My Pull List-The Comics I Buy Part One: Marvel

A lot of people do not really understand exactly how comics work. They seem shocked to learn that I usually go to the comic book store once a week and that books are released every Wednesday (with some minor exceptions). And then, when I tell them I have a "hold box" there where all the issues I want are stored for me until I arrive, they just start to think I am making it all up. But no. Comics retail is very different than any other kind of retail in many ways. Retailers love their "subscription" customers because it takes the guess work out of their ordering. Traditionally, they cannot return anything they order even if it does not sell, so knowing how many people want a certain issue upfront is very valuable. Many retailers even offer incentive discounts for customers who use this service.


Support your local comic book store

Many comics come out monthly, many others come out on less traditional schedules based on the speed of the creators. There have been many famous years long gaps between issues unfortunately (Planetary #27, being the most recent offender), but it is the nature of the medium.

Marvel comics is referred to as one of the "Big Two," the other being DC. They are famous for such heroes as Spider-Man, The X-Men, Thor, Captain America, Daredevil, and more. They have been dominating the sales charts for the last few years with a lot of big event comics including Secret Invasion, Civil War, House of M and more. They are traditionally known for a more real world approach to superheroes, though they have made great effort to rebuild their cosmic heroes in recent years as well.

Here is a list of all the single issue (usually about 16-64 story pages, with the standard being 22) Marvel comic books I currently buy with a brief summary.



Captain America/Captain America: Reborn: Ed Brubaker has been telling an amazing story with Captain America for several years. In that time he has done some bold things such as killing major characters, and bringing other long dead ones back (I am pointlessly attempting to avoid spoilers here). All the while he has been weaving one awesome story that deftly combines super heroics, espionage, and mystery to tell a mature, modern classic in the genre. The big event in Captain America:Reborn, is almost a let down simply because I was so enjoying the direction of the series beforehand, but I still have faith in Brubaker for now. The artists he has teamed with, including Steve Epting on the main series and a Bryan Hitch/Butch Guice combo for the current miniseries, are also putting out some career defining work. Captain America: Reborn will be rapping up shortly and the best jumping on point will probably be Captain America #602, which will be out in the next few months. There are two hardcover collections you can buy to catch up in the mean time that compile issues #1 through 42 (the numbering switched to the original series order for the #600 celebration) and a Captain America: Reborn collection will, no doubt, be out in a few months.



Fantastic Four: I have long admired the idea of the Fantastic Four but have never invested in the series much, besides some exploration of the original Stan Lee/Jack Kirby run. I am not sure what it is that kept me away, but I know what finally got me on board: Jonathan Hickman. Hickman has earned quite a reputation in the last few years by putting out some very eye catching, high concept stories. His work on The Nightly News and Pax Romana was enough to get me to follow him anywhere. So far, his Fantastic Four run has mostly been a house cleaning effort, but an entertaining one at that. He seems to understand the big action/small family moments balance that the book requires. He has only written four issues, but I am already looking forward to where his story is going. Dale Eaglesham is big on drawing ridiculously muscled figures, which takes some getting used to, but his handling of action and character design is impressive. You can probably still find all four issues on the stand, or wait for a first trade later this year.



Invincible Iron Man: This series is 20 issues in, and so far it is the best Iron Man comic I have ever read. Writer Matt Fraction, whose work on Image's Casanova first caught my attention, is writing one of the best ongoing superhero books available. Iron Man, aka Tony Stark, was a successful business man and hero, but all that has changed. Fraction has stripped Tony of everything that made him who he was. Currently Tony is in a coma, and now we get to see how Fraction slowly will rebuild the man and the hero. Fraction clearly understands Tony Stark and how to tell a great action story. The pacing is almost always perfect. The character interactions are engaging. This book is taking better advantage of the Marvel Universe's current status quo (where Norman Osborne, formerly known as the Green Goblin, is calling the shots) than any other series I have seen. Salvador Larroca's art is also a solid fit most the time. His grasp of mechanical designs is impressive. His figure work is occasionally awkward, but he seems to be getting better as the series progresses and having a single artist on an extended run is always nice. A new arc just started with issue 20 and it seems to be a good jumping on point (though it did jump in price to $3.99 unfortunately). Issues #1 through 19 are being collected in one over-sized hardcover so that would also be a great way to catch up.



