While reading Grant Morrison’s three volume run on Animal Man I remembered that I had another book of his from that era and figured it made sense to give it a look. Morrison took over Doom Patrol with #19 in 1989. He’d go on to have a much longer run on this book than Animal Man. And, I think it’s safe to say that this is one of his weirdest books right up there with Invisibles which I need to give another shot, though not in regards to the current mission of reading Morrison’s DCU-set comics.
In fact, I wasn’t even sure if Doom Patrol would count and, frankly, after giving this first collection of his run a read, I’d say it doesn’t. Sure these characters are part of the DCU, but aside from an appearance by Will Magnus, these issues are almost completely self contained. Of course, this does go back to one of the things I liked about Animal Man in that Morrison was able to tell his own story while also using pieces from the larger DC sandbox.
Before getting into the details of this particular comic, I must admit that I have very little experience with Doom Patrol. I’ve never read the original run that people seem to love so much and have only seen a few guest spots here and there and tried reading a few of the relaunches that came later on down the line, but never really had much to latch onto. Much like The Metal Men, they seemed like a team that writers were more interested in being nostalgic for than making great new stories for new readers. The key to the team always just seemed that these characters are WEEEEEEEEEIRD. I’ve since read that part of the appeal to the original run was basically the same as X-Men when it launched: shining the spotlight on people who feel out of synch with society and turning them into heroes.
Some of that comes across in these first issues from Morrison, but I’ve got to admit that, as a Doom Patrol newbie, I went through these issues mostly confused. I don’t even need to know what kind of wreckage these characters crawled through, but a simple run down of who’s who in the beginning of the collection would have been nice. As a longtime comic reader I knew who Robotman and The Chief were. I even have a tenuous handle on what’s up with Negative Man, but who are Joshua and Dorothy Spinner? This book won’t help you find out. In other words, it might be a little too in medias res for its own good. Part of the fault here lies on Morrison’s shoulders, but another part falls on the people who made this collection who should have done a better job of making it readable for anybody.
So, on to the actual story. Something bad happened to the team and now The Chief, their wheelchair-bound leader, is rebuilding the team, kinda. Robotman meets a woman called Crazy Jane who not only has multiple personalities, but a different power to go along with each of them. They wind up getting together with the rest of the group which now includes a Negative Man/Woman combo called Rebis and facing off against the truly terrifying Scissormen as well as Red Jack who both look they came out of the collective unconscious shared by Clive Barker and Tim Burton. They’re super creepy bad guys who help set the tone of this collection of issues if not the whole series.
Were I to judge this entire Doom Patrol run based on just this collection and nothing else, I’d probably say it’s not for me. In addition to the confusing story, the art is in that messy vein that comes to mind when I think of Vertigo books of this era. But, knowing that it’s Morrison and having just read through Animal Man which did a lot of interesting things with high concepts and long-form comic book storytelling I’m in for the rest of the run. I just need to get my hands on the books! In the meantime, I’m going to keep on keeping on with my more DCU-set Morrison comics. Up next we’ve got Aztek which he co-wrote with Mark Millar.
As anyone who reads the blog on a regular basis will know, I’m a big fan of 80s teen and college movies. If it’s goofy, wrought with sexual tension, set on a beach or during spring break, I’m probably on board. That’s basically everything I’ve watched and posted under the 80s Odyssey category and here’s another one.
Netflix is finally starting to understand what kind of movies I like to watch and immediately notified me of Beach Balls‘ presence on the streaming service. I didn’t even notice that it’s a Roger Corman-produced film until after the fact. Frankly, I was on board when I read that, in addition to this being a movie about a kid pining over a girl, he also wanted to be in a band. That’s a subgenre of 80s teen comedies I didn’t even know I wanted, but I’m in!
The plot follows Charlie (Philip Paley), a beach kid who’s in love with Wendy (Heidi Helmer), but she only digs guys in bands. As it happens, Charlie is a solid musician, he’s just not in a band. At the same time, he’s also dealing with some legal problems after getting drunk one time and borrowing a car from some local toughs who stole the car and think Charlie turned on them when he got arrested. Because of this he’s got to deal with a recovering alcoholic parole officer, his already crazy, super religious mom and Young Republican sister who think he’s a much worse kid than he is. So, can Charlie throw a huge party, get the girl, get the band in front of a record producer and finally get in his own band? Watch the movie to find out.
