Aw Yeah Comics is a comic shop based in Skokie Illinois that is owned by the Tiny Titans and Superman Family Adventures duo of Art Baltazar and Franco, along with the amazing Marc Hammond. A Facebook Page has just gone live (which can be found HERE) and their statement reads...
"Art, Franco, and Aw Yeah Comics are inviting any other comic store or
library around the world to join in on this event, as well as any
creator. Choose to become a venue, provide the basic supplies, and ask
creators to come and teach. Our goal is for this event to become
widespread and yearly, much in the same way Free Comic Book Day is, and
to get as many young people involved and enthusiastic about comics as we
possible can. A website, which will list participating venues and
creators, will be ready next week. In the meantime, if you would like to
be a host venue, have any questions or ideas, please feel free to
e-mail us at info@awyeahcomics.com."
I think it goes without saying that this is a tremendous idea and I love it. This needs to catch on in a major way and I'm hoping it gets your support.
Monday, July 9, 2012
Sunday, July 8, 2012
TR!CK2TER: Bringing Options to San Diego During Comic-Con
The kind folks over at Cinema Sentries asked me to write up a piece about TR!CK2TER. Some of this article may come as a surprise...
You can read it HERE
Please pass this one around as TR!CK2TER is great people doing great things and they could use a little bit of an assist right now.
Thanks, everyone!
You can read it HERE
Please pass this one around as TR!CK2TER is great people doing great things and they could use a little bit of an assist right now.
Thanks, everyone!
Sunday, April 29, 2012
Eric Powell: Where's Our Harry Potter?
In the latest issue of The Goon (number 39 if you're looking for accuracy), Eric Powell made so many valid points that I've decided to post up his editorial in it's entirety. If you have never tried The Goon then you are clearly doing yourself a disservice.
Ladies and gentlemen...Mr. Eric Powell...
Where's Our Harry Potter?
Imagine your absolute favorite non-Marvel-or-DC-superhero comic book. Now imagine that book was 100 percent better. Imagine that comic was the best comic you had ever read in your entire life. Imagine that comic was as good as chocolate puppies and New York pizza.
That comic couldn't be the top-selling comic in this country right now.
Now imagine your favorite story ever (non-Marvel or DC superhero), whether it's a TV show, novel, film, or whatever. That one that does what amazing fiction can by wrapping you inside it and making you sad that you can't really visit the world it created in your mind. Now imagine it was a comic instead.
That comic couldn't be the top-selling comic in this country right now.
Out of the top 1,000 comics sold in the US in 2011, 24 were not Marvel or DC superhero titles. (Sales figures found on ComiChron.com.)
Twenty-four. Out of one thousand. Twenty-four, people. And none of those twenty-four came close to being the top-selling comic. But that's okay; the comic-book industry is being stabilized on the strong backs of Marvel and DC, right? Wrong. Sales across the board on comics have been plummeting for decades. Yeah, yeah, I can hear you now. "Well, all print media is struggling now in the digital age!" You can stuff all those digital-media excuses. Comic sales were dropping long before the advent of e-readers. If anything, the Internet is helping the expansion of comics readership by making new and different material accessible. I myself am proof that Internet buzz can help a creator-owned book succeed.
Over the last couple of years I've been very vocal about the comics industry's lack of diversified content. I feel strongly that we need new, exciting, creator-owned content that generates new readership to fuel our struggling industry, and we need to stop relying on the floundering system of old nostalgia-driven superhero titles from Marvel and DC. We need to create an environment where the best new idea, well executed, could be the top selling book - where we're not putting all of this industry's best efforts to survive into a rehash of a rehash.
I hear comments that we can't do new, different types of material because superheroes are all the comic readers want. But that's because it's the only demographic we continue to sell to - and that's not working so well. We should be selling to the cape readers...as well as the readers of every other genre out there. Just like film, books, music, TV, and, for f***'s sake, every other entertainment industry. We've been dying because we are so focused on getting the dollars out of this one demographic that we've forgotten our potential. I love the Marvel and DC characters, too, but, Jesus, am I the only one who gets bored with them? From our sales figures, apparently not. And to all the superhero fan boys that get bent so out of shape over people talking about new creator-owned comics: If this industry were doing better, you'd be getting more of the books you love and at better quality. Not less. Batman isn't going anywhere.
