Kiyohiko Azuma kills me sometimes, especially his Yotsuba&! strip. Blogfriend Amy K called Yotsuba a manic pixie dream daughter once, which I think is a pretty fair assessment of the series. But as delightfully and unrealistically precocious as Yotsuba is, the comic wouldn’t work at all if not for Azuma’s cartooning chops. Two pages from volume 10:
The timing on that first page is so good. The transition from panel two (curiosity) to three (shock) to four (horror) is deadly, and then he throws the punchline at the top of the next page.
But what really gets me is Fuuka’s posture in page two, panel two. I’m used to a couple different signifiers for laughter in comics, like a lady bent over gripping her belly or a guy leaning back with the back of his hand pressed against his forehead and his mouth wide open. But this is something even better. It’s the perfect picture of what happens when something is so funny you lose control of your body and make stupid poses. That arm thing she’s doing, that uncontrollable spasm — I’ve seen that before, I’ve done that before.
So just a little bit late this update, but I’ve had an incredibly busy day and I’m half-dead. I went to NYC to check out a friend’s improv show, went and saw Ted, went home to watch TNA’s Destination X PPV and then watched the last couple hours of the Evo 2012 tournaments. All that plus the Lakers beat the Supersonics. It was a good day.
Ted is very much worth checking out, even if you’re jaded by the last ten years of Family Guy. And if you do see it, chances are very good that you’ll want to watch Flash Gordon ASAP.
But enough about my exploits. I’m joined by Jody, Gaijin Dan, Was Taters, Space Jawa and VersasoVantare.
Action Comics #11
Grant Morrison, Rags Morales, Brad Walker, Sholly Fisch and CAFU
Age of Apocalypse #5
David Lapham and Davide Gianfelice
Amazing Spider-Man #689
Dan Slott and Giuseppe Camuncoli
from Dave Gibbons & Alan Moore’s Watchmen, chapter 11
“The [seven screens idea] is related to a post–Steve Jobs, post-Windows era of where we’re always on a BlackBerry or a phone at a ballgame, at the movies, and you’re looking at seven windows when you’re online. And I’ve found myself even falling asleep at the theater unless I’m talking to somebody or I’m on the phone, and it’s because of the amount of information that we have at once. … I was very particular about having the screens be separate and having it where your mind puts the screens back together the way you can put memories together, the way that happens throughout the day and it all links back up.”
I regularly peek at the traffic of the site because of ego. No big deal, I figure. While the new stuff almost always ends up hitting the top of the hit list, it’s interesting to see what stuff regularly gets its share of visitors no matter how old it gets. The We Care a Lot and the What If stuff, for instance, still do well. One of those articles that still gets notice is the Top 70 Deadpool Moments. It’s a 7-day series of daily posts I did three years ago that listed my favorite moments in the character’s history (with a little help from the readers). It was a fun writing project, but I look back at it and raise an eyebrow.
The timing of it was deliberate. X-Men Origins: Wolverine, which featured a character that was SUPPOSED to be Deadpool, was about to be released and Day 7 came out on that Friday. It was right before what I like to call the Deadpoolsplosion, where he started appearing all over the place with way too many comics to keep track of. And I think back to the list and all the comics that have come out since then and I wonder how much I’d change the list if given the chance to update it.
Sadly, I wouldn’t change all that much. There really haven’t been too many stellar incidents with him since mid-09. He’s had his moments for sure, but they’re more few and far between than there should be, what with him being all over the place. In fact, for a guy who was once one of my favorite Marvel characters, the only thing I read with him is a team book where he rarely gets shoved into the forefront.
I figured it would be a good time to look at the character’s history and see what went right and what went wrong.
Deadpool made his first appearance in New Mutants #98 in 1990, where he fought Cable and lost. While Fabian Nicieza was the writer, the basic design for the character was an idea of the artist, Rob Liefeld. Liefeld had always wanted to draw Deathstroke the Terminator professionally – something he’d get to do 22 years later at the expense of me caring about what was a fun series – but since Deathstroke was a DC character, he had to make due with a pastiche. We got Wade Wilson instead of Slade Wilson and our awkwardly-drawn villain was born.
