Comics stuff ahead...
Okay, before the beer completely wears off (although it pretty much has), here's the rundown of my November Previews order of new comics, as it currently stands...
HG Wells The War of the Worlds Hardcover from Dark Horse Comcs
An adaptatation of the classic novel which I have never read, and will probably never read, by Ian Edginton and D'Israeli. The guys who created the fantastic graphic novel, Kingdom of the Wicked. And the fantastic 2000AD series, Leviathan. (Hopefully to be reprinted in a single book at some point.) More to the point, they did the fantastic sequel to War of the Worlds, Scarlet Traces, first for a failed web comics site, then serialized in the Judge Dredd Megazine before finally being collected by Dark Horse. And if I thought the sequel by them was fantastic, how can I pass up their adaptation of the original?
Nexus Archives Volume 2 from Dark Horse
More reprints of the most brilliant superhero/sci-fi comic ever, which I foolishly lost in my travels.
Day of Vengeance Infinite Crisis Special from DC Comics
I know, I've been bitching about the Infinite Crisis lead-in miniseries pretty strongly. And this is another issue in one of them, by the exact same creative team. So why buy this one? Well... I had decided to stick with the Infinite Crisis story to the end, and this is supposed to explain how the Day of Vengeance miniseries connects to the Crisis. Perhaps more importantly, it is supposed to feature favorite DC mystical characters like the Phantom Stranger and Madame Xanadu. And I don't really expect it to avoid the miniseries flaws (too much superheroics, not enough mysticism), but I still want to read it. And I promise not to complain too much if it ends up on the same level of quality as the miniseries, because that's about all I can expect, right?
DC Universe: The Stories of Alan Moore from DC Comics
Hard to believe there was once a day when a big-name writer like Alan Moore could just come on and write one issue or one story about a DC universe character, do it incredibly well, and not completely revamp the character, isn't it? Well, the proof is now bound between covers. I hadn't purchased the earlier version of this book, but since this new edition includes Batman: The Killing Joke and the "Last Superman Story" (I forget the title), there's no reason to put this off any longer.
Seven Soldiers of Victory Volume 1 trade paperback from DC Comics
Ordinarily, a book reprinting stuff I already have wouldn't be a priority. But the Seven Soldiers series by Grant Morrison has been my favorite new DC comic (or comics) this year, and I'm happy to have it on my shelf as a collected book. And I know there are fans bitching about the format, about how it just collects the story in order and how it would be better if each individual miniseries got its own book. But the thing is, even though the series is structured as separate-but-related miniseries, it is all one big story. If a reader only wants the Zatanna story or whatever, that's fine, they can buy that. But if the story of the Seven Soldiers of Victory is being collected, it should be the whole story, so I'm glad they're taking that route.
Sgt Rock: The Prophecy from DC Comics
It's a new six-issue Sgt Rock miniseries, written and drawn by Joe Kubert. You'd have to be completely retarded to not buy that.
Elfquest: The Discovery from DC Comics
What I said right above? Replace "Sgt Rock" with "Elfquest" and "Joe Kubert" with "Wendy Pini" and I don't need to type any more, do I? (New, full-color Elfquest story by Wendy Pini from DC Comics? This truly is the most perfect of all perfect worlds.)
Body Bags: One Shot one-shot from Image
I'm sure I've waxed lyrical about Jason Pearson's Body Bags before. Yes, it's over the top, hyper-violent, and completely unsubtle. And yet, I love it so. His art and storytelling are fantastic, and his writing is wall-to-wall fun. And who would have thought we'd ever see new stories? Ever?
G0dand Volume 1: Hello Cosmic Trade Paperback from Image
G0dland is perhaps my favorite new comic right now. It seems hard for critics to look past the Lee/Kirby influence, but it really is an exciting, innovative, original take on the whole "cosmic superhero" subgenre. I find myself wanting to reread all the previous issues when a new one comes out. So, even though I own the original issues, I'm happy to buy this collection, just for ease of rereading.
Pulse #13 from Marvel
Just wanted to point out that this is apparently Brian Bendis' final issue as writer, and this is where I get off.
Essential Godzilla from Marvel
Let me just quote from Ninth Art:
"If you've ever looked for proof that the Marvel Bullpen put acid in the water coolers, look no further than ESSENTIAL GODZILLA. I'm not sure whose idea it was to have a comic about Godzilla rampaging through the Marvel Universe, but that's exactly what you get here. It's tough to get the ultimate strange moment here, but while many would point to a shrunken Godzilla rampaging through the New York sewer system, I'm going to have to place money on him getting teleported back in time to team up with Moon Boy and Devil Dinosaur. This is a book sure to never be reprinted, so if you ever want to experience the insanity of Marvel's GODZILLA this is your one chance."
So there.
Marlene #1 from Slave Labor
It's a mystery one-shot from former Starman artist Peter Snejberg. And I like his art, and I like mysteries...