Secret Warriors: This is another fairly new series by creator to watch, Jonathan Hickman (with some initial help by Brian Michael Bendis). Hickman seems to have big plans for this book, and watching them unfold has been an intense ride so far. Secret Warriors is primarily focused on Nick Fury, rebel S.H.I.E.L.D. agent and the group he has gathered to oppose the now corrupt organization. Hickman has introduced some new young characters, but it is hard to compete when Nick Fury shows up. Sometimes I just wish I was reading a Hickman Nick Fury book. The dialogue is always great. The pacing seems to fluctuate a bit from issue to issue, but so far I have had a great time watching the story unfold. Alex (son of Ares, God of War), and current God of Fear is also proving to be an interesting character in the hands of Hickman and some of the other new characters definitely seem promising. This book is also making good use of the Marvel Universe's precarious position. The series has two artists that will switch off between arcs. Stefano Casselli has been working on several Marvel books over the last few years, really honing his style. While he would not have been my first choice for this kind of book, he has proven to actually be a solid fit, by toning down some of the cartoon like elements of his style. Italian artist, Alessandro Vitti has also impressed me with the detail he has brought to Hickman's world in this book. There is a collection of the first arc out now that would be the most logical starting point.



X-Factor: Peter David has had a long career in comics, including a defining run on Incredible Hulk and an extended run on a previous incarnation of X-Factor. Several years ago David did a miniseries called Madrox, that set up this ongoing series. Madrox was a strong start to a very solid long form story. This is not a typical X-Men comic, in that it relies more on character development and comedy than epic plot movement. The story focuses on Madrox, the Multiple Man, and several other mutants that would generously be described as B list. These characters spend most their time in various dramatic (read soap opera-y) situations, in between solving occasional mysteries in a self aware noir style. David has done well to tell his story in a universe that has changed dramatically multiple times since he started plotting the series. This is not my favorite book, but it is consistent in telling an entertaining story and building characters you root for. Sometimes the jokes aren't funny, but when they hit, they hit strong. There are also a number of strong payoffs to the character development that recall Joss Whedon's style in shows like Buffy: The Vampire Slayer and Angel. Unfortunately, the book has never had a very consistent art team, and that has really affected my overall enjoyment of the series. In a perfect world, Ryan Sook would have done every single issue, and this series would probably be selling through the roof. Lately, the art seems to be slightly more consistent though, and David seems sincere in his goal to work on that problem. A good jumping on point would be the upcoming issue #200, which promises to bring a lot of change, and hopefully a shot in the arm, to this little series. It would also be worth checking out a trade of that Madrox series if you can find it.



Astonishing X-Men: I found Joss Whedon's run on this series to be one of my favorite X-Men stories ever, and I was excited to hear that Warren Ellis would be following that run. So far that excitement has not been completely betrayed, but I am slightly less interested in where this story is going than I was a year ago. Ellis' first arc, Ghost Boxes, was a cool little story full of the big sci-fi ideas and snarky dialogue he is known for. The biggest problem with the story was the massive delay between issues and negative PR surrounding a $3.99 price tag for a 16 page story. Many people seemed to take issue with the art as well, though I enjoyed Simone Bianchi's non-traditional style. The second arc seems to be coming out more regularly, and with artist Phil Jimenez (stylistic heir to comics legend George Perez and frequent artist on Grant Morrison's defining New X-Men run) on board, there are a lot less easy reasons to ignore this book. So far it has been a solid X-Men story, and Ellis' take on characters such as Emma Frost, Agent Brand, and Beast is enough to keep me buying. I would start with Whedon's run which has been collected into one awesome omnibus, but at least flip through the collected edition of Ghost Boxes as well.



Criminal: Published under Marvel's Epic line, you can read more about my opinion of this series here.

There are a lot of other great Marvel titles on the stands these days, but these are what I budget for on a mostly monthly basis. Up next: DC Comics.

The Two Best Shows Currently on TV (60 minute/30 minute)

Television is often looked at as if all it produces is garbage, when, in reality, some really great long form story telling is being done. Sure the good is probably outweighed by the bad, including the majority of all reality television, but the careful viewer can find hours of quality entertainment. Most series are broken down into hour long or 30 minute programs. Each format offers a lot of strong series, but here are the top of each.



