, a key note to consider when watching: there are some very strong tendencies towards sexism and (more appropriately) racism - granted, it's an emblem of its time, but these are best viewed one or two cartoons at a time.

So, welcome aboard, and in future installments, we'll see a great classic of screwball comedy, a conspiracy picture 30 years ahead of its time....and a lost science fiction film that's excellent, except for its final line.

Download Information:

Superman Fleischer Cartoons on Google Video

Superman Festival - Torrent Downloads

Superman Festival - Internet Archive

40 Years Ago Today

Offered without comment. If you would like to link, please feel free to do so.

Matters of Trust

Secret Invasion # 1 Cover
Originally uploaded by Gordon D

To be honest, I am so tempted to take a page from the Gene Siskel playbook.

When Friday the 13th was released, Siskel decided - in his review - to spoil the movie by revealing the ending. He stated that by doing so, he could discourage people from seeing what he felt was a bad movie. Accordingly, he received a lot of criticism for doing so, but he stood by his decision.

And now, I am tempted to spoil the plot of Marvel's Secret Invasion # 1, which I found a great premise...spoiled by slightly inept plotting, trite dialogue, and a twist that....well, I won't spoil it, but needless to say, it makes me wonder aloud about the quality control at Marvel.

(And, ironically, makes Frank Miller's work on All Star Batman & Robin look professional, polished, and a model of clarity)

Simply put, a recap of the past years' events is put forth: Elektra, killed in action in Japan, is discovered to be a Skrull. Worse, her alien nature was undetectable. In this comic, big events happen. People, for no reason, chant "He Loves You." Things explode. A ship crash lands. Heroes fight in one of those "misunderstandings" that only happen in the Marvel Universe. And...well, it's a mess, really. An incoherent mess that, with a twist that may or may not refer back to this event....well, the best way to describe it is this:

This book, in my opinion, actually makes One More Day look cautious and well planned.

Ironically, I was actually looking forward to this series - a Marvel Universe take on classic who-goes-there stories (like the original basis of John Carpenter's The Thing, or Invasion of the Body Snatchers. Unfortunately, Bendis takes an extremely heavy-handed, almost Michael Bay-esque approach, sacrificing many attempts to weave a coherent story in service of meeting a set of pre-established plot points. Although the art is serviceable, the story doesn't engage - just infuriate.

There is nothing wrong with reviving continuity, or casting new light on old stories; however, there is everything wrong when you do so while insulting a reader's intelligence. I don't mind big event comics, but given both Marvel's (and, to be fair, DC's) tendency towards one-big-event-after-another-with-little-breathing-room publishing...it's getting a little stifling.

I'm going to take the high road and not directly spoil the book - I think I've written enough for people to "read between the lines", and quite frankly, doing so would mean that I respect the book enough to warrant aggressively dissuading people that this book is bad.

And it's not. I will ask that, rather than purchase Secret Invasion # 1, use the money to buy an indie/small print comic. You will thank me for it later. Honest.

Not recommended

5 Top Television Shows in the DC Universe

Like many bloggers, I have attempted to write some kind of prank post on April 1st. However, they've all sunk like a stone, so I thought I would do something different.

Taking my cue from another, better blog, I'm engaging in a little bit of tomfoolery, just like Bully, The Little Stuffed Bull. So, in some speculative, yet goofy, writing, here are my top 5 Television Shows in the DC Universe (or Earth-1, for those keeping score at home).

1. Sandman - this hit on the CW, now in its seventh year, proposes a "21st Century take on the legendary Golden Age mystery man". Tom Welling stars as Wesley Dodds, a literate loner orphaned by his parents, longing to reconnect with his brother (MIA from the Gulf War), and haunted by dreams that drive him to fight evil. Armed only with a gas mask, fedora, and special gas-emitting gun, Welling takes on evil in the guise of the Sandman, aided by his love Dian Belmont (Kristin Kreuk). His only opponent is his main rival, newspaper reporter Lee Travis (Michael Rosenbaum). Early on, the show was criticized for taking huge liberties with established lore (substituting "Exit Light, Enter Night" for Dodd's classic poem), but has gained prominence, and has begun updating other "classic heroes" such as Wildcat (who is now an ultimate fighter), Dr. Mid-Nite (a medical student with nocturnal vision, and the Flash (an athlete whose exposure to quantum particles enabled him with faster-than-light speed).
2. So You Wanna Join the Doom Patrol? - Created by Seth McFarlane, this animated comedy on Fox tells the tale of Peter Griffin, aka "Flatulence Boy", and his adventures with the slightly off-beat superhero team. Despite McFarlane claiming that "it's only humor", this show has come under attack for several tasteless concepts, including repeated jokes about the Chief looking up Elasti-Girl's skirt, a blackout involving Aquaman and Charlie the Tuna, repeated references to "Beast Boy's two backs", and in one notorious instance, Adam West's voice shouting "Duck, Dr. Wayne, duck!"* at a showing of The Mark of Zorro.
3. Shafted By Love - Former rock drummer/archery champ/addictions counselor Roy Harper doesn't want much - just a special person to share his life with, and to serve as parent for his young daughter. But dating's tough for him, so like many others in his situation, he stars in his own dating-related reality show. Every week, Roy dates a new woman, who competes with other women for his - and his daughter's - affections. His only goal - a woman who can "eat really spicy chili and survive the next morning."
4. Law & Order: Green Lantern Corps - "In the 3600 sectors of the universe, interstellar conflicts, crimes and offenses are handled by an elite group known as the Green Lantern Corps. These are their stories". This popular spin-off of the long-running franchise tells slightly fictionalized accounts of recently declassified Justice League files. With an ever evolving cast - and with its cutting edge use of CGI - this show attempts to bring a much more diverse style of storytelling to this popular show.
5. Jonah Hex - This gritty western on HBO tells the tale of Jonah Hex - was he a disgraced Civil War hero? Bounty Hunter? Last bastion of morality in the Old West? This series shows that, unlike Metropolis, sometimes heroism takes on a darker tone. You won't see any steampunk/science fiction-y elements....just a good, solid take on an American legend.

So please, feel free to share this amongst your fellows, and/or link to it. Just a non-pranky way to celebrate April Fool's Day.

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*By the way, the phrase "Duck, Dr Wayne, Duck!" has been shared with the Zone 4 podcast crew for possible t-shirts. Watch for them!