Roy Thomas' Anthem from Heroic
Okay, this may not be all that good. But, as a kid, I loved Roy Thomas' All-Star Squadron, telling the adventures of DC's Golden Age characters in WWII. Easily one of my favorite comics. And obviously, he loves telling stories about superheroes in WWII. So this is a new series along that theme. The characters are all new, but it's the same general idea. So I'm going to give it a shot.
Spike: Old Wounds one-shot from IDW
Liked the first Spike one-shot from IDW. This is the same artist, but not written by Peter David. But it deals with the Black Dahlia murder, which I've been interested in since reading the James Ellroy novel. So... okay.
Lucky Bamboo Presents from Lucky Bamboo
Okay, I must confess, I like what I've read of Fiona Avery's Arana series from Marvel. But not enough to actually buy it. But a comic that's created and owned by her, and not superheroes... And this book previews the new series from her own press. So I'll take a look, certainly. (Plus I like the artists.)
Past Lies from Oni
I liked the book, Skinwalker that Christina Weir and Nunzio DiFilliipis wrote. Didn't get their next two Oni graphic novels, but they sounded neat. (Can't buy everything.) This one sounds cool, too, about a detective helping a man solve the murder of one of his past lives...
Judge Dredd: The Chief Judge's Man from Rebellion
Read the second half of this story when it was serialized in 2000AD. Now I want to read the whole thing.
Rogue Trooper: To the Ends of Nu Earth from Rebellion
At this point, does it surprise anyone that I'll buy any old-school 2000AD reprints?
Sorcerers and Secretaries and MBQ from Tokyopop
I'll talk about these tomorrow...
Middleman Vol 2 #1: The Entering Dragon from Viper
What do I need to say? I loved the first one. It's like if Men in Black was good.
And this is all I feel like writing right now.
Saturday, November 05, 2005
Okay, so it's Saturday night, so does this mean that this post follows an evening in Timbers, drinking Newcastle ale? Indeed it does. And yet, I find myself in that weird state where I'm aware I've been drinking, and yet feel completely focused and sober. Which pretty much belies the point (if belies is the word I want), because I wanted to fuzz out my brain enough that I wouldn't be thinking about The Girl in the Cafe, and yet, there she is. (Earlier today, I had her in my thoughts, because like almost everyone I know, she is named Jen, and another of the Legion of Jens had come up in conversation. However, when I realized I couldn't get her out of my head, she was almost instantly replaced by that Kylie Minogue song. Which isn't necessarily a better thing.)
Best news of the day: Mirrormask the Neil Gaiman/Dave McKean movie, is playing in Las Vegas. So I'll be seeing that tomorrow. Expect a report.
Worst news of the day: Titan Auto Insurance still dicking me around. I'd have my car back at this point if it wasn't for them. Which particularly sucks, since they aren't paying for my rental because they claim that the body shop is taking too long. Wouldn't you think that if someone were making that sort of accusation, they'd be Johnny On the Spot? Dillweeds.
So, anyway, I bought a copy of Marvel Comics Essential Werewolf By Night tonight. And as I've found myself recently fascinated by 70s Marvel's weird comics, I've realized something about my initial childhood impressions about Marvel comics.
As a kid, I first started reading Disney and Archie and Harvey comics, and other humor comics. I knew of super-heroes, of course, mostly from reruns of the old Batman and Superman TV shows, and episodes of the Superfriends cartoon (which just don't hold up today). So I understood that DC did comics about superheroes. But Marvel... Marvel published stuff like Conan the Barbarian, which clearly wasn't aimed at the seven-year-old me. Or Howard the Duck, which looked funny at first, but was way over my head. Even their superheroes scared the crap out of me. I remember waiting in line with my mother at Safeway one day, probably reading Richie Rich or Casper or somesuch, and a teenage boy came and offered me a copy of some Marvel superhero comic or another. And I think the featured superhero was the Thing, from the Fantastic Four. And I told him that I didn't read those kinds of comics.
So, yeah, Marvel scared the crap out of me. And now, when I think of the Marvel of my youth, the Marvel I never read, it's all Tomb of Dracula and Howard the Duck and Werewolf by Night. And I still don't care about their superheroes, because they're not my superheroes. But the idea of an Essential Godzilla, featuring Godzilla vs. the Avengers and SHIELD... That's my Marvel. And the fact that Marvel simply doesn't do stuff like that any more is probably the reason that I don't buy many Marvel comics. (Although there are exceptions... And since I did my new Previews order, you may hear about some of those exceptions tomorrow...)
Best news of the day: Mirrormask the Neil Gaiman/Dave McKean movie, is playing in Las Vegas. So I'll be seeing that tomorrow. Expect a report.
Worst news of the day: Titan Auto Insurance still dicking me around. I'd have my car back at this point if it wasn't for them. Which particularly sucks, since they aren't paying for my rental because they claim that the body shop is taking too long. Wouldn't you think that if someone were making that sort of accusation, they'd be Johnny On the Spot? Dillweeds.