Mad Men

Mad Men has spent three seasons, so far, telling the story of Don Draper, top ad man at a notable agency on Madison Avenue, as he struggles to keep his business, and family life on track, without letting that interrupt his getting laid on a regular basis. The series, set in the 1960s, also focuses on a variety of other characters and situations from that era.



The show is a well of engaging characters. Don is always interesting, but the show also develops a number of other "mad men" in his office. Throughout the series, some characters come and go, but the most important ones include: Roger Sterling, one of Don's bosses at the Sterling Cooper advertising agency, is very compelling. He is likely what Don will end up becoming if he continues to succeed in business. He is great at his job, but his family life is a wreck. He makes consistently questionable decisions in his personal life, but gets by on an undeniable charm and charisma. There is Pete Campbell, who is new to the agency, but has a goal to make it to the top no matter who he steps on to get there. His self serving attitude defines him, but his slimy personality seems to go unnoticed by many and often works in his favor. There is Peggy Olson, a woman working in a man's world who refuses to be defined by her gender. She is also determined to be successful despite any obstacles she might face. She struggles against stereotypes of the time that her behavior might stir. Joan Harris is the queen of the secretaries in the office. She embraces her femininity and uses it to get ahead. She is good at her job, but would prefer filling a traditional house wife role. Betty Draper is the unsatisfied suburban wife of Don. She takes care of their children with the help of a maid and keeps busy with various social and community activities. There are more characters than this, but what is more important is how Matt Weiner and writers uses these characters together to weave a layered story.



Every plot line demands attention for how it uses and forwards character development. Though none of the characters is entirely likable, they all earn a certain amount of sympathy. They are all struggling to get ahead in a changing world, unsure of what exactly would define satisfaction in their lives. A character can do something awful in one episode or scene, and then do something charitable or heroic in the next. They act like real, flawed people. None seems more than fleetingly happy, but they are all trying.

The plot itself is equally gratifying. The pace seems leisurely, like the writers are in no hurry to get to any specific spot but instead are just enjoying watching these characters stories unfold. The series is three seasons in, and the mystery behind Don's past is only now mostly solved. They use story elements like his flashbacks to say something about the current plot, more than as some dramatic hook. Don's marriage has had ups and downs in a way that many people in relationships must relate to. The affairs, the boozing, and the lies do add to the drama, but they also work to create the world and explain the motivations of these characters. And after three seasons, the stories show no sign of slowing down. They creators manage to keep stirring the pot in just the right ways. The set up for season four puts the characters in more interesting situations than ever.

Besides character and plot, there is a lot more to this series though. The setting, 1960s New York, is such a revelatory time for a series to take place. A time that many people and films envision as squeaky clean and innocent is exposed to be much more similar to today than many expect. That revelation brings a connection to modern viewers, allowing them to invest further into this world than many period pieces. The series is also careful to make note of important historical events of the time including Martin Luther King Jr.'s speech, and John F. Kennedy's assassination which works to highlight the amount of social change this period of time brought. They production design of the show is also important. The designers manage to get everything spot on. It never feels faked or inconsistent. From the offices, to the suburbs, to the outfits, to the companies being advertised, everything fits.

After The Wire, many thought television was ruined forever because nothing would come close to that level of mastery, but so far Mad Men appears to be the most qualified successor. Though best enjoyed with a glass of good Scotch and a cigarette in your finest suit or dress, this show will impress you even a la carte.

Runners Up: Lost, Friday Night Lights, Big Love



Venture Bros.

Venture Bros. has very little in common with Mad Men in most ways, but this animated series has proven to be the most entertaining and consistent half hour around. Cartoon Network is in the middle of airing the fourth season of Venture Brothers, and it is about time more people started paying attention to the adventures of young Hank and Dean Venture as they get caught up in their dad's crazy legacy as a boy adventurer and self proclaimed super scientist.

The show's basic premise is to blend every boys favorite memories together in one world and then peek in on what that world would look like down the road. There are countless references including: Johnny Quest, Hardy Boys, Batman and Robin, Astro Boy, Blade, Dr. Strange, James Bond, and much more. Each episode functions as a pop culture "Where's Waldo?" Now this alone earns the series a lot of geek cred, but what sets it apart is what Jackson Public and Doc Hammer (assumed names of the creators) do with the world that they have built.