Hey. My usual crew is with me, as I have Gaijin Dan on lead guitar, Jody on backup vocals, Was Taters on bass guitar, as well as Space Jawa on tamborine.
AND I’LL FORM THE HEAD!
We’re only a few weeks from Week 150, so I should probably think of something for that. In the meantime, check out that Green Lantern: New Guardians panel for the best/worst one-liner of the week.
All-Star Western #10 (Taters’ pick)
Justin Gray, Jimmy Palmiotti, Moritat and Jose Luis Garcia-Lopez
All-Star Western #10 (Gavin’s pick)
Justin Gray, Jimmy Palmiotti, Moritat and Jose Luis Garcia-Lopez
Amazing Spider-Man #688
Dan Slott and Giuseppe Camuncoli
Sorry for the lack of updates on my side, especially comic-related. I’m in this weird funk I get in every now and then when I’m writing pieces of different articles all at once and can’t commit to one, meaning I end up doing a whole lot of nothing and there’s no output. Hopefully this will at least get me through it.
A couple months ago, I wrote about the history of pro wrestling and had very little positive to say about Total Non-Stop Action, otherwise known as TNA. Even when they had something cool going for them, they were always washed over with more that was terrible. This got worse when Vince Russo was brought aboard and fell deeper once Hulk Hogan and Eric Bischoff were given roles in creative.
I tried giving them a chance time after time, especially when they tried to go to war with Raw on Monday nights because if anything, that would be the time when they’d be trying their hardest. Everything was a mess and continued to be a mess and I couldn’t bring myself to watch anymore. Part of the nightmare ended a few months ago when they finally fired Vince Russo. WHY they waited so long to do that when the fans were actually chanting for them to do so for years whenever something stupid happened is beyond me.
Not that they were in the clear. Hogan and Bischoff felt the need to include their children. Brooke Hogan was given an on-air role and Garrett Bischoff was put in a story about becoming a wrestler against his father’s wishes. Brooke can’t act and Garrett can’t wrestle, so this is problematic. At least it gave us former employee Scott Steiner’s Twitter rants, which went on forever until TNA’s legal dudes told him to stop.
Interesting thing happened, though. Over the past couple months or so, the online wrestling circles I spy into haven’t really been complaining about TNA. In fact, they’ve been kind of shrugging it off and pointing out that it’s been pretty good. Great, even! Their last few PPVs have been completely solid and it’s been overall really watchable. Now, on one hand, fool me once, shame on you, etc. On the other hand, WWE has been boring the hell out of me lately, even when they’re giving us a feud based on Daniel Bryan vs. CM Punk with AJ Lee doing a Harley Quinn gimmick in the background. I want to believe that there might be some kind of good mainstream wrestling out there, so I gave the past few weeks a watch.
Hot damn, this actually isn’t bad!
It could be blamed on a lot of things, from what I understand. Russo being gone, for one, as it’s now written by someone who knows that stories are supposed to have beginnings, middles and ends, plus make some semblance of sense. Bischoff has been hands-off lately, meaning that his storyline is forgotten about. For a limited time, the show is live instead of taped, so there’s this overall drive for the performers to do better. I keep hearing that for the first time in years, Samoa Joe is actually motivated! Of course, it could also be blamed on a broken clock being right two times a day. Latter-day WCW had that and WWE tends to have that.
For the moment, not only am I digging TNA, but I’m finding it just plain better than WWE. And I’m not even talking about the talent. Each side has great wrestlers and crap wrestlers. It’s what they do with them that counts.
I don’t know why it took me so long to realize it, but the one thing that runs through all of Nelly Furtado’s singles are that they’re fun. They’re upbeat smiley face music, whether she’s doing fun anthems or throwing bedroom eyes at you.