(Oh, and by the way, if your avatar is a photo of yourself dressed in Renfest garb...you're not allowed to call someone an a**hole. I call bulls***. You just can't do that.)
Oh, and while I'm on the topic of Internet trolls...To those calling me a hypocrite for doing a handful of comics for Marvel and DC in the past while preaching about the lack of focus our industry shows for creator-owned titles, I have this to say: Marvel and DC comics didn't make me. Creator-owned comics made me. No one was beating down my door before The Goon. I'm appreciative of every job Marvel and DC ever gave me; however, they made money off my name. They wouldn't have given me a job otherwise. We both profited from that work, so I owe them nothing. That being said, Marvel and DC were great companies to work for. I got paid on time, and especially with DC, found their editorial staff a joy to work with. See, that's how it's done, Fox News. FAIR AND BALANCED, MOTHER****ERS! So pardon me, Trolly McTroller, for having the courage of my convictions and for having the balls to stick my professional neck out on the line. How about you take into consideration I might possibly be taking away an extra revenue stream by saying the business model of the big two is holding us all back instead of pushing us into the future? No? Oh, well. Nice boots, Harry Mudd.
Where were we? Oh yeah, with the bitching. I've also heard people make the comparison that Marvel and DC are to creator-owned comics as summer blockbusters are to indie films. WRONG! We aren't talking about commercial versus high art. We are talking commercial versus other types of commercial. If Harry Potter were a Dark Horse comic instead of a novel, it would be struggling to sell ten thousand, just because it's not in a Marvel or DC superhero universe. Where's our Harry Potter? Where's our megahit that comes out of nowhere and draws people into comic shops? Why are we denying ourselves the possibility of that? We are an inbred industry propped up on the spindly legs of Marvel and DC comics. And with 90 percent of our industry being supported by Marvel and DC, which are owned by Disney and Warner Bros., what happens if those two giant corporations, who don't care one bit about funny books, decide that all these characters they own are more profitable in video games, movies, and bed sheets than in comic books? If they close their doors, the comic industry, as we know it, is dead the next day. And that's a ridiculous scenario we've painted ourselves into. That's like if Paramount went out of business, there would be no more movies. We should be making new, creator-owned content in a variety of genres just as vital to sustaining this industry as the big two's superhero titles. And we should have started twenty years ago.
Of course, I'm just some idiot from Tennessee. What do I know?
-Eric Powell
Eric can be found over on Twitter @goonguy
Ladies and gentlemen...Mr. Eric Powell...
Where's Our Harry Potter?
Imagine your absolute favorite non-Marvel-or-DC-superhero comic book. Now imagine that book was 100 percent better. Imagine that comic was the best comic you had ever read in your entire life. Imagine that comic was as good as chocolate puppies and New York pizza.
That comic couldn't be the top-selling comic in this country right now.
Now imagine your favorite story ever (non-Marvel or DC superhero), whether it's a TV show, novel, film, or whatever. That one that does what amazing fiction can by wrapping you inside it and making you sad that you can't really visit the world it created in your mind. Now imagine it was a comic instead.
That comic couldn't be the top-selling comic in this country right now.
Out of the top 1,000 comics sold in the US in 2011, 24 were not Marvel or DC superhero titles. (Sales figures found on ComiChron.com.)
Twenty-four. Out of one thousand. Twenty-four, people. And none of those twenty-four came close to being the top-selling comic. But that's okay; the comic-book industry is being stabilized on the strong backs of Marvel and DC, right? Wrong. Sales across the board on comics have been plummeting for decades. Yeah, yeah, I can hear you now. "Well, all print media is struggling now in the digital age!" You can stuff all those digital-media excuses. Comic sales were dropping long before the advent of e-readers. If anything, the Internet is helping the expansion of comics readership by making new and different material accessible. I myself am proof that Internet buzz can help a creator-owned book succeed.