The characters are some of the most fleshed out animated characters in existence. Dr. Rusty Venture, the boys' father, is a neurotic scientist who has never quite lived up to his own dad. He is often battling villains and rarely accomplishes anything of merit besides endangering his own sons. Hank and Dean are naive, perpetually 16 year old (until recently) boys. They have survived this life due to mysterious circumstances and their body guard. Brock Sampson, the body guard, is the professionally trained savior of the Venture family. He has killed hundreds of villains, and bagged hundreds of women. Dr. Venture's arch nemesis is The Monarch, a butterfly themed villain who rarely manages to pose a real threat. Beyond that, the show offers a host of hilarious characters including: Sergeant Hatred, Dr Orpheus, Dr. Girlfriend, Phantom Limb, David Bowie(!) and more. These characters develop in entertaining and often hilarious ways, all the while never betraying the shows premise or mythology.

Venture Bros. is also all about weaving an entertaining mythology around these characters, that are often thinly veiled parodies of classic heroes. The first two seasons built the world, and the next two seem to be all about playing in it. There are so many great moments in every episode. The dialogue is hilarious. The animation is consistent. The design in inspired. The music, by JG Thirlwell, is also perfect. Every element of this series is gold, hilarious, outrageous gold. The plot up to this point involves, mad science, flying bee hive bases, evil parody of Walt Disney, blackulas, clones, robots, detective stories, pedophilia, love, and failure. Failure is something the creators have described as a primary idea behind the series, which is unexpected for such a successful series. If anyone has ever been or loved (not like Sergeant Hatred) a young boy, or if they just appreciate good storytelling in a unexpected package, then they should find something to appreciate in Venture Bros. This is probably the best animated series since Cowboy Bebop and actually better than Justice League Unlimited.

Runners Up: Breaking Bad, 30 Rock

Random Obsession of the Day- Gustaf Tenggren

Sometimes I discover something and all of a sudden I cannot stop thinking about it. Sometimes it is dumb internet videos, or a food. Today it is Gustaf Tenggren, a Swedish artist born in 1896 who worked on many childrens books, Milton Bradley products, and Disney films.



I discovered Tenggren while going through the bonus features on the new Snow White Blu-Ray. His art for that film immediately caught my eye. Then I discovered that the disc featured a whole gallery of production art he did for the film. Immediately I could see his style in two of my favorite current comic book artists, James Jean and Michael Allred. I am not typically much of an art connoisseur outside of comics so, of course, that is what I relate other work back to, but in this case it seems likely they might even reference him as a direct influence.

Tenggren got his start working in Sweden, but quickly moved to the states where he did some childrens books. He worked for Milton Bradley after that and moved to Disney in 1936 to work on Snow White and the Seven Dwarfs. He also worked on Pinocchio, Bambi and some Disney shorts. After this he spent 20 years working on more children's books in a decidedly different style. His most famous work from this period is The Poky Little Puppy.



What saddens me is how little information and pictures of his work I could find online. There is a website dedicated to him here (thanks for the info) and some other mentions of him around the web, but for an artist of his caliber it doesn't seem like enough. I want an over-sized book filled with his work. I want prints to put on walls. I want people like me to have heard of him more than just by chance. It is very rare that art actually makes me wish I was an artist like this. There is not a whole lot more to say about it, but I took some photos of the production work from the Blu-Ray (forgive the poor quality) so check those out. You can find a bit more around the web. Enjoy.

The Disney Challenge Week 1: Snow White and the Seven Dwarves

In 1934, Disney was famous for animated shorts, and nobody expected anything more from Disney or animation in general. Walt Disney had a vision for something much bigger though, and despite unending resistance, he started working on the first ever animated feature, Snow White and the Seven Dwarfs.

The story of getting the picture made is possibly as interesting as the actual film, but the final product turned out to be much more than anyone could have expected in quality and scope. Known to many as "Disney's Folly" while in production for nearly four years, Snow White cost $1.5 million to make (much more than the $250,000 budgeted at the start). Disney was in a position where the company would either fail or succeed with the film. Luckily, the release, in 1937, was an instant success.


