I understand that the layout of this site kind of sucks when you’re looking to read through a series of something. Sure, you can click one of the tags, but then you have to sort through it all backwards. That’s no fun. That, and it takes me forever to update the Contents page.

If you notice on the right side, under “Pages”, there are two new links: 4th Letter Masterworks: Ultimate Edit (includes Ultimatum Edit) and We Care a Lot: A Venom Retrospective. These are links to both article series in their entirety, with paragraph descriptions for the Venom stuff. Hopefully this will make things easier for fans of the respective articles. Plus it’s better for those of you who like to spread the links around. Hint hint.

You may notice the title of the latest We Care a Lot article as “The Sammy Hagar of Cannibalism”. I feel the need to expand on this.

Venom symbiote = Van Halen
Eddie Brock = David Lee Roth
Mac Gargan = Sammy Hagar
Angelo Fortunato = Gary Cherone

See? Fits like a glove.

And just a reminder, if you have the Facebook, check us out!

There is hope, friends!  I have read the comic and there is hope!

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Woke up this morning and saw that Robot 6 had the good stuff: a brand new trailer for Jim Rugg and Brian Maruca’s Afrodisiac, published by AdHouse Books.

I want this book. C’mon, y’all, this book is right up my alley. I’m the guy that talks about black people and comics all the time and this is a comic about a black guy. 2 + 2 = Real Talk!

If you’ve been reading for a while, you know that I like my comics to be more variety show than epic tale.  Although there are a few long stories I adore, most of which I’ve gone on about already, there is nothing I like better than an eclectic bunch of simple stories.  Gotham Knights, Superman/Batman, Legends of the Dark Knight, Batman Confidential, Tiny Titans, all of these are the kinds of things I like.

This love of the well-told episode extends to other forms of media.  I prefer The Hobbit to The Lord of the Rings.  I hate when they artificially extend a storyline by making the season finale end on a cliffhanger.  And I generally like one-off stories better than overall arcs.  The episode of the Justice League Unlimited in which Wonder Woman got turned into a pig, or the time that Buffy had to take on a mind-control creature that came out of the eggs that students had to carry around for sex-ed.

So it’s strange to me that Dollhouse entirely flips my preferences.  I don’t care what assignment that Echo has this week or how well she completes it.  I want to see more of the sub-plots, the foreshadowing, and the ongoing undercurrents that color every episode.  I want to see the grander story.

I’m not sure what it is that is different about the series.  I’ve seen a lot of criticism of Echo/Caroline, but while I don’t find her a particularly interesting character, she carries the stories along and makes me believe she can be both creatively clever while being clueless to larger implications.

Maybe it’s because the Dollhouse itself is evil.  When the show is about heroes, I don’t like to see them hit trouble.  When it’s about villains, I welcome a chance to make them miserable.

But I think there’s a larger reason.  So many shows give us meaningless plot-twists and clever set-ups that reveal themselves to be just that – clever set-ups, with payoffs to be filled in by the writers if its necessary.  Dollhouse is planned, from first to last.   There aren’t any dropped story lines or hollow explanations or rushed justifications.  I know that if I see something strange, it was because I was meant to, and I’ll get a satisfying pay-off if I wonder about it.

Take note, Lost.  Oh wait.  That show actually did well.

Please watch Dollhouse, you guys.  If the show gets cancelled because the world ends I will go freaking crazy on someone and I can’t be sure it won’t be myself.  So.

“Oh, no. No no no. That’s—that’s Venom. That’s Venom as me. That’s—and it’s not even the good one. It’s Mac Gargan.”

— Spider-Man, New Avengers #50

Due to popular demand, I guess I have to dedicate one of these installments towards Mac Gargan, the current Venom. First, a quick refresher on who Mac Gargan is and what he was up to before donning the hungry goo spandex.

