created

–five manga for hollywood

–jacques tardi is pretty cool

–digital comics, censored comics, blah blah blah

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commentary

-I wanted to keep with my new format of discussing two works or bits of art I liked, but I’m on the run eating today, in addition to flirting with burnout and depression simultaneously!

-Brief bites, like the old school ciphers of two or three weeks ago. New format returns next week. Fewer complaints, too, I hope.

-The promised album reviews will have to wait, too, ugh

-One bit of art I liked from Katsuhiro Otomo’s Akira:

-That coach is the greatest.

-Sometimes I go through phases of really believing that cape comics have a chance of evolving and sticking around, rather than navel-gazing their way into oblivion. And then I see the sales charts and find out that John Rozum and Frazer Irving’s Xombi shipped 12k and get depressed and bitter. Twelve thousand is pretty bad, particularly in today’s crappy comics market.

-I keep forgetting that the echo chamber that is the people I correspond with isn’t made of the traditional direct market consumer.

-Cape comics fans don’t want new, or diverse, or fresh, or even really interesting. They want what they have always had, but maybe slightly different from the last time. Maybe a new face, but not too new, in some old clothes, or an old face back from the dead and a little sexier.

-David Finch’s incredibly ugly, boring, and awful The Dark Knight came in at #4, and a couple books saw sales spikes for Reign of Doomsday.

-This is the comics industry we’ve built, and it’s gross.

–About as gross as this.

-Knowing how the sausage is made makes it harder to like comics, I think. My mistake.

-I think that the Mindless annocommentations for Batman Inc may be more entertaining than the comic they’re discussing.

-The death of Carlos Trillo is a bummer.

-Mainstream comics: I’m currently regularly buying Hellblazer, Heroes for Hire, Hulk, Power Man and Iron Fist, and Xombi.

-That’s my “pull list.”

-They’re consistently good, fairly free of stupid event-based shenanigans, and just tell good stories, month-in, mouth-out. Those are the most basic things that’ll get me to buy a comic.

-(The art on Heroes for Hire is frustratingly shaky, though.)

-I buy a lot of trades and digital books, too, but these are the only ones I buy on any sort of schedule beyond “Oh, is that out?”

-I realize that my Xombi complaint is pretty much “Why don’t people like the things I like” *throws teddy bear against the wall*, don’t get me wrong. But, that doesn’t make the fact that new books do not, and apparently will never, sell any less depressing.

-My policy is generally “Like what you like, because who cares,” but sometimes I slip.

-But it’s whatever. I’ll read something good this week (probably Hellblazer, which sells less than Xombi but has the benefit of being a Name comic in some way), forget about the fact that most comics fans don’t share my taste, and go back to gushing about how great whatever the last comic I read was.

-That comic’ll probably be Charles Schulz’s Peanuts.

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comics
David: Hellblazer 279, Heroes For Hire 7, Hulk 33, Thunderbolts 157
Esther: Yes: Tiny Titans 40, Batman and Robin 23, Superman/Batman 84 Possibly: Power Girl 24
Gavin: Batman And Robin 23, Booster Gold 44, Darkwing Duck 12, Avengers Academy 14, Avengers 13, Deadpool MAX 8, Herc 3, Heroes For Hire 7, Hulk 33, Skaar King Of The Savage Land 3, Thunderbolts 157, Ultimate Comics Avengers vs New Ultimates 4, Uncanny X-Force 10

get olga
created: We’re talking good comics strictly here.

-You should be reading Peter Milligan, Giuseppe Camuncoli, Simon Bisley, and Stefano Landini’s Hellblazer. Here, let me help you out–read this and then pick up Hellblazer 275 to see John get married.

–B.P.R.D.: Plague of Frogs Hardcover Collection Volume 1 is a long title for a good book, and it’s got my first pull quote on the back, too. It’s credited to ComicsAlliance, but it’s my words. Go on ahead and buy that. You won’t regret it. Here’s the piece they quoted from.

kurylenko
consumed: When did I start liking video games again?

-More blogs from friends! 4l! reader Taters has a couple you should check out. In Continuity is her general comics blog, while UnMasquerade is a tumblr devoted to heroes unmasking.