Disney's Hyperion Ave. Studio

This film has been called the Citizen Kane of animation, in that it has influenced the way animation has been done ever since. Every Disney film made owes it's existence to Snow White. Countless other films both animated and live action have Snow White to thank as well. As a historical landmark and technical achievement, it is an easy movie to celebrate.

Snow White and the Seven Dwarfs is now 72 years old, yet still holds up quite favorably to modern animation. Many elements used in this film have become staples of Disney and animation as a whole. Forwarding the story through song is now popular, but was unheard of at this time even in stage musicals. The inclusion and emphasis on music in animated features continues to this day. Cute, furry animals have also remained popular over the years. There are countless techniques and special effects developed by Disney that were included in this film and are still in use. Snow White stands as an achievement of one man's vision (and hundreds of animators dedication) like few other films ever made. But with all that said, is it enjoyable?

I do not remember the first time I saw Snow White, but I know it was never amongst my favorite Disney films growing up. It is rarely at the top of my list when I am in the mood for a Disney film, but especially since watching it on Blu-ray several times, I have come to appreciate much about this classic feature.



The story is fairly standard Disney fair, a somewhat watered down classic fairy tale. If you have somehow avoided this film all your life, the basic premise is that Snow White is forced into hiding in the dwarfs' forest home because the jealous queen has ordered the beautiful princess to be killed. The queen succeeds in cursing Snow White, but (spoiler!) her plan is thwarted by the kiss of a handsome prince in love.

The characters all function well in fulfilling their purpose. These are the same basic archetypes found in many animated films today. Snow White is pretty and sweet. The queen is evil. The dwarfs are amusing. The hunter is scary. The animals are cute. The prince is handsome. Everything works together well at telling a cohesive feature length story, but I have never felt any true connection to it for some reason. Two of my friends watching it with me for the purpose of this review had fallen asleep by the end. There is, however, a lot more to this film than just the basic story to keep you entertained.



This film is filled with great music. The majority of the songs are memorable, and I found myself surprised by how familiar I was with many of the lyrics even after years without seeing the film. The background music is also moving as well and is vital in setting the tone of the picture throughout.



The gags are great. Each time I have watched this film recently, I have noticed more little gags involving the forest animals or dwarfs. These really help keep you entertained, especially on repeat viewings. It seems crazy to make your first animated feature include eight title characters. Disney uses them all well. Each dwarf has his basic personality summarized in his name. I kept getting the feeling that they often seemed similar to Disney's animated short stars including Mickey, Donald, and Goofy. There is also a ridiculous number of forest creatures on the screen at the same time in many scenes that keeps things interesting. I especially enjoy the turtle.

The animation and style is beautiful. Though the characters look a little rubbery compared to later Disney films (more a stylistic choice than any kind of limitation), it is truly impressive how well the animation holds up even compared to modern work in the field. The film also brought to mind other classic animation being done around the same time, including the Fleischer Superman shorts. The color palate was kept fairly subtle which helped differentiate this from many color animated shorts. The painted backgrounds are gorgeous, with so much detail that really brings the world to life. To think that not even ten years prior, Steam Boat Willie was the peak of Disney animation is astounding.



Still, as much as I admire this movie on all these levels and respect it for the huge achievement and influence it is, it doesn't rank among my favorites on a strictly emotional level (mostly due to the spoil of riches I grew up with in the form of all the other Disney features). If I had seen it in context during its release, I have no doubt it would have blown my mind. This is a film that demands to be seen for anyone who considers them self a serious fan of animation or film. It is probably the most important animated film ever made, and one of the more important films of any kind. It is a template for countless movies made since, and stands the test of time as well as any classic. Snow White and the Seven Dwarfs started the Golden Age of Disney off with a style that animators try to replicate to this day and it is not hard to see why.

Up next we have Disney's second animated feature, Pinocchio.