Mac Gargan used to be a greedy private investigator, doing just about any job as long as the price was right. Jonah Jameson hired him to figure out the link between Spider-Man and Peter Parker. Mac wasn’t getting anywhere due to Peter’s spider-sense indicating when to slip away, so Jameson pulled out the big bucks for more desperate measures. Using an experimental serum and a cybernetic suit, he transformed Mac into the Scorpion. On the plus side, he was granted strength and agility to counter Spider-Man, along with a cool tail that shoots stuff. On the minus side, it drove him completely mad.

I think we need more villains who are only evil because whatever gave them powers also made them fucking crazy. A lot of the early Spider-Man villains had that going for them.

Scorpion existed for decades as a B-list Spider-Man villain. He was one of the many, many villains who in some way existed as the dark shadow of Spider-Man. Due to his insanity and his insatiable hatred for Jameson, Gargan tended to fail as a team player. Also, some of his insanity came from his inability to remove his costume.

Mark Millar reinvented Gargan for the better during his run in Marvel Knights Spider-Man, which I covered earlier in this series. At some point, Gargan had become a top henchman for Norman Osborn. His armor was gone, though with many operational scars left behind, and his sanity had been more or less restored. Sure, he was still a bad guy, but he was a coherent bad guy. Under Osborn’s orders, he orchestrated the kidnapping of Aunt May as a way to mess with Spider-Man and get Osborn out of prison.

As we know, the Venom symbiote – having skipped on its latest host – decided that Gargan was ideal. Perhaps it was how Gargan’s Scorpion powers are notably comparable to Spider-Man’s. Perhaps it was Gargan’s hatred of Spider-Man, spiked with his lack of Eddie Brock’s morals. But by the end of the day, Mac Gargan had become Venom.

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Next time you read an issue of Batman & Robin, make sure to do so with this cranking in the background.

Thanks to Yannick_B for bringing this kickass theme to my attention.

Also, stay tuned for later tonight. I should have another We Care a Lot up. This time it’s about Spider-Shemp.

solanin‘s strength is in the way it takes a rite of passage most of us have to go through and shows how it affects one young girl. Its melancholy tone reflects our feelings about the difference between dreams and reality, resulting in a very sad, but powerful, read. We map ourselves onto Meiko and relate to her struggle.

Viz sent over a review copy of Inio Asano’s collection of short stories, What a Wonderful World! 1, and I was pleasantly surprised to find that it complemented solanin to an extraordinary degree. The first story made me wonder if it was going to tread over the same ground as solanin, with the slightly depressed post-college female lead, but it quickly took a hard left turn in a new direction.

What A Wonderful World! fits into solanin like a puzzle piece. It’s clear when you compare the capitalization of the books, even. solanin uses a time of trial to show how the harsh realities of life and lofty goals of dreams eventually intersect and even out. What A Wonderful World! takes people in bad situations and shows them just how beautiful life can be.

There’s a slight, but important, difference in the two approaches, and it’s one I appreciate very much. Each story has a person at a crossroads, or who has fallen from grace, and gives them a motivation to pick up the pieces. Sometimes it’s in the form of a crow, which is itself the embodiment of someone’s fear and self-loathing. At other times, it’s a man in a bear costume with a dark secret. And, once, it was a turtle who recognized that he was in a situation with a bleak future, so he did the only thing he could: changed.

What A Wonderful World! is not a subtle book. The exclamation point in the title is there for a reason. Characters repeatedly reiterate the message of the book, which is that life can be wonderful if you just reach out and grab hold, in very plain language. “There are times in life when we must go forward,” says one character. “Move on, despite everything. Even if I’m making a mistake, I won’t have regrets.” Clear as day, right?

The book is separated into nine chapters, called tracks in the table of contents. It immediately put me in mind of an album, which turned out to be very apt. If you’ve ever heard a record where each song leads into or relates to the next song, whether it’s Pink Floyd’s The Wall or Prince Paul’s A Prince Among Thieves, you can appreciate the fact that the relationship between the songs makes the entire album better.