Over the last couple of years I've been very vocal about the comics industry's lack of diversified content. I feel strongly that we need new, exciting, creator-owned content that generates new readership to fuel our struggling industry, and we need to stop relying on the floundering system of old nostalgia-driven superhero titles from Marvel and DC. We need to create an environment where the best new idea, well executed, could be the top selling book - where we're not putting all of this industry's best efforts to survive into a rehash of a rehash.
I hear comments that we can't do new, different types of material because superheroes are all the comic readers want. But that's because it's the only demographic we continue to sell to - and that's not working so well. We should be selling to the cape readers...as well as the readers of every other genre out there. Just like film, books, music, TV, and, for f***'s sake, every other entertainment industry. We've been dying because we are so focused on getting the dollars out of this one demographic that we've forgotten our potential. I love the Marvel and DC characters, too, but, Jesus, am I the only one who gets bored with them? From our sales figures, apparently not. And to all the superhero fan boys that get bent so out of shape over people talking about new creator-owned comics: If this industry were doing better, you'd be getting more of the books you love and at better quality. Not less. Batman isn't going anywhere.
(Oh, and by the way, if your avatar is a photo of yourself dressed in Renfest garb...you're not allowed to call someone an a**hole. I call bulls***. You just can't do that.)
Oh, and while I'm on the topic of Internet trolls...To those calling me a hypocrite for doing a handful of comics for Marvel and DC in the past while preaching about the lack of focus our industry shows for creator-owned titles, I have this to say: Marvel and DC comics didn't make me. Creator-owned comics made me. No one was beating down my door before The Goon. I'm appreciative of every job Marvel and DC ever gave me; however, they made money off my name. They wouldn't have given me a job otherwise. We both profited from that work, so I owe them nothing. That being said, Marvel and DC were great companies to work for. I got paid on time, and especially with DC, found their editorial staff a joy to work with. See, that's how it's done, Fox News. FAIR AND BALANCED, MOTHER****ERS! So pardon me, Trolly McTroller, for having the courage of my convictions and for having the balls to stick my professional neck out on the line. How about you take into consideration I might possibly be taking away an extra revenue stream by saying the business model of the big two is holding us all back instead of pushing us into the future? No? Oh, well. Nice boots, Harry Mudd.
Where were we? Oh yeah, with the bitching. I've also heard people make the comparison that Marvel and DC are to creator-owned comics as summer blockbusters are to indie films. WRONG! We aren't talking about commercial versus high art. We are talking commercial versus other types of commercial. If Harry Potter were a Dark Horse comic instead of a novel, it would be struggling to sell ten thousand, just because it's not in a Marvel or DC superhero universe. Where's our Harry Potter? Where's our megahit that comes out of nowhere and draws people into comic shops? Why are we denying ourselves the possibility of that? We are an inbred industry propped up on the spindly legs of Marvel and DC comics. And with 90 percent of our industry being supported by Marvel and DC, which are owned by Disney and Warner Bros., what happens if those two giant corporations, who don't care one bit about funny books, decide that all these characters they own are more profitable in video games, movies, and bed sheets than in comic books? If they close their doors, the comic industry, as we know it, is dead the next day. And that's a ridiculous scenario we've painted ourselves into. That's like if Paramount went out of business, there would be no more movies. We should be making new, creator-owned content in a variety of genres just as vital to sustaining this industry as the big two's superhero titles. And we should have started twenty years ago.
Of course, I'm just some idiot from Tennessee. What do I know?
-Eric Powell
Eric can be found over on Twitter @goonguy
Friday, February 10, 2012
Marvel / Disney Legal Assault
For those that may not know, Gary Friedrich has been involved in legal battles with Marvel / Disney in regards to the character of Ghost Rider (which Mr. Friedrich created).