Rachel Weisz as Snow White

Crime and Noir in Modern Comics

Comic books were once home to stories from all types of genres including: western, romance, sci-fi, horror, superheroes, and of course crime. Throughout the years, these genres were whittled down due to new restrictions and lack of sales, until only the superhero remained in the public conscious. Recently, comics have proven to, once again, be a great place to tell stories of a much more varied type. One type of story that has come back in a big way in the last few years is crime fiction. While there are many titles that have embraced this genre, a few recent standouts include Ed Brubaker and Sean Phillips' Criminal, Darwyn Cooke's first adaptation of the Parker novels, called Parker: The Hunter, and Greg Rucka and Matthew Southworth's Stumptown. These titles have definitely set themselves apart in what is becoming a more crowded comic book genre.

Criminal has been running for the last couple years under Marvel's Icon imprint, and in that time it has racked up a silly amount of critical acclaim. Ed Brubaker has been writing great comics for a while, including many superhero titles, but Criminal is his best work. This book has ran for a total of 18 issues (the majority of these stories have been collected in convenient trade paperback form or a fancy hardcover edition), and in that time he has managed to build a world that feels authentic, even while following the popular tropes of the pulpy crime noir genre. Clearly a student of the old crime stories in comics, film, and prose, his characters are accurately mean, his stories inevitably dark, Brubaker truly knows what makes the genre work. The real trick he pulls off is that his stories never feel derivative, even when referencing classic crime fiction. Each story does not neccesarily lead into the next, but characters and locations will show up from previous arcs, which works to make the world feel alive. It may eventually make this place feel unfairly small if the same characters keep popping up in the background, but so far it has worked to the benefit of the series. He also fills the single issues with great backup material spotlighting classic crime fiction that adds a nice finish to the serial reading experience.

Sean Phillips, frequent collaborator of Brubaker, is equally deserving of credit for the success of this series. His art is appropriately dark. Almost every scene is drenched in shadow, and he is not afraid to gob the black on. His work consistently sets the mood, and never feels muddy as some darker art can. What is even more impressive, is that he seems to continually improve. And with the ever growing cast, it is amazing how each character is so immediately identifiable, even when they just pop up in the background of some other story.



Val Staples is also deserving of a lot of credit for his color work. There were only two other colorists I know by name and could recognize in print (Dave Stewart and Bill Crabtree), but Val has definitely made it to the list. His work on this title fits somewhere between those other two colorists. He keeps it simple to give it that old pulp feel. He is also not afraid of using some bright colors when appropriate, which works great with such a generally dark book. For a book filled with so much black, it is a testament to his skill that he stands out so much.

If you like classic crime stories filled with heists gone wrong, bloody revenge , wounded lead characters, mysterious sexy women, ruthless violence, cruel death, unending deception, and the other famous tropes of this well worn genre, then this is definitely the place to start. If you just like comics done right, then you also need be reading .



Next up, Darwyn Cooke's take on Parker offers another high quality crime book to come out recently. Parker was created by Donald Westlake under the pseudonym Richard Stark and went on to be a popular character in many books and film adaptations over the decades. The Hunter is the first in the series of Parker novels, and with luck Cooke will follow the rest of the books through in comics form. Because this book starts from the beginning of Parker's stories, it is great for newbies as well as old fans.



Darwyn Cooke opens the book up with an amazing sequence that utilizes very little dialogue or exposition. This method of story telling could only work with a cartoonist of Cooke's ability to suck you so far into the story as it does. For dialogue, he sticks fairly close to the original novels. He uses exposition judiciously to move the story along, but not at the expense of the pacing or art.

The art is classic Cooke. His style is simple and elegant, reminiscent of the work he has done before in animation and other comics. The focus is on storytelling and consistency. His characters are distinct and memorable. He captures Parker so well; he has a clear affection for this character and his world. The monochromatic color scheme is perfect for the story he is telling.



IDW printed this book in a nicely designed hardcover, but it would have been nice to have a full sized or over-sized option to really appreciate his artwork here. Parker: The Hunter is a graphic novel that is worth revisiting often to appreciate the talent it took for Cooke to stay true to the source material, even while making it feel distinctively his own. It is going to be a great few years as Cooke continues to dive into Stark's novels in this format. This is series definitely worth watching.