A lot of this movie is pretty by the numbers, but there were some pretty interesting storytelling approaches I wanted to point out. For one thing, all of the car stuff happened before the movie starts, so we find out about it as it becomes relevant and not in one huge info dump. This actually surprised me considering these kinds of films tend to dispense with exposition in the most obvious way possible. I was also impressed by the ultimate reveal that Wendy doesn’t just date band dudes, which was Charlie’s assumption from the beginning. Those are the kinds of assumptions at the heart of plenty of movies like this, so to see it turned on its head in a realistic matter was fun. Plus, guys, I love movies about kids who want to be in bands, house party movies and bits where ultra religious weirdos get shown the error of their ways. So thumbs up all around.
The cast and crew did a solid job to the best of their relative abilities across the board. Cheapo 80s comedies like this tend to be 50/50 when it comes to seeing all kinds of recognizable faces, but this falls on the “not so much side.” There are a few interesting names on board. Director Joe Ritter was one of five writers on the original Toxic Avenger which had a far greater affect on me than I’d like to admit. Also, star Philip Paley apparently starred as Cha-Ka on Land Of The Lost as a kid. Oh and Steven Tash, who plays Charlie’s best friend Scully, was the kid in the beginning of Ghostbusters during the ESP test. I also thought it was interesting that screenwriter David Rocklin never worked on anything before or after this project.
Also, real quick, how weird is this poster/box art? If you look at it real quick, it looks like the woman is pregnant, right? Obviously, I get what they were going for, but I would have gone for a second draft on this one.
After reading Sin City: Booze, Broads and Bullets, I figured I’d stick with some my shelf for further reading selections and decided it’s time to give one of my favorite comics of all time another read. Like a lot of the more progressive comics I love, I discovered Grant Morrison’s Animal Man while interning or working at Wizard. I’d read a few Morrison comics before that, specifically JLA, but hadn’t gotten into his crazier stuff. Morrison has a reputation as being weird for weird’s sake, but I don’t think that’s the case. Sure, some of his stuff is just bonkers, but as far as I’m concerned he’s just trying to go to new places in the medium. I totally get it if that’s not for you, especially if you were a big time Animal Man fan before this run which took the character and did a lot of crazy stuff with him, but I dig it.
The run follows the adventures of Buddy Baker, a man who can copy the abilities of any animal in his immediate vicinity after an alien spaceship blew up in his face. At least, that’s how it works in the beginning. Buddy’s married, has two kids and doesn’t bother with a secret identity. He also develops into a vegetarian concerned with animal rights, which makes sense when you consider his power set.
The first four issues of the series mainly focus on Animal Man trying to figure out why B’Wanna Beast is running around making disturbing animal hybrids and wrecking STAR Labs facilities. These four issues really set the stage for the series as a whole in some respects. We see the relationship between Buddy and his wife Ellen which is super realistic and one of the best superhero relationships around. Meanwhile, Morrison puts Animal Man through some standard superhero paces — fighting another hero, meeting Superman, etc. — but he puts a different spin on them. Buddy can and does throw down, but he soon finds out that it’s not the only way to solve a problem which definitely carries throughout the series.
After that initial arc, we’re treated to a series of killer single issues. #5 takes a meta approach to Looney Tunes cartoons, #6 is one of (if not THE) best Invasion tie-in, #7 finds Buddy dealing with an old villain called The Red Mask, #8 has Mirror Master invading Buddy and Ellen’s home and #9 brings in Martian Manhunter and the JLI tech team to secure the house. #5-7 are actually three of my all time favorite single issues stories because of the unique ways they look at the material and superheroes in general.