-I started playing Final Fantasy Tactics: The War of the Lions. Tactics is my second favorite FF (after 7), but it’s the one I’ve played the most. I’ve probably put 300 hours into that stupid game since 1998, and I can tell that I’m already hooked on the PSP joint. It’s just exactly what I want out of a game–a little different each time, plenty to explore (in terms of abilities), and pretty much a puzzle game. What combinations work best? How much can I dominate out of sheer skill before I get TG Cid and roll over everything in the game?

-It’s funny, but I never beat a Final Fantasy after 7. No, that’s not true. I think I beat Final Fantasy Tactics Advance. I came close with 9, and I played a lot of 10, but man, that story got super dumb toward the end. I played probably an hour of 12 before I got bored, I worked on 13 and wasn’t impressed so I just skipped it… I enjoyed my six or eight months playing FFXI more than most of the other Final Fantasy games, and I quit that game because it was work and I’d been bamboozled into thinking it was fun.

-All I play now is Rock Band, FFT, Persona 3, and NBA 2k11. Weird, isn’t it? I was completely different just a few years ago.

-I don’t usually buy singles, but I made an exception for Wiz Khalifa’s Black And Yellow. He’s put out a couple of ill mixtapes (Kush & Orange Juice and How Fly specifically), and since I don’t go to shows, the least I could do is kick him a dollar for a hot song.

-Killer Mike is one of the most interesting rappers out right now. He’s clearly studied Tupac, Ice Cube, Scarface, UGK, and a bunch of other cats who mixed their thug raps with real life issues and black empowerment. He keeps it honest, is what I’m saying, and I think that’s why I regularly bump his whole catalog. He drops an ill black power track every once and a while, too. There was that “Bad Day/Worst Day” remix with Ice Cube, and it’s semi-sequel “Pressure”, which also featured Cube. It’s just coincidence that these two feature Cube, but maybe not. They’re the ones that stick in my mind the most, cause Mike holds his own up against a rap legend. I mean, “Pressure” goes SO hard, man, from the beat to the lyrics to that Malcolm X excerpt at the beginning. The video is pretty crazy. His latest joint is called “Burn”, and yes, you guessed it: he goes all the way in from the first line on. He also puts the whole Johannes Mehserle situation on blast.

-It isn’t as strident, but “Grandma’s House” is fantastic, too. “My life dope?” “straight cocaine.”

-Gonna be nearly silent running next week here on 4l!. Light posting at best, linkbloggy type stuff, and comic excerpts. It’s so I can bang your head all throughout February without stressing myself out and Ustreaming a murder/suicide. I’ma show you how to do this, son.

tell her i’m very single
David: Hellblazer 275
Esther: Maybe Superman/Batman 80, but probably just Tiny Titans 36
Gavin: Green Lantern Corps 56, Deadpool MAX 4, Avengers Academy 8, Darkwing Duck 8

In late October, Vertigo published Vertigo Resurrected, a collection of rare stories.  One of them was Shoot, a story about schoolyard shootings in America by Warren Ellis.  Before it was published, the Columbine shooting happened.  According to Ellis, DC wanted to change the story, he refused, they refused to publish, and that was that. 

The new people at DC had a different take, and obviously it’s been a while since Columbine, and so the story came out.  I don’t have any problem with Ellis refusing to change his story.  That’s his decision.  I have to say, though, that I think not publishing it, especially at the time, was the right call.  That’s a debate for another time. 

For now, I’m looking at the content of the story.  Reading Shoot left me feeling acutely annoyed.  On his blog, Warren Ellis says that he intended the story to be horror, not social commentary.  Reading the story, I’m not sure that’s true.  It’s a Hellblazer story, so it has John Constantine swaggering across the page, saything pithy and clear-sighted things.  In the last few pages, he gives a long speech about what prompted the shooting.  I can’t say the speech wrong.  What I can say, is the speech is completely off the mark.

Let’s see what we have in the paragraphs above.  The first two panels are Constantine ridiculing the woman for thinking there is any one thing that made the kid do it.  It wasn’t violent video games, or movies or music.  Those ideas are stupid and simplistic.