A run-down of the facts can be found over HERE.
The immediate issue is that Marvel / Disney has counter-sued Mr. Friedrich; demanding $17,000 in damages and legal fees, and is also demanding he cease using the creation of Ghost Rider as a credit from which he may be able to benefit from at conventions appearances. Well Marvel may bite the hands that raised them over and over again, but this is a time for anyone who cares about the defending of creator rights to help out. Steve Niles and Monica Richards have set up a PayPal Donate button over on Steve's website to let us help Gary out right now.
And he needs it.
Please head over to Steve's website HERE and do some reading and help out if you are able.
The Creator-Owned Comics Blog stands by you, Gary. Much respect and support to you in this fight, sir.
A run-down of the facts can be found over HERE.
The immediate issue is that Marvel / Disney has counter-sued Mr. Friedrich; demanding $17,000 in damages and legal fees, and is also demanding he cease using the creation of Ghost Rider as a credit from which he may be able to benefit from at conventions appearances. Well Marvel may bite the hands that raised them over and over again, but this is a time for anyone who cares about the defending of creator rights to help out. Steve Niles and Monica Richards have set up a PayPal Donate button over on Steve's website to let us help Gary out right now.
And he needs it.
Please head over to Steve's website HERE and do some reading and help out if you are able.
The Creator-Owned Comics Blog stands by you, Gary. Much respect and support to you in this fight, sir.
Thursday, February 2, 2012
Keeping Alan Moore In Check
It was never in question that when DC announced their Before Watchmen line of books that opinions would be coming quickly from all sides of the comic community. It wasn't a risky wager at all to bet that there would be excitement from some and anger from others. This was a no-brainer and I'm sure that everyone involved in this project knew what they were on board for, so there's no reason to talk about any shock value that this announcement created.But lines quickly formed (again, without shock) and many opinions went right where you could of predicted they would.
"How dare they tread on such hallowed ground!"
"Is nothing sacred?!"
"Those look awesome!"
"I'm definitely checking these out!"
The responses against the idea went straight for where I think we all knew they would. These opinions are nothing new and are easily found any place that gives any sort of comic book coverage at all. So, yeah...no surprises there. In following that same line of predicted logic: imagine my actual surprise in seeing a complete role-reversal as to where the real heat was coming from...
The people that were for it.
Since DC made their announcement, I have seen all sorts of Alan Moore bashing in quantities previously unseen. Not only has there been a forceful effort concentrated on calling bullshit on the man himself, but even every kind of dig you can think of to belittle the source material.
"Watchmen was a take on the Charlton characters!"
Kinda. So?
"Well I'm sure Baum and Carroll wouldn't have approved of what he did with their characters in Lost Girls!"
And?
"Alan Moore is a fucking hypocrite!"
Then I guess you want to buy these books to what, spite him?!
Let me remind us all of one simple, undeniable fact: Alan Moore wrote Watchmen and we didn't.
If you'll indulge my line of thinking here, and you've read along this far, please let me just acknowledge a few other points that seem to be happily forgotten at the moment. For any of you that are of the age to have read Watchmen when it was originally released, I say "Have you really forgotten what those books did to the industry and the fans at large?" I'm not asking if you liked it or not, I'm asking you if you can honestly dispute the changes that Watchmen made in the industry. You don't have to agree why the bomb was dropped, but if you sincerely try to tell me that there's no crater at the point of impact...well then you kind of remove yourself from the discussion.