On a quick note, I don’t know if this was intentional or not, but there’s a crowd-scene skater kid in #2 with an Anthrax T-shirt and then an issue or two later we find out that the scientists were experimenting with the drug of the same name. I don’t know if this was intentional or not, but reading so many Morrison comics with little hints and nods like this have primed me to look for those kinds of connections which makes for a fun reading experience. I also noticed that Ellen’s drawing a spaceship heading towards a planet in #1 that I assume refers to something, but can’t figure out what. I thought it might have been from Invasion, but that doesn’t check out.
One of the major aspects of Morrison’s run that a lot of people talk about is the meta nature of the story which ends with Animal Man actually meeting his writer, Morrison. The first volume doesn’t get into those ideas hardly at all, though #5 does prime that pump to an extent. All of that really starts coming to the surface in Origin Of Species which finds Buddy meeting the aliens who actually created him. Meanwhile, Dr. Hightwater and Psycho Pirate first enter the story, two characters who continue to break the fourth wall, revealing that some of these characters know that they are actually comic book characters. We also start seeing scenes that will make a lot more sense at the end of the next volume.
On the superhero side of things, Animal Man keeps meeting more heroesincluding Vixen, who he has a lot more in common with than just powers. A lot of this material was revisited in Dwayne McDuffie’s Justice League Of America volume called Second Coming. There’s also a pretty moving issue featuring future Aquaman co-star Dolphin and a few of the Sea Devils trying to put a stop to a gross dolphin killing ritual in Denmark. The abused animal stuff gets offset by a fun adventure with the Justice League Europe before getting back into some pretty awful things done to apes.
It’s interesting looking back at these comics from the 80s that tackled some of the real world’s horrors, especially as perpetrated on animals. These are the kinds of things you might have seen on Dateline or 20/20, but they weren’t in your comics until Morrison and creators like him went out on a limb with a potentially off-putting social perspective. They might be too in-your-face for some people and I don’t agree with everything presented in the issues, but I appreciate and respect him for going there and DC for allowing him to do these crazy things with their characters. At the same time I get that some readers just want to read about superheroes punching each other, so this probably isn’t the best comic for them.
And then things get really weird. Buddy and Highwater take peyote in the desert. Characters die. Villains help heroes. Costumes change. Revenge is had. Time is traveled. Limbo is visited. And Grant Morrison has a chat with Animal Man. I don’t want to reveal too much about the story, but I will say that this comic is both one of my favorite regular-guy-as-superhero stories as well as the best commentary-on-comics books around. The whole last conversation between Buddy and Grant should be required reading for everyone who gets bent out of shape about their favorite characters getting turned into something they don’t like. In addition to all that it’s a wonderfully plotted, long-form story that has end-of-run elements seeded going way back. Plus, above all else, it actually makes me feel things when I read it, even this second time around.
The beauty of a story like this is that it came at a time when DC Comics was allowing their creators to not only take risks with long-lasting characters, but also tell wild stories that hadn’t been done before (at least in Corporate Comics). Basically, Morrison was allowed to tell the story he wanted to tell while utilizing elements of the larger universe when they made sense. Characters weren’t just showing up to show up or boost sales, but because they made sense. Heck, Morrison got to take this idea to even crazier levels by using The Psycho Pirate and Limbo as ways to play around with pre-Crisis and alternate reality versions of the DC characters.
A lot of people have noticed connections between Morrison’s DC works. There’s quite a few to be found in these pages. First off, Animal Man is the first place he wrote the Justice League specifically characters like Superman and Martian Manhunter who he would go on to pen later on. More obviously, he created this new version of Animal Man and then returned to the character with 52 almost two decades later. Morrison also dealt with multiple realities and whatnot in Final Crisis and Superman Beyond, which also featured Limbo, Merry Man and Ace The Bat Hound all of which appear in these books.
I enjoyed reading Animal Man so much this time around that I decided to do a long-term read/re-read of his other DC Comics work I have in my collection. I don’t have Arkham Asylum, Batman: Gothic or the third and fourth JLA deluxe books but I’ve got just about everything else. I’m not only looking forward to enjoying those stories again, but also getting a better feel for the connections.