That’s true in What A Wonderful World! as well. Something connects the current story to the next one. Sometimes it’s as deep as a character who appears in one track gaining a bigger role in the next track. Other times, it’s a shared location, or a dragonfly flickering from one scene to another. This connective tissue makes the book into something greater than the sum of its parts. Instead of being isolated tales of people suddenly discovering how to be happy, you get the feeling of happiness going from story to story, spreading like, well, a disease. You know how they say that a smile is infectious? Like that.

I really liked reading What A Wonderful World! 1, and the first thing I did when I finished was hop on Amazon and order What A Wonderful World! 2. Both books come out on 10/20, next Tuesday. After solanin and What A Wonderful World! 1, Inio Asano is a must-buy for me. He’s a member of the Naoki Urasawa club. His work is engaging and uplifting in a way that I respect, and honestly don’t see often enough. He’s got a deft grasp of cartooning, pacing, and emotion, which gives his comics real weight.

Back in 2006, I did some linkblogging over Geoff Klock’s issues with Planetary 26 and the big end of the series. It’s still a good read, and well worth a look.

It’s kind of funny that a few weeks shy of three years later I’m linking his review of Planetary 27. It’s thorough and brutal and completely, 100% true. Just a snip, because you really must click through:

It feels to me like Ellis failed to give her anything at all to do in the first draft of this script, then writes the problem into the script as her discussion with Elijah (resolved in her future self telling her (not showing her) everything is going to be fine). But then he still wants her to have something to do visually (since a lot of the “action” in this issue is pretty hard to make visual, such as “putting more power to the pulse lamps”), so she gets to leap into action and GRAB A LAMP like a monkey.

I think the first thing I said to some comics reading friends was that the issue was, at best, a C+. It felt like Ellis was going “Wikipedia Wikipedia Wikipedia Wikipedia Wikipedia ZAP! He’s back.” Just miles and miles of clunky and jargon-laden exposition, dragging us kicking and screaming to the end of the issue.

Ellis should’ve left it in the oven longer. It feels like an anticlimax, just like 26 did. In 26, the big bad guys are dropped down a hole. That’s their end. Ellis spent issues upon issues telling us how horrible and evil they are, only giving us a few actual examples (the death of Superman/Wonder Woman/JLA, Snow being mindwiped), and then their big end is that they get dropped in a hole and die. It’s stupid and anticlimactic. Even if the series is about bigger things, you can’t end it that way. It’s lazy. At least the Emperor from Star Wars did his laser show and Satan in a Cloak thing before he got dropped in a hole.

I don’t like the back half of Planetary. Once the series turned from “Other kinds of fiction are fun!” to “The Fantastic Four are Evil, here is evidence, it is just off-screen, do you see it?” I got bored. It turned into Ellis’s trademark Good Bastard vs Evil Bastard, with all of the barked orders and hidden agendas that made Transmetropolitan unbearable. The Four are bad guys, yes, we’re told that over and over. And Snow can be bad (he’s not averse to physical torture [see: Invisible Man, William Leather], he sabotages a chance to harvest wealth of data to get rid of a villain), but he’s not as bad as them, no. And he kept time travel secret just because.

It’s not good. It’s poor writing. It’s telling, not showing. It feels tired, it feels soft, it feels weak. But really, Geoff Klock tells it better than I do.

The Alternative Press Expo is October 17-18 here in San Francisco. I’m going to be attending, because why not, you know? but alt comics are still not quite my bag. I’ve got manga, crime, and superheroes on lock, but I don’t know my Jeffrey Browns from my Chris Wares from my Kevin Huizengas.

What do I need to look out for? What’s worth picking up? Who should I see?

Short and sweet:
-6th Sense’s 4a.m. Instrumental
-A free-wheeling discussion of the end and overall effect of Wednesday Comics
-A brief bit on relating to characters
-Outro music.

Easy-peasy. Give it a listen.