To the folks that read it years after it came out; I ask that you please keep the proper perspective towards it. There are many things that I'm sure could read like "What's the big deal?". I'm equally sure that you've read a million books with that adult tone and perspective since, right? Yeah, Watchmen helped set up a lot of those million things up. Do they seem like clichés? They are now, they weren't then.Watchmen is Alan Moore's accomplishment. Whether you think it's legitimately deserved is another topic, but he and Dave Gibbons shook the world. Because they did, and you didn't, is no reason to lash out with such vitriol. It makes me wonder if some of it stems from a need people are having to defend their feelings towards wanting the new books? Is there some kind of underlying guilt? I'm really curious how many people wrestled with the idea of feeling pressured to feel bad about it, but didn't? Were some worried about being judged by the friends who were standing on their soapboxes looking down at them? I've got to think that a similar thing happened to the creative teams that agreed to take on the job of these new books. It's human nature and no one wants to be judged, so let's not do that here either.If you don't want anything to do with Before Watchmen then don't. There's also no need for self-righteousness to come out of your decision, because it serves no purpose. Make your statement by not spending your money on it and sleep well at night.
If you're a creator that signed on to write or draw one of these books? Do the best job you can do and don't sweat the rest. Don't get defensive if someone tries to give you grief over it and please don't try to poke holes in Moore's behavior for the sake of justifying your involvement. I consider myself lucky to be able to call a couple of you my friends, so I realize that I'm on dicey ground here, but let's have a little tough love. You are well aware of what this project represents in the comic field and if you weren't ready to take the consequences of your decision then you never should have signed that contract. Having said that, I also say get all the satisfaction you'll ever need by making these books as amazing as you can. Let the work speak for itself, let the chips fall where they may, and sleep well at night.
Lastly, to the people that are getting some sort of self-empowerment over ripping Alan Moore's attitude apart: (with all due respect) Check Yourself. Any legal issues are between him, Dave Gibbons, and DC. These issues are none of our business except in the matter of any lessons that can be learned from them. Moore's behavior doesn't have to sit well with us in these regards. He dropped that bomb, he changed the industry, and his is the name on the book. Any feelings of well being or back stabbing are his to have and he earned the right. Don't agree? Well then you go write your book that changes everything and we'll pick up the discussion there. If you want to buy Before Watchmen because it looks cool to you then do it. Buy them, read them unapologetically, and see if you like them. Hell, you might even love them, who knows?! Before Watchmen may end up kicking all sorts of ass, but please have some understanding as to where the other faction is coming from. Buy some books, read some books, enjoy what you like, and sleep well at night.Alan Moore did an amazing thing with Watchmen. Don't let a press release cause us to rewrite history to belittle this amazing accomplishment.
All of the other stances on this argument, whether they be about ethics or legal obligations, are not the point I want to make. We have very few legends of the comic book world that are still with us right now. I'm talking about the men and women that have upended this medium that we all love and support. Alan Moore is one of those people, and if we start trying to rip his accomplishments to shreds then we're really jumping the proverbial shark. In an industry that is so reliant on heroes, I'm just not seeing a reason to kick one of our real life comic pioneers in the teeth. Let's not let the argument of the moment cloud our thoughts to where we start crucifying the creators that we owe so much to.
C'mon...say it with me. You know you want to...!
Fuck yeah, Alan Moore! Fuck yeah, Watchmen!
"How dare they tread on such hallowed ground!"
"Is nothing sacred?!"
"Those look awesome!"
"I'm definitely checking these out!"
The responses against the idea went straight for where I think we all knew they would. These opinions are nothing new and are easily found any place that gives any sort of comic book coverage at all. So, yeah...no surprises there. In following that same line of predicted logic: imagine my actual surprise in seeing a complete role-reversal as to where the real heat was coming from...
The people that were for it.
Since DC made their announcement, I have seen all sorts of Alan Moore bashing in quantities previously unseen. Not only has there been a forceful effort concentrated on calling bullshit on the man himself, but even every kind of dig you can think of to belittle the source material.
"Watchmen was a take on the Charlton characters!"
Kinda. So?
"Well I'm sure Baum and Carroll wouldn't have approved of what he did with their characters in Lost Girls!"
And?
"Alan Moore is a fucking hypocrite!"
Then I guess you want to buy these books to what, spite him?!
Let me remind us all of one simple, undeniable fact: Alan Moore wrote Watchmen and we didn't.