I’ve long given up on trying to figure out why certain films kill at the box office and others don’t. Take The Lone Ranger for instance. Much like it’s filmic cousin, Pirates Of The Caribbean, this film stars Johnny Depp as an offbeat character, was directed by Gore Verbinski and features a ton of fun action set pieces. And yet 2011′s POTC: At World’s End made over $1 billion worldwide and Lone Ranger pulled in a mere $206.5 million. At the end of the day, as a viewer, these things don’t matter to me aside from the fact that a poor performance in the real world will kill franchise potential which is too bad because I did like this film.
I was never a Lone Ranger fan. I remember the reruns being on the Disney Channel when I was a kid, but I avoided them (Zorro was more of my jam back then). I did read the first arc or so of Dynamite’s initial comic series which was solid, but that’s about where my experience ends. So, I went into this without many expectations and was pleasantly surprised by what I was presented with which was a big, fun popcorn movie featuring Armie Hammer developing into the Lone Ranger persona with the help of Tonto (Depp) while running afoul of the always-fantastic William Fichtner.
Sure, the film probably could have been a little shorter — it clocks in around the 2.5 hour mark as it is — but I didn’t find it lagging, personally. There’s a solid mix of character as Hammer’s John Reid moves from the law abiding district attorney he is at the beginning of the film to the masked vigilante at the very end. We even learn interesting things about why Tonto’s so crazy and get looks at a lot of interesting character as well as a bevy of train and shoot-out based action scenes that are always fun.
My one complaint about this film is that they went with the origin story. Much like with comic book films, I think that screenwriters, directors and producers fall into this trap when they’re making films based on existing properties and that is this desire to devote the first film to the character’s earliest days learning to be a hero. I’m personally much more in favor of the Die Hard method of action film storytelling in which you just show the lead being awesome and give details about their past as they’re needed. I wonder if a full-on Lone Ranger film would have done better than the story of the guy who becomes the Lone Ranger. Still, I enjoyed the movie, think it got a bad wrap and would suggest spending a lazy Saturday or Sunday giving it a watch.
If you guys are fans of vintage toys, I highly recommend following @KennerToys, an account that posts several images a day from the toy company’s long history of making many of the toys a lot of us grew up on. While scrolling through some recent posts, I was reminded of the epic Legends Of Batman line that I did a previous TCT on back in 2012. Well, it seemed like a good enough time to dip back into that well and I came up with a pretty killer bail of liquid, toy commercial gold.
There are three crazy things about this 30 second spot. First, you’ve got the action figures which include Samurai, Silver Knight and Flight Pack varieties of Batman along with the Riddler figure, the last of which I think I owned. These three figures take the theme of the line — Elseworlds versions of Batman — and run with it perfectly. Heck, that Flight Pack Bats is actually pretty rad and I kind of wish I owned him.
And then there’s the CGI. Wow. Sure it looks very Reboot or Beast Wars to our eyes now, but that would have blown me away as a kid (I don’t ever remember seeing this ad, for what it’s worth). But, for me, the craziest part of this commercial is how they tried to make it look like that Silver Knight Batman comic was a real thing. As a huge fan of the Bat books of this era, I saw immediately that they just overlaid the CGI version of the medieval Dark Knight on top of the existing cover of Detective Comics #682. This was an important issue (you could tell because it was embossed) because it it introduced Batman’s all black costume. For reference, compare the cover to the image seen around the 5 second mark of the commercial.
Sin City was the first trade paperback I went into my comic book shop and purchased. I’d picked up trades with gift certificates to book stores like Barnes & Noble or our local book store Thackery’s. One week, though, my comic load was super light, I saw that stark red, black and white cover with Marv are beaten up and decided to give it a shot. I want to says I’d read Frank Miller’s Dark Knight Returns by that point and had read plenty about him and Sin City in Wizard so it seemed like a good purchase.
I remember being quite taken with the kinetic black and white pages therein along with the hyper-everything, violence, language, characters, actions, cars, driving, etc. I realize in hindsight that Sin City comics — I went on to get all seven trades — were my main entryway into the world of hardboiled crime fiction. I realize now that some of those characters and comics would seem ridiculous outside the pages of Sin City, but I still think they fit perfectly when surrounded by Miller’s perfectly suited pencils and inks.
