Category: Reviews

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GRAPHIC NOVEL REVIEW: The Black Diamond Detective Agency

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The Black Diamond Detective Agency is a bit of an anomaly for Eddie Campbell – it’s a book he wrote and illustrated alone that nevertheless is not concerned with stories or storytelling in any way. Campbell’s probably best-known for illustrating From Hell from Alan Moore’s famously copious scripts, but most of his work has been writing and drawing his own stories, sometimes with help from a loose band of local Australian cartoonists.

His two long-running sequences are both deeply about story: Bacchus consists of the tales of the few remaining Greek gods in the modern world, and contains many tales-within-tales, retold stories, and other storytelling conceits. The “Alec MacGarry” stories are even more entwined with stories, since they’re Campbell’s thinly-veiled autobiography about his own life as a comics creator, and are, at their heart, about the process of creating art and stories.

So it’s a bit odd to find that Black Diamond is a conventional detective story – a murder mystery, to be precise – set at the turn of the 20th century in the American Midwest. (That last is also surprising since Campbell is a Scot long resident in Australia – middle America isn’t his part of the world at all.) The story begins with a mysterious man in Lebanon, Missouri witnessing the explosion of a train during a demonstration and then helping to pull the wounded from the wreckage. He’s soon arrested and questioned, since the boxes of nitro used to blow up the train have his name on them.

It gets more complicated from there, but the focus is on that man of several names and on the investigation run by the Black Diamond Agency (which stands in for the real-life Pinkertons) of the explosion and related events. And, showing its origin as a screenplay, there’s a Big Secret at the end, which will be familiar to many – we’ve seen a story much like this many times before.

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GRAPHIC NOVEL REVIEW: The Architect

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Imaginative literature thrives on the “what if?” story. What if aliens invaded Earth? What if vampires were real? What if a superpowered infant was rocketed to Earth from a doomed planet?

Or, in this case: what if Frank Lloyd Wright were an insane evil druid whose wrath extended years after his death?

OK, the architect in this graphic novel isn’t precisely Wright. He’s a prickly, arrogant, obnoxious know-it-all (so far, that doesn’t just describe Wright, but all architects) building his dream home (with some Fallingwater-esque elements) in 1969 Wisconsin. He’s running low on money, but that never stops arrogant, visionary architects in imaginative fiction – he just runs off to do some lectures to raise some money. Which leaves his young, city-jaded, hot-to-trot wife alone, and bored, in the company of the young, dashing, level-headed construction foreman. Do I need to draw you a diagram?

I draw a veil over what happens next, except to say that the bulk of this graphic novel  (which has seventy pages of story, for those counting at home) takes place in the present day, among a group of young people cleaning up and restoring the aforementioned dream home.

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GRAPHIC NOVEL REVIEW: Scout, Vol. 1

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It’s a good time to be a comics fan of my age – someone in his thirties who started reading comics in the late 1980s – since there’s been a continuing wave of reprints of the better comics of those days in more permanent form. A lot of things that I hadn’t read in a decade or more, because the original issues are bagged up in longboxes now buried under other things in a messy basement, are coming back into print on slick paper with square covers. It’s very nice to have these things in a form that fits on a shelf, but I do sometimes worry that some things that I loved at eighteen won’t be as compelling to me at thirty-eight.

I think I was on board for Scout when Eclipse started publishing it in 1987; I’d been following comics for a year or so then, and I knew Truman’s work from GrimJack, which he illustrated over John Ostrander’s scripts. I know I loved it immediately, and have been known to grouse, in the years since, about wanting all of the sequel series that Truman had sketched out, way back then. (Scout: Marauder and Scout: Blue Leader, which I’m still waiting for…but I’m also waiting for Ty Templeton to return to Stig’s Inferno and Zander Cannon to pick The Replacement God back up, so I may just not know when to give up on things.)

I was a bit apprehensive to go back to Scout after twenty years. On the one hand, I was pretty sure I’d still be happy with Truman’s art, since the recent GrimJack reprints (on much nicer paper than back in the day) showed off all of the little details of his line work, and that still thrilled me. But I remembered that Scout was a post-apocalyptic story, and I’ve developed an allergy to those since having kids. (It’s just one of those things – if a book is set in the near future, I work out how old my sons would be in that world, or how old I might be, if I’m not dead yet, and try to figure out what I or they might be doing. Stories that slaughter my family and I, especially as part of megadeaths off-stage for cheap pathos, aren’t things I’m as interested in any more.)

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GRAPHIC NOVEL REVIEW: Apollo’s Song

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Like Ode to Kirihito, this is a major graphic novel by Osamu Tezuka, creator of Astro Boy and “godfather of manga,” translated and published in English by Vertical Publishing. I won’t repeat the background here, but you click to the earlier review if you like.

(I’ll just wait for you to get back.)

Apollo’s Song is from the same era as Ode to Kirihito – it was serialized in Shukan Shoen Kingu in 1970 (Kirihito ran during 70-71) – and has similar concerns and motifs, though it seems to be less aggressively counter-cultural than Kirihito was. There’s a strong medical drama element in Apollo, and even more mystical/religious ideas than in Kirihito, including an on-stage pagan goddess who I believe is meant to be taken as real.