One thing that’s always interesting about R&B and rap collabs, which I generally think of as being lady singer + dude rapper, is how the two musicians are portrayed in the video. Meth & Mary’s “All I Need” portrays the two as musicians solely, since Meth already has a lady in the video. Nelly Furtado’s “No Hay Igual” is the other one, as it suggests that Furtado and Residente of Puerto Rican group Calle 13 are in some type of flirty relationship.
I can’t find it now, but a few years back, 2008 or 2009 I think, there was an R&B girl group, maybe a duo, that released a single. It was pretty okay, and the rap feature was solid. It was probably Fabolous, but I think Maino or Pusha T might have been the dude. I don’t know. I swear I’m not making this up. Anyway, it came out on rap blogs, and then it went. A few weeks later, a different version of the same song came out with a different MC. It was an earlier cut, one that was leaked from the studio, and it was grimey. It was easy to see why it was shelved. Dude spent his whole time talking about how much he wanted to do the singers, which was kind of on-topic, but it was a bit much.
I only mention that too-long story because my favorite part of this song explicitly addresses the tension that comes along with these types of videos. You see a lot of Furtado and Residente dancing and flirting, and then you hit the bridge at the end of the song:
“Te vo’ a sacar a pasear (¡Wey!)”
You wanna take a walk? Cool.
“En una nave espacial (¡Wey!)”
In a space ship? Hm, aight. Kinda weird, but let’s roll.
“Cosmodrogado yo quiero surfiar (¡Wey!)”
Okay, so there’s a space-drug thing he just made up, but surfing is cool. This is getting weirder though.
“Por tu órgano genital (¡¿Qué?!)”
¡¿Que?! Even I know, judging from the wreckage of my Spanish knowledge, that you don’t need to be talking about any part of a lady’s ladyparts!
But this part is my favorite because Furtado’s response, and the reaction in the video, are so perfect. “Bro, you crossed a line and you’re about to kill a fun thing.”
It also gets at another fun part of these videos, which is that if they’re big enough, if they turn into real deal anthems, then the singers become audience stand-ins. There’s a reason why TLC’s “No Scrubs” blew up so huge, and why Sporty Thievez felt like they had to answer back with “No Pigeons.” Especially in songs with a lot of call and response, the singer is her and the rapper is me. I love that stuff. Something like Missy’s “One Minute Man” with Luda and Trina got a lot of play because it has both that raw girl power flavor and whatever the guy equivalent of girl power is. It sets up this competition, kinda like Furtado’s “Promiscuous,” between the sexes, that’s a lot of fun. Everybody gets a chance to be brash and dirty. Everybody’s got something they can scream at the boils and ghouls across the room.
In thinking about it, Trina’s done more than a few of these songs. “Five Star Chick”, the wild scandalous and NSFW “Look Back At Me” with Killer Mike, and of course the unforgettable “Nann Nigga” with Trick Daddy Dollars. Do you know how many girls I heard yelling “You don’t know nann hoe!” on the bus to and from school? It’s not just songs that are boys vs girls, tee hee. There’s a competitive aspect that’s gotta be there. That’s what makes it fun.
This is the last page of Amazing Spider-Man 122, the issue after Gwen Stacy dies. It’s right in the middle of one of my most favorite runs on any comic ever. Gerry Conway on words, Gil Kane on pencils, John Romita & Tony Mortellaro on inks, and Dave Hunt on colors.
The first 140 or so (I’ve never done a real count, but around there) issues of Amazing Spider-Man are my Lee/Kirby Fantastic Four, and this is one of my favorite single pages out of that entire run.
Steve Ditko gave Spider-Man a creepy outsider feel. When Ditko left and Jazzy Johnny Romita became the principal artist, the tone changed to something more influenced by romance comics and soap opera. Peter became a lot more handsome, the clothes were swinging, and the girls turned from pretty to supa dupa fly. The comic got a lot sexier, is what I’m saying, and Mary Jane Watson had a lot to do with that.