So, anyway, I bought a copy of Marvel Comics Essential Werewolf By Night tonight. And as I've found myself recently fascinated by 70s Marvel's weird comics, I've realized something about my initial childhood impressions about Marvel comics.
As a kid, I first started reading Disney and Archie and Harvey comics, and other humor comics. I knew of super-heroes, of course, mostly from reruns of the old Batman and Superman TV shows, and episodes of the Superfriends cartoon (which just don't hold up today). So I understood that DC did comics about superheroes. But Marvel... Marvel published stuff like Conan the Barbarian, which clearly wasn't aimed at the seven-year-old me. Or Howard the Duck, which looked funny at first, but was way over my head. Even their superheroes scared the crap out of me. I remember waiting in line with my mother at Safeway one day, probably reading Richie Rich or Casper or somesuch, and a teenage boy came and offered me a copy of some Marvel superhero comic or another. And I think the featured superhero was the Thing, from the Fantastic Four. And I told him that I didn't read those kinds of comics.
So, yeah, Marvel scared the crap out of me. And now, when I think of the Marvel of my youth, the Marvel I never read, it's all Tomb of Dracula and Howard the Duck and Werewolf by Night. And I still don't care about their superheroes, because they're not my superheroes. But the idea of an Essential Godzilla, featuring Godzilla vs. the Avengers and SHIELD... That's my Marvel. And the fact that Marvel simply doesn't do stuff like that any more is probably the reason that I don't buy many Marvel comics. (Although there are exceptions... And since I did my new Previews order, you may hear about some of those exceptions tomorrow...)
'Blood Fever' U.S. Hardcover Available for Pre-Order - James Bond 007 - CommanderBond.net - James Bond At Its Best: "The U.S. edition of Charlie Higson's second Young Bond novel, Blood Fever, is now available for pre-order at Amazon.com. The release date currently shows as May 2006. Price is $16.95."
Of course, after reading how references to beer in the American edition of Silverfin had been removed, I'd almost rather order the British edition... (Plus it's out, like, five months earlier...)
Of course, after reading how references to beer in the American edition of Silverfin had been removed, I'd almost rather order the British edition... (Plus it's out, like, five months earlier...)
Bush Orders Staff to Attend Ethics Briefings: "President Bush has ordered White House staff to attend mandatory briefings beginning next week on ethical behavior and the handling of classified material after the indictment last week of a senior administration official in the CIA leak probe."
Barn door...
Barn door...
Thursday, November 03, 2005
Some brief comics stuff...
Last week's comics arrived yesterday (finally), and I read all the new first issues last night. Just some quick thoughts:
Loveless by Brian Azzarello & Marcelo Frusin, from DC Comics/Vertigo
I had really enjoyed Brian Azzarello's 100 Bullets series when it first started, but drifted away from it. (The intent is to read it as it's collected in books, but I'm even behind on reading those... Still...) But a new creator-owned series from him, I'm glad to buy in single issues, particularly since it's a dark western, which won't necessarily be a huge hit. It's hard to tell from this first issue exactly where the story will be going, but from the tone, the dialogue, and the art, it looks like it'll be an interesting ride, wherever the creators decide to take us.
13th Son: Worse Thing Waiting by Kelley Jones, from Dark Horse Comics
'Bout time Kelley Jones wrote something again, as well as drawing. He's been one of my favorite monster artists for years, with these weird, distorted creatures that don't look like anything we've ever seen before. And his writing is just as wild. This starts off feeling like a left-of-center urban myth/folklore thing about a monster that kills monsters, but he manages to give it just enough connections to the human world to make the reader not feel completely alienated. And it's got a great, quiet cliffhanger ending.
Book of Lost Souls by J. Michael Straczynski and Colleen Doran, from Marvel Comics
While I don't worship the ground that writer JMS walks on like some (a rep based mainly on the TV series Babylon 5, which I thought was interesting enough in its conception for me to watch all the way through and buy the DVDs, but flawed in exection), I really enjoyed his comics series Midnight Nation. And while I'm completely unimpressed with his Spider-Man comcs (surprise), I was willing to give this new creation of his a shot. Besides, it's got art by Colleen Doran, who I've been a fan of since we were both kids, apparently. (She started A Distant Soil when she was 16, I think.) This tale, about a man who has to walk among the "lost souls" and tip them towards good or evil feels very similar in tone to Midnight Nation without duplicating the story, so I'll stick with it. (Only does every other page have to be an advertisement?)
Fear Agent by Rick Remender, Tony Moore, and Sean Parsons, from Image Comics
This was pretty highly anticipated by me. It was promoted as being highly influenced by the EC sci-fi comics of Wally Wood, and it definitely has that feel. No carefully thought-out science fiction premises here, not if they get in the way of a two-fisted action hero fighting a giant brain using alien ape-creatures to build some sort of rocket-thing on a primitive planet. Unlike G0dland, however, which really wears its Jack Kirby influences on its sleeve, this feels more distanced from its influences. Probably because the Wally Wood stories that give it its tone and surface details were eight-page self-contained stories, whereas this is a full-length story, the first part of a five-part story about an ongoing character. The important thing, though, is it does capture the sense of action and excitement and fun that it set out to capture, and makes me want to come back for more.