Anyway, with the second film on the way, I decided to dig into my trade collection once again and pull out a few lesser known Sin City offerings starting with the short story and one-shot collection Booze, Broads and Bullets. I should note here that I have the normal sized trades put out by Dark Horse in the 90s, not the digest versions that appeared around the time of the first film. I’m not a huge fan of that smaller format, especially when it comes to an artist like Miller whose pages deserve to be put on as big of a screen as possible.
This book works as a kind of sampler for all things Sin City. It’s got tough guys Marv and Dwight, deadly little Miho and verbose killers Klump and Shlubb. More than that, though, these tales give the reader a feel for the terrible kind of place Basin City really is, the kind of place where you can be driving along, meet a beautiful woman, hook up with her in the tar pits and wind up getting murdered because she’s an assassin and has mistake you for her mark. It also sets up the way Miller builds these stories in a way that just throws the reader in. There were times where I wasn’t sure if I was reading a well known character or a new one. Dwight’s a hard one to keep tabs on thanks not only to Miller’s less-than-clear style (which perfectly first this series) but also that pesky surgery of his.
Because of all this, I realized while reading through this collection that it’s actually a great place to start for new Sin City readers. Along with everything I mentioned above, it also teaches the reader to keep their eyes peeled for recurring characters. Instead of telling the reader when a story takes place, Miller uses characters as a kind of timeline. Is Marv in this story? Then it must take place before (most of) the first volume which was later named The Hard Goodbye. I haven’t really dug into it yet, but I believe there are even Rosencrantz and Guildenstern-like moments where we’re seeing the same scene in different stories from different angles based on which characters we’re following that time around, which is something found in the larger narrative as well.
After watching Cyborg again fairly recently, I fell down the rabbit hole that is director Albert Pyun’s filmography. While poking around, I spied a film called Arcade that sounded like something I wanted to check out. I actually had this disc from Netflix on hand when I watched Evolver last week, but the disc was cracked and I couldn’t watch it until they sent me a new one.
Before getting into the plot of this movie, I’ve got to talk about it’s pedigree a bit. Not only is Arcade directed by 90s straight-to-video maestro Pyun who did a lot with not much all the time back then, but also features a script penned by David S. Goyer and Charles Band who also acted as producer. You’ll recognize Goyer’s name from little films like Batman Begins and Man Of Steel. And then you’ve got the cast which includes Megan Ward (Dark Skies, Encino Man), Seth Green (Buffy, Dads), Peter Billingsley (Christmas Story) and even Don Stark (That 70s Show). Needless to say, I got more and more excited as the credits rolled on this film I knew almost nothing about.
Plotwise, this film follows Alex (Ward) and Nick (Billingsley) as they try to figure out what’s going on as the terribly named new virtual reality arcade game Arcade and it’s console cousin seem to be absorbing or destroying their friends. Much like Evolver, the kids wind up heading to the game company — good thing they live in California, I guess — and then using that knowledge to confront the game and save their friends and family.
It would be pretty easy to write this movie off as another Charles Band cash grab, but I’ve got to say, I found it pretty absorbing. I liked how the main kids all seemed like they could be in high school and were outsiders, but not complete degenerates. Even though you don’t see them together a ton, you get the feeling that there’s a lot of history in their crew. I also thought the plot itself was solid and included some pretty heavy elements. The movie opens with Alex remembering when she found her mom post-suicide and we eventually learn that the video game company used the brain cells of a murdered boy to help create the game’s villain. Plus, how great is it to see one of these kids-against-something-crazy movies with a female lead?
As it turns out, Band and Pyun weren’t happy with the first batch of CGI special effects and had everything redone. Those results can be seen in the trailer posted above while the original graphics can be seen below.
All in all, even though the CGI is pretty distracting for the modern audience, I had a really good time with this imaginative, sometimes scary adventure story revolving around the rad world of video games. I’ve also got to admit that I was relieved by the plot of this film because I’ve been kicking around an arcade-based story idea that is not similar to this at all. It’s always relieving to find out your not accidentally treading old ground.