The usual line is that Mary Jane was the party girl, while Gwen was the wholesome girl next door. I don’t know if that’s actually true, but it’s a fair enough starting point if you want to branch out into a deeper understanding of the characters. MJ was definitely a popular girl, the type you’d describe as “hot” instead of “pretty.” Lesser writers took that to mean that she was an airhead or vapid, but that was never true. But she definitely represented a somewhat edgier kind of excitement than Gwen did.
Part of the mythos of Spider-Man is that Peter Parker is an extraordinarily selfish person. Or maybe just regular selfish — it’s hard to tell when everything in cape comics is so heightened. But he takes everything personally, and he tries to walk around with the weight of the world on his shoulders. He snaps and buckles under pressure before regaining his strength, but that snapping is the important part. Peter Parker needs support. He needs someone to tell him things are okay or to have his back in a pinch. Spider-Man is a role Peter Parker plays, not Peter Parker himself.
What I love about this page is how it shows the quiet strength and determination that Mary Jane always had underneath her party girl exterior. She’s been waiting at Peter and Harry’s pad for hours, praying for someone to talk to. The problem is that it’s dumb ol’ Petey, a guy who never met a problem that wasn’t his fault. He lashes out at her in his grief, ignoring her own grief, and instead of doing what anyone else would do, MJ turns to leave, pauses, and chooses to stay.
There’s something about the choice she makes between panels here that really, really sticks with me. MJ isn’t just a supporting character, a prop for someone else’s grief. Not when she’s written well, anyway. This choice feels significant, for both her and Peter. It’s one of my absolutely favorite scenes in Spider-Man comics, and I don’t know that I could tell you exactly why. There’s just tremendous emotional resonance there, and a certain finality and acceptance, that I really appreciate. She chooses to share her grief, whether Peter wants her to or not.
It’s like — does she recognize something in Peter? Is it something she also recognizes in herself? Why does she choose to forgive him for his anger? I think she recognizes how people run away from love and support, in part because she herself is also guilty of that.
There’s something deep lurking around here, right below the surface, and I love it. It’s like Spider-Man is shifting (or continuing its shift, really) from childhood to adulthood, transforming directly on the page, and making permanent decisions that other comics wouldn’t, and modern comics don’t. Part of the fun of the first 140 issues of Amazing Spider-Man grow from a 15 year old kid to a college-age adult, and this scene is a milestone moment.
BACKUP STORY! CURSE OF THE CRIMSON CORSAIR, FEATURING EIJI NONAKA’S CROMARTIE HIGH SCHOOL! BUY IT USED!
I was watching Nelly Furtado’s “Promiscuous” a few weeks back and jotting down notes. I wrote that I might like pop crossover Timbaland more than I like rappity-rap Timbaland. You know what I mean — Nelly Furtado versus Jay-Z, with Missy Elliott being the only person to successfully split the difference. I haven’t done any hard research but that idea feels right to me. Timbaland’s greatest strengths are making catchy and weird tunes, these sort of things that are great pop songs until he layers in baby noises or frog croaks and then they’re memorably great pop songs. In “Promiscuous,” Timbaland doesn’t have a dog barking or anything, but those synths that come in over the chorus are amazing. I thought that it was maybe a sample or something, but knowing Timbaland, he probably just hammered them out on a keyboard one day. But they’re the perfect ’80s touch, trading on the same nostalgia as the soundtrack to Drive, and they elevate a pretty good song into a memorable one. And I don’t think all of this could add up to a great rap song, going by my preferred definition of “good rap song,” as well as it adds up to a good pop song. So yeah: probably indefensible because the boundaries are so vague, but Pop Timbo > Rap Timbo. Argue that.