Haunted Mansion from Slave Labor
This was another one I was pretty excited about, and again, I was not disappointed. It's an anthology comic about the Disneyland ride, and does a really good job telling a diverse set of stories about the characters and situations we see on the ride. The stories would work just fine if you didn't know the connection to the Disney thing, I think, and they don't make a big deal about how they do connect. They don't shout, "See? This is the guy from this scene right here, we're telling his story, get it?" The tone is the same sort of light-creepy that Slave Labor has made popular with their line of comics like Lenore and Gloomcookie, which fits perfectly with the original ride (not too scary, not too funny). Definitely a success, definitely looking forward to the next issue. Now, if only they can get the attention of the vast universe of Disney fans/collectors...
Last week's comics arrived yesterday (finally), and I read all the new first issues last night. Just some quick thoughts:
Loveless by Brian Azzarello & Marcelo Frusin, from DC Comics/Vertigo
I had really enjoyed Brian Azzarello's 100 Bullets series when it first started, but drifted away from it. (The intent is to read it as it's collected in books, but I'm even behind on reading those... Still...) But a new creator-owned series from him, I'm glad to buy in single issues, particularly since it's a dark western, which won't necessarily be a huge hit. It's hard to tell from this first issue exactly where the story will be going, but from the tone, the dialogue, and the art, it looks like it'll be an interesting ride, wherever the creators decide to take us.
13th Son: Worse Thing Waiting by Kelley Jones, from Dark Horse Comics
'Bout time Kelley Jones wrote something again, as well as drawing. He's been one of my favorite monster artists for years, with these weird, distorted creatures that don't look like anything we've ever seen before. And his writing is just as wild. This starts off feeling like a left-of-center urban myth/folklore thing about a monster that kills monsters, but he manages to give it just enough connections to the human world to make the reader not feel completely alienated. And it's got a great, quiet cliffhanger ending.
Book of Lost Souls by J. Michael Straczynski and Colleen Doran, from Marvel Comics
While I don't worship the ground that writer JMS walks on like some (a rep based mainly on the TV series Babylon 5, which I thought was interesting enough in its conception for me to watch all the way through and buy the DVDs, but flawed in exection), I really enjoyed his comics series Midnight Nation. And while I'm completely unimpressed with his Spider-Man comcs (surprise), I was willing to give this new creation of his a shot. Besides, it's got art by Colleen Doran, who I've been a fan of since we were both kids, apparently. (She started A Distant Soil when she was 16, I think.) This tale, about a man who has to walk among the "lost souls" and tip them towards good or evil feels very similar in tone to Midnight Nation without duplicating the story, so I'll stick with it. (Only does every other page have to be an advertisement?)
Fear Agent by Rick Remender, Tony Moore, and Sean Parsons, from Image Comics
This was pretty highly anticipated by me. It was promoted as being highly influenced by the EC sci-fi comics of Wally Wood, and it definitely has that feel. No carefully thought-out science fiction premises here, not if they get in the way of a two-fisted action hero fighting a giant brain using alien ape-creatures to build some sort of rocket-thing on a primitive planet. Unlike G0dland, however, which really wears its Jack Kirby influences on its sleeve, this feels more distanced from its influences. Probably because the Wally Wood stories that give it its tone and surface details were eight-page self-contained stories, whereas this is a full-length story, the first part of a five-part story about an ongoing character. The important thing, though, is it does capture the sense of action and excitement and fun that it set out to capture, and makes me want to come back for more.
Haunted Mansion from Slave Labor
This was another one I was pretty excited about, and again, I was not disappointed. It's an anthology comic about the Disneyland ride, and does a really good job telling a diverse set of stories about the characters and situations we see on the ride. The stories would work just fine if you didn't know the connection to the Disney thing, I think, and they don't make a big deal about how they do connect. They don't shout, "See? This is the guy from this scene right here, we're telling his story, get it?" The tone is the same sort of light-creepy that Slave Labor has made popular with their line of comics like Lenore and Gloomcookie, which fits perfectly with the original ride (not too scary, not too funny). Definitely a success, definitely looking forward to the next issue. Now, if only they can get the attention of the vast universe of Disney fans/collectors...
Dispatches from the Flying M: The next tie-in book: "I've signed the contract and the outline is approved, so I can talk in general terms about the next tie-in book I'll be doing. It's called Superman: Trail of Time, and it's for DC Comics and Warner Books. In it, Superman, Phantom Stranger and the Demon travel into the old West (among other places) where they'll meet up with Jonah Hex, Bat Lash, Scalphunter, and El Diablo. I love those old Western characters, and the magical/horror-oriented characters of the DCU, so this should be a lot of fun to write. The research, involving reading hundreds of comics, has already been a blast."