Finally, the new series Stumptown is looking to be another winner in the crime genre, though it may prove to be more of a detective series than a straight crime series. There has only been one issue to this series so far, but already Rucka and Southworth make it one worth watching. Set in Portland (aka Stumptown), the book jumps in with its protagonist, Dexadrine Callisto Parios (she goes by Dex), in trouble. The story flashes back to introduce the cast, and develop a mystery matter-of-factly called "the case of the girl who took her shampoo but left her mini". Rucka, famous for his strong female leads, spends most of his energy making sure the reader gets to know Dex, by putting her in a variety of different settings and showing how she reacts. Rucka also pays careful attention to accurately portraying Portland, as only a local could. He even sets a scene in a popular local bar and includes Dex's local phone number that, when dialed, will get you a real voice mail. By the end of the first issue, he has teased enough information about both Dex and her new case to make it near impossible to resist reading the next issue.



Matthew Southworth, though not as familiar a name in comics as Rucka, carries his weight in telling this noir story with a great style. His work also clearly displays a knowledge of Portland as well, as many scenes are set in real Portland locations. He has a rough style that suits the tone of the story well, supplying the necessary amount of grit without sacrificing clarity. His backgrounds especially showcase his ability. It is tough to compete with Sean Phillips and Darwyn Cooke in the art field, but Southworth is definitely a name to watch. The mute colors, by Lee Loughridge, add another layer of mood. Each scene seems to be bathed in its own shades, which helps distinguish location and set the tone. Through limiting color choices, the book maintains a unified and stylized feel.



Oni Press has another winner on its hands with Stumptown, and it is definitely worth your time. Much has been made of the recent price hike in many comics to $3.99, but this book definitely proves to earn it.

What is it about the crime genre that seems to bring out the best in so many creators? Perhaps it is them finally getting to directly connect to one of their major influences. Clearly crime stories of the past have played a huge part in influencing both modern creators and modern comics. The pulp roots of the industry have not had such a great outlet to celebrate that history in a long while. Join the party.

The Disney Challenge Week 0

There is going to be a (roughly) weekly feature popping up soon called The Disney Challenge. This feature will involve me watching every theatrical animated release by Disney from Snow White to the upcoming Princess and the Frog in chronological order and then commenting on each.

I have been a huge Disney fan all my life. I have already seen most of the films that I will be talking about, but there are a few that I have never gotten around to so this should be exciting. There is a lot of negativity surrounding Disney (the studio and the man) and it really makes me sad. Not every one is a classic, but Disney has easily produced at least a dozen of the best films, animated or otherwise, over the last 70 years. The quality of the animation, the storytelling technique, and the sheer imagination on display is undeniable. This is a body of work worth revisiting and celebrating. There is nothing better, on a rainy day, than laying on the couch with a blanket watching a Disney film. That is how I like to spend my winter days.


Disney's Famous Nine Old Men

I will not be covering any films that mix in live action (including Pete's Dragon and Mary Poppins, but excluding the famous story book scenes that start and end many Disney films), any sequels (Lion King 2, Cinderalla 3, etc.), any properties based on a television series (Teacher's Pet), or any straight to video releases (The Three Musketeers). I am also going to focus on the traditional 2-D animation, though that may expand. Really, I am just not interested in watching Chicken Little again and Pixar deserves it's own challenge some day. There are some nebulous releases such as The Nightmare Before Christmas which was released theatrically under the Touchstone label, though in home video, it was released under the Disney banner. I will make decisions about these films as they come up. I am also on the fence about animated features that includes Mickey, Donald, Goofy, or the like as primary characters, but my fondness for A Goofy Movie makes me hesitate to institute a rule to skip these. Basically, I will stick fairly close to this list.

Stay tuned. My commentary on the first ever animated feature, Snow White, should be up soon.

'Comics' is Not a Dirty Word

I aim to talk about comics quite a bit here, so I figured I should get this out right from the start:

I use the word 'comics' to cover just about every kind of comic book/graphic novel/manga/etc you could think of.

I hate this movement to start calling all comics 'graphic novels'. It is silly and inaccurate to do so. A graphic novel is a specific type of comic. It is, in my best estimation, envisioned to be one extended story, presented in a single volume. Now many of the best comics are graphic novels, but deciding to call all comics 'graphic novels' is to miss the point of the format almost entirely.

A comic can be a single issue, a trade paperback, a digest sized collection, a hard back, a short strip, a web comic, a graphic novel, and probably much more. There are so many types of comics that the term 'graphic novel' excludes. Comics are great because of these varieties. The form is ripe for experimentation. Creators in comics can get away with a lot more when their potential audience is a fraction of what a TV show or film audience would be.