The video’s cute, too. Where “Maneater” was about submitting to your queen, oooooohohohohoho, “Promiscuous” is a tease. It’s dancing and flirting, and it’s actually a little funny. Furtado and Timbaland trade drum and vocal duties in some scenes, which I think is funny. My sense of humor is stupid though. But overall, the video’s really about getting as close to somebody as possible and teasing them all the way. It’s sexy, but it’s not… explicitly sexy. It’s a love spell. It gets across the erotic urgency of dancing, I guess is the best way to put it, in a cool way. There’s this bit at 2:40 or so, where the guy tries to kiss her? And then it comes back after flashing to another couple of scenes and he tries to kiss her again, and then it flashes away and back and one more time, this time his kiss attempt is a lunge. When it comes back around, Furtado is on him, instead of vice versa, and he’s holding back. That’s nuts, and it’s totally perfect as an example of what I mean. There’s a back and forth tease, a wanting, that comes alongside dancing with someone else, and I like how this guy’s wanting spills over before he has to rein it back in.
The conversational structure of the song is great, too. It sells the song as a booty call negotiation anthem. It’s not catchy so much as undeniable. You don’t really need to sing along with it to know it, barring a few money lines (that Steve Nash line, “How you doin’ young lady?, and I really really like “Chivalry is dead but you’re still kinda cute”). The weird thing is that something about Furtado’s delivery on the verses reminds me of Hot 97’s Angie Martinez, especially her style on “Live At Jimmy’s”. I don’t know what it means, exactly, but the comparison won’t go away. Furtado sells it, though, even if she isn’t from Brooklyn. There’s a playfulness to it, a flirtiness, that enhances the song.
I also love the weird harmonizing she does on this weird beat at the end of the song, but I don’t even have anything to say about that but “Yes, more please.”
With Sunday came my second improv show and my second time performing on stage. This was the graduation show for Improv 201 at the Upright Citizens Brigade Training Center. Another eight weeks of fun-as-hell learning went by and here’s what I have to show for it.
201 is a lot different from 101 in the sense that it’s a lot more challenging. 101 is about building you up, almost making you believe that you can do no wrong. 201 breaks you down with its rules and at times it becomes taxing on your confidence. It pays off in the end, but there are times when you get interrupted by the instructor mid-scene more times than you’d wish and it gets in your head.
The format of this show is different from the 101 show from two months back. 101 was suggestion, monologue, three scenes, monologue, three scenes, monologue, three scenes. 201 is suggestion, three monologues, three scenes (four in my team’s case due to having eight people, so everyone could get a scene in), second beats and third beats. Plus, unlike the random end-of-scene blackouts in 101, we’d “edit” ourselves, as the people on the back line would choose when to cut off a scene. This is a guessing game in itself that’s awkward at times in that you can edit too fast so that the performers don’t even get to the point or wait so long that the performers run out of gas and get a little desperate. Both of these happen during the show.
As for the whole “second beat” concept, the main focus of 201 is “game”. “Game” is the term for what’s funny about the scene. What’s the unusual thing being explored? Sometimes it needs to be said out loud to fully establish it and for both performers to agree on what they’re working towards, so they’re in full agreement. The “second beat” is when you return to that game later on and give it a different spin, whether you’re playing the same characters or not. For instance, during a practice run of the show, me and Matt were doing a skit where I made his favorite dish – spaghetti with meatballs – and it was a ruse, as I was trying to get him to enjoy my pot roast, which he hates. Later on, we did another scene where I acted like we were going to a baseball game, only to reveal it was an intervention as me and the others in the class aggressively got on his back about how he doesn’t enjoy the Sopranos. Then later on, he’s sitting in a chair, relaxing and we talk up how great this Jacuzzi is… until asking a priest to come into the room and give Matt a baptism against his will. First beat, second beat, third beat. Same theme.
So here’s the show. Up first is the Beetles with Two Es (Steve, Ray, me, Geoffrey, Sam, Megan, John and Dan) followed by Six Pack Abs (Kelsey, Jaimee, Norma, Nancy, Matt and Sean).
, chapter 11
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