Not much of a Superman fan these days, but I like Jeff Mariotte's writing just fine, plus the idea of a novel featuring the Phantom Stranger, the Demon, and a bunch of DC's Western comics characters... This one, I'll probably read.
Not much of a Superman fan these days, but I like Jeff Mariotte's writing just fine, plus the idea of a novel featuring the Phantom Stranger, the Demon, and a bunch of DC's Western comics characters... This one, I'll probably read.
BBC - Doctor Who - Christmas Invasion at Christmas: "The special will transmit on Christmas Day.
Cancel those plans. David Tennant and Billie Piper will face The Christmas Invasion on 25 December itself."
Cancel those plans. David Tennant and Billie Piper will face The Christmas Invasion on 25 December itself."
CBS goes online with 'Threshold' - Yahoo! News: "LOS ANGELES (Hollywood Reporter) - CBS crossed a new
'Threshold' on Wednesday when it announced it would offer three
episodes of the rookie suspense drama free and without
advertising on http://www.CBS.com."
Anything that helps a Carla Gugino show survive is fine with me. (I'm enjoying Threshold just fine, by the way.)
'Threshold' on Wednesday when it announced it would offer three
episodes of the rookie suspense drama free and without
advertising on http://www.CBS.com."
Anything that helps a Carla Gugino show survive is fine with me. (I'm enjoying Threshold just fine, by the way.)
Tuesday, November 01, 2005
Democrats close Senate doors in Iraq protest - Yahoo! News
And suddenly, my party appears to be developing a spine...
And suddenly, my party appears to be developing a spine...
Saturday, October 29, 2005
Right, this next bit is going to make me sound like a sap at first. Don't care.
Watched my new Titanic Special Edition DVD yesterday and today. Well, the movie and deleted scenes, anyway. (It's a three disk set, with three commentary tracks, making-of bits integrated into the viewing of the film, documentaries, and all sorts of stuff. Not going to see it all at once, obviously. Plus, the movie is like three hours, anyway.) And I realize that the movie has been at the receiving end of a considerable backlash since it's release, but--and here's the bit that makes me sound like a sap; don't care--I like it. I like it a lot, which is why I saw it a couple of times in the theater, and why I bought the DVD and watched it all straight through again.
And I'm not going to get into a whole discussion about whether or not it really is a great movie, or just a piece of overblown fluff, because that just doesn't matter to me. There are plenty of acknowledged classics and wonderful films beloved by many that I think are incredibly dull. (Hey! Gone with the Wind and Return of the King! I'm talking to you!) And there are many other films that I love as well. But I'm not going to be embarrassed about putting Titanic on the list, because it's my list, and I'm making it my way.
Part of the appeal, for me, is the time it came out. I was going through a great deal of personal upheaval at the time (quitting work, going back to school, moving to a strange town, falling in love, getting a cat) and so the movie reminds me of this pivotal time of my life, and how it all worked out okay. Which wasn't exactly apparent at the time, because I was right in the middle of it. And that's a reason that nobody else will have for liking Titanic, and that doesn't make it any less relevant.
And part of it is that I think it's a pretty good movie. Okay, maybe I am going to defend it a little here. I read arguments that it's too long and too padded; seeing what was cut out of it really gives lie to that notion. There's a whole extended chase/fight sequence that would have stopped the movie dead if it had been left in. And lots of stuff with the present-day characters in the framing sequence. All gone, all for the better. And there are those who say that it's too obvious and straightforward and facile. Again, seeing what was cut out makes the existing cut seem so subtle and understated, it's a revelation. The DVD includes the originally scripted and shot ending, which is so obvious and heavy-handed, it's almost like it comes from another movie. Almost every scene cut from the first half (pre-iceberg) part of the movie is a scene that explains the themes and emotions of the story and characters, for those members of the audience who just can't be bothered to think. That's the stuff that would have yanked me right out of the movie.
In the end, I like that it's this almost fairy-tale romance happening against this backdrop of epic tragedy. Because this is what I want to see in movies: Grand themes and emotions writ large, shown to me in ways I'd never see them in life. This is just me, of course, but I don't want to see a movie that presents a detailed portrait of the human condition, with all its subtle shadings and colors. That's the world I live in. That's the world where the once-greatest nation in the world places a higher priority on preserving the riches of the wealthy over helping the victims of natural disasters (victims whose lot could have been much better in the first place, had the government pulled its head out of its diamond-encrusted arse and prepared for a very predictable disaster). It's the world where people are dying in the thousands in a war started by a pack of lies, and the uncovering of those lies is being referred to as the "criminalization of politics."