Promo Art for Scott Pilgrim Volume 3

Another major component of modern comics is serialized story telling. Stories are paced specifically so that they can be enjoyed in short installments (and then again as a whole). The cliff hanger ending has become a staple for many series, and an effective one at that. When I get to the end of an issue of "Walking Dead" and realize I have to wait another month to find out what happens next, that affects how I enjoy the story. Now, someone else might read every issue of the Walking Dead in one sitting, and it will still be the same story, but their reading experience will be decidedly different than mine. Therefore, series like this cannot accurately be described as graphic novels.


Cover to Walking Dead #48

There seems to be this embarrassment over terms like 'comic' or 'comic book' that lingers from days long past starting with the admittedly simple stories that birthed the form, or from when Seduction of the Innocent and the surrounding controversy over content nearly destroyed comics decades ago, or perhaps it's all Adam West's fault. Since that time comics have proven their value many times over with such widely accepted classics as "Watchmen" and "Sandman." Why can't the fans embrace these terms? The fear may be that other more casual audiences will never take anything called 'comics' seriously because of associations with the "Batman" television series of the '60s and other campy artifacts. This is clearly not the case with huge film successes like "The Dark Knight" showing how willing a broad audience is to accept comics ideas if not their more traditional ink on paper presentation. This problem certainly has little to do with what we call them though.

If more people simply referred to all comics, including works like "Watchmen" and "Sandman," as comics, maybe more positive associations would arise. There is nothing flawed about comics, so why this semantic shuffle of the last few years. There is also nothing wrong with some works being referred to as 'graphic novels,' but that is just one small portion of what comics can be. It doesn't serve the medium to adopt a phrase that edges out all those other types of work. If you are still not convinced, let us at least settle on the much more agreeable phrase 'graphic fiction' that leaves room for the variety of presentations comics come in. And then we can move to the much more productive argument over how best to get a broader audience to pay attention to the great stuff happening in all types of modern comics.


Asterios Polyp, a recent graphic novel by David Mazzucchelli

2009 Is Like an Indie Rock Time Machine

I only started listening to "Indie Music" in the last five years. In the last two years especially, I have spent a lot of time playing catch up. I have spent time finding all the bands I should have been listening to over the last couple decades and building an understanding of the progression of the genre.

I am finally mostly caught up with the history of the "Indie Music", which is sort of an arbitrary description now that popular culture has adopted many of these bands. I have never felt quite comfortable using it because of that, but I also hate trying to label every band into some ridiculous sub-genre. This new knowledge of music has filled me with a longing to see a lot of bands that are over or seem to have peaked years ago while they were still in their prime. If only I could go back to the '90s to see Flaming Lips, Built to Spill, Dinosaur Jr., and Pavement while they were pumping out those classic albums.

But wait! The first three of those bands have produced excellent albums this year ("Embryonic", "There Is No Enemy", and "Farm" respectively) which they are touring to support, and Pavement is set to do a limited number of shows throughout 2010. It is like I get to go back in time. In Portland, I have unfortunately already missed Flaming Lips (who also shot a very awesome, very NSFW video at Mt. Tabor Park included below), and Dinosaur Jr. shows this year. Built to spill is performing tonight at the Wonder Ballroom, so I am probably not going to make that either. I will, however, not be missing Pavement at Sasquatch this year come May.


The Flaming Lips music video for "Watching the Planets" NSFW!

With these bands back to top form, is it too much to hope that other bands like Modest Mouse and Death Cab could follow suit in the next few years? I thought Narrow Stairs was pretty good, but I still long for these bands around the time of The Moon and Antarctica and Transantlanticism or earlier. I think we have all given up hope for Weezer, but maybe the next color album will surprise? Okay that is a long shot.


Dinosouar Jr.'s Album "Farm"

2009 has also brought amazing albums from newer artists like Animal Collective's "Post Merriweather Pavilion," Grizzly Bear's "Veckatimest," and the Dirty Projectors "Bitte Orca". This combination of the best of the older and newer generations is making it a pretty great time to be an Indie music fan.


Animal Collective's "Merriweather Post Pavilion"