Tezuka clearly doesn’t fear anyone’s scorn; Apollo opens with a ten-page sequence about impregnation from the point of view of sperm, characterized as a vast army of identical men, all seeking one woman, the ova. The story proper begins immediately afterward, as a boy – apparently meant to be about fifteen or so – is brought to a psychiatric hospital for treatment after having been caught attacking and killing animals. The boy, Shogo, explains that he is the unwanted son of a prostitute (or perhaps just a kept woman…kept by a long series of different men) who hates love, romance, and all manifestations of “tenderness.”

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MOVIE REVIEW: Harry Potter and the Profit of Cash

486136925_ec5fc13f8d-6540263I just came out of a screening of Harry Potter and the Order of the Phoenix, the fifth installment of the series, and before I go spouting off my likes and dislikes, I wanted to forewarn anybody reading this review that my expertise is vastly limited in the world of J.K Rowling. While I’ve never read the books, and it’s not due to a disliking or laziness, I just find the concept of visual storytelling much more effective than having me conjure up images from the deep and dark recesses of my imagination.

With that said, I want readers to understand that I’m reviewing this film as just that, a film, and not so much a visual appendage of the book. So please keep the hate mail that starts off with “You ignorant twit…” to a minimum.

Now that that is out of the way, I loved the film. It had all of the visual aspects and plot maturity that the previous films were leading up to, and I know we are only going upwards from here. The last film left us with the big reveal of nose-less Ralph Fiennes as our quintessential baddie Lord Voldemort, and Harry taking his first step of many into adulthood. There lies my biggest problem with the film, but we’ll take it slow, as per usual.

Putting our best foot forward, the visual effects never cease to amaze me in each of these films. Each director (in this case, BBC veteran David Yates) has brought a different look and feel to the film they were charged with, and gave the film an entirely fresh feel, without diverting too far from the original text. In this film, we get more special effects than any of its previous predecessors. Between CG’d giants, to CG’d fireworks, even to Ralph Fiennes CG’d lack of a nose, there is certainly more computer graphics in this film than you can wave a stick at. Though through all of this, not once was I taken out of the mythos by a lack of belief, all thanks to the superior visual effects.

By far my favorite aspect of the film to talk about, and probably the one that will get me in the most trouble, is the undertone used throughout the first and second act. That undertone being the same thing that has fueled some of the most important science fiction and fantasy films of our era, and probably before that. This message of course is essentially “Damn the Man!”

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GRAPHIC NOVEL REVIEW: Grendel Archives

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This is a book we never expected to see: a collection of the very earliest adventures of Matt Wagner’s dark signature character Grendel, the stories that were reworked into Devil by the Deed more than twenty years ago. It’s the very earliest published work of Wagner’s, and – while he was quite good for a tyro – he still was very new to the field, and had a lot to learn.

Grendel Archives collects the Grendel story from Comico’s Primer #2 from 1982 and the first three issues of the subsequent first series of Grendel comics. (Those issues are all very expensive these days, so, if nothing else, Grendel Archives makes them available at a reasonable price to all of us who have discovered Wagner in the years since.) Grendel is not quite the seemingly omnipresent, omnicompetent near-future crimelord of Devil by the Deed and the more recent short stories; he’s mostly an assassin-for-hire in this story. Deadly, yes. Uncannily skilled and talented, of course. (This is comics, after all.) But he’s not yet the lord and master of all he surveys that he later became. He’s cockier and not quite as self-assured. He even, in the Primer story, corrects one victim who calls him merely Grendel: “That’s The Evil Grendel!”

Wagner stopped this series after issue #3; I don’t know, personally, whether it was by his choice or due to low sales. He launched his other signature series, Mage: The Hero Discovered, soon afterward, and the Grendel story, in a radically reconfigured form, appeared as a series of back-up stories during the second half of that first series of Mage’s run, and was then collected as Devil by the Deed. The reworked version of this story was Wagner’s first major success; Mage had some good parts and bad parts, though it got stronger as it went along, but Devil by the Deed was all of a piece and is still one of the high points of mid-80s comics.

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GRAPHIC NOVEL REVIEW: Fox Bunny Funny

fox-4984868Wordless comics are usually considered “kids stuff,” but not in this case. I hope inattentive parents aren’t buying Fox Bunny Funny for their little darlings, since that might lead to a lot of nightmares and uneasy questions. But, for those of us who can handle explicit Fox-on-Bunny violence, Fox Bunny Funny is worth seeking out.

As I said, it’s a wordless anthropomorphic comic, set in a world much like our own populated by Foxes (who hunt, eat, and torment Bunnies) and Bunnies (who hide and try to survive). Our nameless hero starts off as a young Fox with odd urges – he doesn’t want to kill Bunnies, he wants to be one of them. And this causes all sorts of trouble for him.