So what’s his take?

Second scan, second bubble:  “These are the end times.”

Second scan, fourth, fifth and sixth bubble:  “The sins of the father are visited on the son.”

Third scan, first bubble:  “Television is taking over.”

Third scan, second bubble: “Think of the children.”

Although the ‘raised by television’ argument is a new one, it harkens back to boarding schools, nannies, the modern novel, the internet, pacifiers, and any other invention that lets parents forget they’re parents every once in a while.  The rest are biblically old.  They were trotted out to explain everything from plagues to fires to pre-marital sex.  They’re not useful advice.  They’re not insight.  They’re not even observations.  They’re slogans.

And they’re slogans that can be used for anything.  I’m willing to bet the people Constantine ridicules used the same lines he does.  ‘Our society is crumbling’ is a set up used for any argument, from lowering taxes to distributing condoms in schools.  And  I know that the ‘raised by television’ bit and ‘parents asleep at the wheel’ bit were trotted out by people wanting to ban graphic video games and violent music.

To be honest, if asked to side with a person making Constantine’s speech or someone who wanted to start a campaign to tone down video game violence, I’d go with the latter.  Not because I think it would work, but because it’s something.  It’s some concrete step.  It’s some way to engage with kids.  And if it doesn’t work, it can be changed.

What Constantine is offering is a four word explanation for everything.  “Society is to blame.”  Well, okay.  Thanks for letting us in on that. 

Now what?

leave with lifeless lungs or come in peace
-Remember when I said “You should be reading it” in relation to the Fraction/Ferry Thor? I take it back. I was okay with the first issue being empty, what with it being essentially the first chapter in what is meant to be a book, but the second is just as empty. All of the goodwill I had for it was instantly sapped by the pace and plot. Check out Tim O’Neil’s pretty good review of the issue. I agree with everything he said, I think. Pretty art, I dig the letters, but you’re cashews if you think I’m gonna pay four dollars a month for that.

-I’m slowly working my way through the books I bought at NYCC… and the books I bought after NYCC, and the books I’m probably gonna buy tonight. Time to scale back the insanity some, maybe? Who knows.

-I went to APE. It was okay. I liked the Writers Old Fashioned panel on Sunday. I bought a couple pages of art from Steve Oliff, the incredible colorist who did Katsuhiro Otomo’s Akira.

One of the best comics ever, seriously. I’m happy to own two bits of it. These are also the first two pages I’ve bought that don’t feature colored folks.

-Disc-less Netflix on PS3 > Netflix on 360. The interface is smooth as silk.

-I deleted like ten gigs of mp3s last night. Goodbye, Canibus and Cassidy. You overstayed your welcomes. Drake, you’re next.

-If all goes well, I’ll have both a new Pretty Girls for Friday and a good post for tomorrow.

-You ever feel like there’s something you’re forgetting, even though it’s consumed your thoughts for days? I’m having that feeling right now. It was definitely something to do with comical books.

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i would rather have you fear me than have you respect me
wrote: Ehh, light week. Just a preview. You should watch the footage of our panel from NYCC, though, and leave comments about my looks.

read: One Piece, Vol. 55, Gunsmith Cats Revised Edition Volume 4, and Naoki Urasawa’s 20th Century Boys, Vol. 11. OP was great, as expected. GSC flagged a little toward the end there by introducing a major character and then ignoring him for the rest of the book. It stumbled, but other than all the pedo stuff, it was pretty great. (Ugh.) 20thCB11 introduced a staple of adventure comics (crippling self-doubt!) and resolved it over the course of a chapter (I am invincible.), so that was nice. I like it more now, but it’s still threatening to spin off into absurdity (more than it already has, I mean). I hope the guessing games are mostly done. The stuff about Kanna was really strong this time around. More of that, please!

watched: I ordered The Night of the Hunter and received Seven Samurai. Why? Because Robert Mitchum and Akira Kurosawa, that’s why.

listened: It is positively absurd how much I’m feeling Rick Ross’s Teflon Don. Who knew? I’ve mostly been listening to Kanye and old joints, though.