And, on a personal level, it's a world where the stupid insurance company that authorized repairs to my car--which someone else hit while I was virtually stopped--won't authorize a rental car while those repairs are being done. Do I believe that the romance between Jack and Rose is a true reflection of the social mores of the time, and the complex interplay of emotion that genuinely represents the intertwining of two souls? No, of course not. But I get all that from playing "guess what I'm thinking" with the Girl in the Cafe, thank you very much; what would be the point of watching the exact same bloody thing as entertainment? The other day, at breakfast at another regular haunt of mine, the waitress I generally chat with sat down at my table to talk to me, even though she wasn't waiting on me. And I don't know what, if anything, that might mean. I like the relative lack of ambiguity, the straightforward true-love-ness of the romance in Titanic, because it cuts to the heart of things (no pun intended). It sends a different message than just, "Things are always all confusing and screwed up, and there's nothing you can do about it." And it still ends tragically. So there.
So, yes, the romance in Titanic is a fantasy. That is what I want to see at the movies. I don't need to pay to see a reflection of the ambiguities and gray areas of my daily life; I get those for free, thank you very much. When I pay my six to nine dollars to see a movie, I want to see spectacular ships sinking, and explosions, and cartoons, and spaceships and robots and giant apes (only maybe not for three hours). And that's why I like Titanic.
Watched my new Titanic Special Edition DVD yesterday and today. Well, the movie and deleted scenes, anyway. (It's a three disk set, with three commentary tracks, making-of bits integrated into the viewing of the film, documentaries, and all sorts of stuff. Not going to see it all at once, obviously. Plus, the movie is like three hours, anyway.) And I realize that the movie has been at the receiving end of a considerable backlash since it's release, but--and here's the bit that makes me sound like a sap; don't care--I like it. I like it a lot, which is why I saw it a couple of times in the theater, and why I bought the DVD and watched it all straight through again.
And I'm not going to get into a whole discussion about whether or not it really is a great movie, or just a piece of overblown fluff, because that just doesn't matter to me. There are plenty of acknowledged classics and wonderful films beloved by many that I think are incredibly dull. (Hey! Gone with the Wind and Return of the King! I'm talking to you!) And there are many other films that I love as well. But I'm not going to be embarrassed about putting Titanic on the list, because it's my list, and I'm making it my way.
Part of the appeal, for me, is the time it came out. I was going through a great deal of personal upheaval at the time (quitting work, going back to school, moving to a strange town, falling in love, getting a cat) and so the movie reminds me of this pivotal time of my life, and how it all worked out okay. Which wasn't exactly apparent at the time, because I was right in the middle of it. And that's a reason that nobody else will have for liking Titanic, and that doesn't make it any less relevant.
And part of it is that I think it's a pretty good movie. Okay, maybe I am going to defend it a little here. I read arguments that it's too long and too padded; seeing what was cut out of it really gives lie to that notion. There's a whole extended chase/fight sequence that would have stopped the movie dead if it had been left in. And lots of stuff with the present-day characters in the framing sequence. All gone, all for the better. And there are those who say that it's too obvious and straightforward and facile. Again, seeing what was cut out makes the existing cut seem so subtle and understated, it's a revelation. The DVD includes the originally scripted and shot ending, which is so obvious and heavy-handed, it's almost like it comes from another movie. Almost every scene cut from the first half (pre-iceberg) part of the movie is a scene that explains the themes and emotions of the story and characters, for those members of the audience who just can't be bothered to think. That's the stuff that would have yanked me right out of the movie.
In the end, I like that it's this almost fairy-tale romance happening against this backdrop of epic tragedy. Because this is what I want to see in movies: Grand themes and emotions writ large, shown to me in ways I'd never see them in life. This is just me, of course, but I don't want to see a movie that presents a detailed portrait of the human condition, with all its subtle shadings and colors. That's the world I live in. That's the world where the once-greatest nation in the world places a higher priority on preserving the riches of the wealthy over helping the victims of natural disasters (victims whose lot could have been much better in the first place, had the government pulled its head out of its diamond-encrusted arse and prepared for a very predictable disaster). It's the world where people are dying in the thousands in a war started by a pack of lies, and the uncovering of those lies is being referred to as the "criminalization of politics."
And, on a personal level, it's a world where the stupid insurance company that authorized repairs to my car--which someone else hit while I was virtually stopped--won't authorize a rental car while those repairs are being done. Do I believe that the romance between Jack and Rose is a true reflection of the social mores of the time, and the complex interplay of emotion that genuinely represents the intertwining of two souls? No, of course not. But I get all that from playing "guess what I'm thinking" with the Girl in the Cafe, thank you very much; what would be the point of watching the exact same bloody thing as entertainment? The other day, at breakfast at another regular haunt of mine, the waitress I generally chat with sat down at my table to talk to me, even though she wasn't waiting on me. And I don't know what, if anything, that might mean. I like the relative lack of ambiguity, the straightforward true-love-ness of the romance in Titanic, because it cuts to the heart of things (no pun intended). It sends a different message than just, "Things are always all confusing and screwed up, and there's nothing you can do about it." And it still ends tragically. So there.