The story is told in three chapters, presumably “Fox,” “Bunny,” and “Funny.” (They’re titled with little icons: a fox, a bunny, and a mixture of the two.) I’m not entirely sure what “Funny” has to do with anything – this isn’t humorous in any conventional sense – so I think it must be a reference to “funny animals.” Anyone who buys this looking for anthropomorphic humor will be very disappointed.

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BOOK REVIEW: Soon I Will Be Invincible

invincible-3662675Doctor Impossible is a supervillain; Fatale is a superheroine. They fight, and you know who wins. The end.

OK, maybe that’s not enough.

I haven’t been keeping track, but there seem to have been a lot of novels about superpowered folks lately. I mean, besides the usual licensed products. There was Robert Mayer’s influential Superfolks back in the 1970s, the “Wild Cards” series off and on for the last couple of decades, and then Michael Bishop’s Count Geiger’s Blues in the early ‘90s, but, otherwise, there wasn’t a heck of a lot out there for a long time.

But in the last couple of years, there have been books like Tom DeHaven’s It’s Superman (which was officially licensed by DC Comics, but was a very different kind of book than the usual), Minister Faust’s From the Notebooks of Dr. Brain, James Maxey’s Nobody Gets the Girl, and others – on top of the increasing numbers of licensed books, it feels like we’re getting a lot of superheroes in prose these days.

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MOVIE REVIEW: Transformers

bumblebee_2007movie-6340859When this summer hit, only one image popped into my head, and it wasn’t a black spider, a drunk pirate, or a dorky kid with glasses. All I saw since day one was a semi truck that turned into a 50-foot robot. So as you can assume, going into the film my expectations were a little high, and you had better believe they were met with bells on.

Seeing as this film is truly the ultimate summer blockbuster (thanks, Mr. Bay), I’m going to have to break down this film like I do all others with the acting, the plot, and of course the one thing that ties the entire movie together: the effects.

Starting with the worst note and working our way up, the acting wasn’t the worst I’ve seen in a Bay film, but wasn’t exactly Gone with the Wind. I don’t know about you, but I expect when I’m going to see a movie about giant robots from space, I want Gone with the Wind.

Putting aside my disdain for Shia LaBeouf, I was just like every other fanboy out there on the Internet that rolled his or her eyes when the list of cameo’s for the flick got released. Bernie Mac’s presence in the film was completely superfluous, other than about eight seconds, his entire sequence should have gotten well acquainted with the floor. As well as John Turturro’s scenes. Turturro plays the cocky secret government agency role very well, but after about 10 minutes, it becomes too much to handle, and he needs to go away. When doing the entire exposition scene of Megatron and the plot-focusing All-Spark cube, there was no need for a cocky government type. Just faces of awe.

LaBeouf and Megan Fox did a decent job of playing the frightened kids… at first. But once the imminent threat of world domination became second priority to LeBeouf’s parents finding him alone in a room with a girl, the film kind of lost its head. As scary as chracter actor Kevin Dunn can be, a gigantic robot with a sword is far scarier. Finally, Jon Voight, Josh Duhamel, and Tyrese “Hero For Hire” Gibson played roles that were both aiding in the “Bay” way of showing the how disasters effect people on a human level, but these characters were effortlessly forgettable in comparison to the robots.

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MOVIE REVIEW: Live Free Or Die Hard

1559747260-1952543Well, after 12 years John McClain is back in full force with Live Free or Die Hard, the fourth sequel in the series, and the sixth sequel to come out this summer. I have to say going into the flick I wasn’t expecting much, especially after seeing the trailer, which only made me believe Ric Meyer’s micro-review in saying that this isn’t a Die Hard sequel, it’s actually the unwritten sequel for Unbreakable. So between that and the fact that this is the first Die Hard film to receive a PG-13 Rating, I was less than excited for it.

Having that frame of mind, I think I was able to enjoy the film much more. I wasn’t looking for a direct comparison to the first three movies, I just wanted a good John McClain movie, and that’s what I got. The biggest issue with Bruce Willis’ character is that Willis himself has so drastically changed his acting style in the last 12 years, that it’s like asking Walt Disney’s head to unfreeze itself and start drawing exactly like he used to. Granted the fun loving, swearing Bruce Willis that we remember from the first flicks is long gone, and we’re left with the bald, grumpy old man Willis who looks like he has to force himself to smile, but we all just have to change with the times, and even McClain has to age.

Following the formula of With a Vengeance, our hero is accompanied by a would-be sidekick, who fights spends a good chunk of the movie deciding whether or not this is a battle worth fighting, and of course breaking out of his mold by the end of the movie to become someone super cop John McClain can respect. This time around, we get Mac Boy Justin Long as the cowardly super hacker Matt Fuller. Long played the role just as any sidekick should, by accentuating the heroism of…well, the hero.

Also along for the ride were Maggie Q and Tim Olyphant as the evil duo. Everywhere I go, guys are falling in love with Maggie Q, and until checking out this movie I didn’t know why. She manages to play the seductive-yet-deadly henchwoman very well. And as per usual, Olyphant oozes charisma as the bad guy in this picture. I’ve been following this guy since Gone in 60 Seconds, and I’ve had nothing but good things to say about each of his roles.

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