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laws and rules don’t apply to me
david: Hellblazer 272, New Mutants 18
esther: Possibly, but not likely: Batman the Road Home: Catwoman, Commissioner Gordon. Possibly: Batman and Robin 15, DCU Halloween Special, Tiny Titans 33. Probably: Superman/Batman 77
gavin: Azrael 13, Batman And Robin 15, Green Lantern Corps 53, Carnage 1, Chaos War 2, Deadpool 28, Hulk 26, Shadowland Power Man 3, Steve Rogers Super-Soldier 4, Darkwing Duck 5

My favorite Hellblazer run is the one Brian Azzarello had a few years back. In it, John Constantine was essentially cast as a trickster demon, stepping into and out of trouble with ease, and never really coming into danger. He ruined lives, found vengeance, and generally was just an insufferably smug magician douchebag. It was an extremely entertaining arc, and sort of set the stage for how I view Constantine. He’s good at what he does, with impeccable luck even when entirely removed from his comfort zone.

Peter Milligan’s ongoing run, on the other hand, is about a man that believes a little bit too much of his own hype. He has a reputation, and one that he’s earned several dozen times over, but that isn’t necessarily a good thing. Side characters, people who step into and out of the story, hate him. His best friend Chaz’s wife wonders aloud if he didn’t curse their daughter and cured her out of his own guilt. A noted local kingpin has heard of Constantine and isn’t even remotely impressed. He’s openly hostile and at one point is ready to murder him with no fear of repercussions.

Tucker was the one who put the idea of Milligan’s run being about Constantine failing in my head, and it’s one that’s proved to be true. He’s been forced to face his failures, whether recent or vintage, over and over. He did a cheap little spell to make some quick cash and it came back to haunt him decades later. His failure to rescue someone he loves, or thinks he loves, drives the more recent portion of the run. Milligan is putting Constantine up against something he can’t just magic away. You can’t fight time, and when you get old and your bones start creaking, you can’t just keep up with the big dogs like you used to.

Milligan is writing as much about Constantine’s rep as he is about Constantine himself, which makes for very interesting storytelling. Constantine is old and everyone knows it. He knows it, too, but he refuses to accept it. Like so many old men, he’s trying to hold onto past glories, but the old cliche proves true. The tighter he squeezes, the more slips through his grasp. He can’t bring anyone back from the dead, his magic is poison, and he’s made a lifetime’s worth of bad decisions. You don’t get to walk through a rainstorm and come out dry. Constantine suddenly has consequences to deal with.

Azzarello’s run feels like it’s haunting Milligan’s. I can’t not think of it when reading Milligan’s run, even though there’s not a direct connection between the two. I don’t even think Milligan’s directly referenced Azzarello’s run, but the difference between the two is striking. Azzarello’s Constantine, drawn by Marcelo Frusin mainly, was young and unsettling. Azzarello’s Constantine is cruel. His smile was something to be afraid of, and if he was happy, you were probably a neo-Nazi getting your face bashed in by a golem.

In contrast, Milligan’s just looks tired. Giuseppe Camuncoli and Stefano Landini draws him with thin, dishonest eyes and a prominent scar over his eyes. His permanent stubble make him look haggard even when his clothes are clean. Simon Bisley’s take is even more ragged. He looks like a beat up old boxer, with a broad forehead and ugly mug. He looks like about fifty miles of bad road, and so far past his prime that he’s completely off-putting to anyone with sense.

I like that Hellblazer has this call and response thing going on, even if it’s unconscious or unspoken. There’s a lot to like about Milligan’s run in and of itself. He’s got a great grasp on Constantine and he’s telling new and interesting stories with an old characters. He’s introduced new characters into the series, ones that I honestly would like to know more about outside of Constantine’s sphere of influence, and the stories have been great. The art is good, with Camuncoli, Landini, and Bisley doing great work. It’s a genuinely good comic, is what I’m saying, and this contrast between a run I enjoyed and a run I’m currently enjoying is like icing on the cake. A little bit extra on top of something good.