So, yes, the romance in Titanic is a fantasy. That is what I want to see at the movies. I don't need to pay to see a reflection of the ambiguities and gray areas of my daily life; I get those for free, thank you very much. When I pay my six to nine dollars to see a movie, I want to see spectacular ships sinking, and explosions, and cartoons, and spaceships and robots and giant apes (only maybe not for three hours). And that's why I like Titanic.
COMICON.com: KELLY & PORTER TAKE ON JONNY QUEST AT DC : "Joe Kelly's next take on a classic Hanna-Barbera character for DC Comics will be Jonny Quest. According to Wizard # 170, perennial favorite boy action hero Quest is returning for five issues next year. Artist Howard Porter will be digitally painting the limited series. Kelly, who worked on the critically-acclaimed Space Ghost limited series, is a big fan of classic Hanna-Barbera characters. But that doesn't mean he doesn't have his own vision for the animated staples. He told Wizard this version of the preteen boy will be a 'significantly darker Jonny and you will find out how he got that way.'"
The idea of a "darker" Jonny Quest should just turn my stomach. But Joe Kelly completely sold the idea of a dark Space Ghost story, so I'm willing to go with him on this...
The idea of a "darker" Jonny Quest should just turn my stomach. But Joe Kelly completely sold the idea of a dark Space Ghost story, so I'm willing to go with him on this...
Friday, October 28, 2005
Statler & Waldorf: From the Balcony: "THIS WEEK'S EPISODE
Muppet curmudgeons Statler and Waldorf take on Jarhead and The Legend of Zorro. Plus, the Weather Guy previews, appropriately enough, The Weather Man."
Laughed out loud at the Jarhead review.
Muppet curmudgeons Statler and Waldorf take on Jarhead and The Legend of Zorro. Plus, the Weather Guy previews, appropriately enough, The Weather Man."
Laughed out loud at the Jarhead review.
Thursday, October 27, 2005
Video Business Online - 10/21/2005 - Retailers rail over studio date switches - CA6276901: "Last week, Buena Vista Home Entertainment indefinitely benched expected Jan. 10 TV releases of Once and Again, Beggars and Choosers and Boy Meets World."
And we were so close to the complete series of Once and Again on DVD... Disney bastards!
And we were so close to the complete series of Once and Again on DVD... Disney bastards!
Okay, as seems to now be the norm, this post is the result of some slight intoxication on my part. (Although the photo of traffic posted earlier this evening was done stone cold sober. This would be traffic at 9:30 at night caused by a SUV-involved accident. Bastards. Because, of course, it's all meant to personally inconvenience me. Anyway, the picture was taken and emailed to the blog as I was stopped completely, so no driving hazards there. Lets you know how traffic was flowing, doesn't it?)
So, aside from the car-repair/insurance frustration that is ongoing (still don't have my freaking car back), today was irritating for a couple of reasons. For one, I still don't have this week's 2000AD. Thank you, US Postal Service, where getting mail actually fucking delivered is apparently just a bonus. And normally, I would have had the Judge Dredd Megazine to hold me over, just in case. But this month's Meg had the second half of a story that started in last week's 2000 AD, so I've already read through it. Bastards. (Of course, I'm about four issues behind on the 2000 AD Extreme Edition, but that's old stuff, so it doesn't exactly count.)
More directly the cause of tonight's drinking safari (more like a drive-by, really; two beers and a raspberry kamikaze) would be the sudden appearance at the library of The Girl in the Cafe. Because I had actually deliberately avoided going to see her at the Cafe for going on two weeks now, and then, a block away from the library, I received a text message from a coworker that she and her son were at the library.
Some background: while we had talked about going out, and exchanged phone numbers and the like, it hadn't actually happened yet, because she's all busy being a full-time mom, full-time student, and full-time cafe manager or owner or whatever. So I was continuing to talk to her every Tuesday and Wednesday morning, like I always had been doing. But the weekend before last, we had some editors and artists from Tokyopop visit our libraries. Including a particularly cool female editor, who I found myself developing a crush on. If that's the right phrase. (Not enough alcohol to put this out of my mind, but enough that I don't care about my writing.) Then Monday, I managed to find myself encountering just about every woman in the library district that I had an unrequited crush on, none of which could be acted upon for a variety of reasons (married, doesn't date people, etc.). That, plus my crush on the editor, pretty much made me feel like there wasn't much different from my interaction with the Girl in the Cafe. Yes, we had acknowledged that we wanted to spend time together, but beyond that, I felt like I was trying to contrive to see her just the same way I contrived to see these other women. And I was getting as far with her as I was the others.
So, something had to change, I decided. And since I wasn't going to insist that she carve time out of her schedule for me, the only thing I could do was back off. So I did. I started getting my breakfast from Bob's East Side Deli, and figured I'd give her a chance to miss me.
So today, she turns up at the library to work on her homework while her son plays on the computer. And it's just weird, because it's almost never that she tries to get in touch with me (doesn't call, nothing). And we talk like we always have, and don't mention how I've been not seeing her. But it's weird, because for the first time, she's on my turf. And the control that I had taken, by deciding to step away, has been somewhat taken away by her coming into my arena, if that makes any sense. And part of me wants to think that she showed up in my place of work because I stopped showing up in hers, but that way lies madness, so I'm trying not to think about that.
But, the really frustrating bit, out of the many frustrating bits, is that I had pretty much resigned myself to the idea that I wouldn't be seeing her for a while. And I was okay with that, and not actually missing her, and then I saw her again.
And I think I need more to drink, but that's not an option, unless I go back to Timbers, which just seems lame at this point. So I'm going to stop writing now.
So, aside from the car-repair/insurance frustration that is ongoing (still don't have my freaking car back), today was irritating for a couple of reasons. For one, I still don't have this week's 2000AD. Thank you, US Postal Service, where getting mail actually fucking delivered is apparently just a bonus. And normally, I would have had the Judge Dredd Megazine to hold me over, just in case. But this month's Meg had the second half of a story that started in last week's 2000 AD, so I've already read through it. Bastards. (Of course, I'm about four issues behind on the 2000 AD Extreme Edition, but that's old stuff, so it doesn't exactly count.)
More directly the cause of tonight's drinking safari (more like a drive-by, really; two beers and a raspberry kamikaze) would be the sudden appearance at the library of The Girl in the Cafe. Because I had actually deliberately avoided going to see her at the Cafe for going on two weeks now, and then, a block away from the library, I received a text message from a coworker that she and her son were at the library.
Some background: while we had talked about going out, and exchanged phone numbers and the like, it hadn't actually happened yet, because she's all busy being a full-time mom, full-time student, and full-time cafe manager or owner or whatever. So I was continuing to talk to her every Tuesday and Wednesday morning, like I always had been doing. But the weekend before last, we had some editors and artists from Tokyopop visit our libraries. Including a particularly cool female editor, who I found myself developing a crush on. If that's the right phrase. (Not enough alcohol to put this out of my mind, but enough that I don't care about my writing.) Then Monday, I managed to find myself encountering just about every woman in the library district that I had an unrequited crush on, none of which could be acted upon for a variety of reasons (married, doesn't date people, etc.). That, plus my crush on the editor, pretty much made me feel like there wasn't much different from my interaction with the Girl in the Cafe. Yes, we had acknowledged that we wanted to spend time together, but beyond that, I felt like I was trying to contrive to see her just the same way I contrived to see these other women. And I was getting as far with her as I was the others.
So, something had to change, I decided. And since I wasn't going to insist that she carve time out of her schedule for me, the only thing I could do was back off. So I did. I started getting my breakfast from Bob's East Side Deli, and figured I'd give her a chance to miss me.
So today, she turns up at the library to work on her homework while her son plays on the computer. And it's just weird, because it's almost never that she tries to get in touch with me (doesn't call, nothing). And we talk like we always have, and don't mention how I've been not seeing her. But it's weird, because for the first time, she's on my turf. And the control that I had taken, by deciding to step away, has been somewhat taken away by her coming into my arena, if that makes any sense. And part of me wants to think that she showed up in my place of work because I stopped showing up in hers, but that way lies madness, so I'm trying not to think about that.
But, the really frustrating bit, out of the many frustrating bits, is that I had pretty much resigned myself to the idea that I wouldn't be seeing her for a while. And I was okay with that, and not actually missing her, and then I saw her again.
And I think I need more to drink, but that's not an option, unless I go back to Timbers, which just seems lame at this point. So I'm going to stop writing now.
Sci Fi Wire -- The News Service of the Sci Fi Channel: "Kong Gets Supersized
Less than two months before the Dec. 14 release of Universal's remake of King Kong, the studio has agreed to release director Peter Jackson's three-hour cut, which will push the budget to $207 million, Variety reported."
Okay, I was actually starting to kind of get excited about the King Kong movie, but... three hours? It's a movie about a giant gorilla! (Not to mention the last Peter Jackson three-hour epic I saw felt so overlong, it's why I hardly ever go to movies any more...)
Less than two months before the Dec. 14 release of Universal's remake of King Kong, the studio has agreed to release director Peter Jackson's three-hour cut, which will push the budget to $207 million, Variety reported."
Okay, I was actually starting to kind of get excited about the King Kong movie, but... three hours? It's a movie about a giant gorilla! (Not to mention the last Peter Jackson three-hour epic I saw felt so overlong, it's why I hardly ever go to movies any more...)
Tuesday, October 25, 2005
Okay, here's a bit of Internet cuteness:
Go to Google.com and type in "failure," then hit the "I feel lucky" button.
Go to Google.com and type in "failure," then hit the "I feel lucky" button.
Monday, October 24, 2005
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