If you'll indulge my line of thinking here, and you've read along this far, please let me just acknowledge a few other points that seem to be happily forgotten at the moment. For any of you that are of the age to have read Watchmen when it was originally released, I say "Have you really forgotten what those books did to the industry and the fans at large?" I'm not asking if you liked it or not, I'm asking you if you can honestly dispute the changes that Watchmen made in the industry. You don't have to agree why the bomb was dropped, but if you sincerely try to tell me that there's no crater at the point of impact...well then you kind of remove yourself from the discussion.
To the folks that read it years after it came out; I ask that you please keep the proper perspective towards it. There are many things that I'm sure could read like "What's the big deal?". I'm equally sure that you've read a million books with that adult tone and perspective since, right? Yeah, Watchmen helped set up a lot of those million things up. Do they seem like clichés? They are now, they weren't then.Watchmen is Alan Moore's accomplishment. Whether you think it's legitimately deserved is another topic, but he and Dave Gibbons shook the world. Because they did, and you didn't, is no reason to lash out with such vitriol. It makes me wonder if some of it stems from a need people are having to defend their feelings towards wanting the new books? Is there some kind of underlying guilt? I'm really curious how many people wrestled with the idea of feeling pressured to feel bad about it, but didn't? Were some worried about being judged by the friends who were standing on their soapboxes looking down at them? I've got to think that a similar thing happened to the creative teams that agreed to take on the job of these new books. It's human nature and no one wants to be judged, so let's not do that here either.If you don't want anything to do with Before Watchmen then don't. There's also no need for self-righteousness to come out of your decision, because it serves no purpose. Make your statement by not spending your money on it and sleep well at night.
If you're a creator that signed on to write or draw one of these books? Do the best job you can do and don't sweat the rest. Don't get defensive if someone tries to give you grief over it and please don't try to poke holes in Moore's behavior for the sake of justifying your involvement. I consider myself lucky to be able to call a couple of you my friends, so I realize that I'm on dicey ground here, but let's have a little tough love. You are well aware of what this project represents in the comic field and if you weren't ready to take the consequences of your decision then you never should have signed that contract. Having said that, I also say get all the satisfaction you'll ever need by making these books as amazing as you can. Let the work speak for itself, let the chips fall where they may, and sleep well at night.
Lastly, to the people that are getting some sort of self-empowerment over ripping Alan Moore's attitude apart: (with all due respect) Check Yourself. Any legal issues are between him, Dave Gibbons, and DC. These issues are none of our business except in the matter of any lessons that can be learned from them. Moore's behavior doesn't have to sit well with us in these regards. He dropped that bomb, he changed the industry, and his is the name on the book. Any feelings of well being or back stabbing are his to have and he earned the right. Don't agree? Well then you go write your book that changes everything and we'll pick up the discussion there. If you want to buy Before Watchmen because it looks cool to you then do it. Buy them, read them unapologetically, and see if you like them. Hell, you might even love them, who knows?! Before Watchmen may end up kicking all sorts of ass, but please have some understanding as to where the other faction is coming from. Buy some books, read some books, enjoy what you like, and sleep well at night.Alan Moore did an amazing thing with Watchmen. Don't let a press release cause us to rewrite history to belittle this amazing accomplishment.
All of the other stances on this argument, whether they be about ethics or legal obligations, are not the point I want to make. We have very few legends of the comic book world that are still with us right now. I'm talking about the men and women that have upended this medium that we all love and support. Alan Moore is one of those people, and if we start trying to rip his accomplishments to shreds then we're really jumping the proverbial shark. In an industry that is so reliant on heroes, I'm just not seeing a reason to kick one of our real life comic pioneers in the teeth. Let's not let the argument of the moment cloud our thoughts to where we start crucifying the creators that we owe so much to.
C'mon...say it with me. You know you want to...!
Fuck yeah, Alan Moore! Fuck yeah, Watchmen!
Tuesday, December 27, 2011
Spotlight: Monocyte
Many creators envision the promise of presenting their comics in a way
Never having been one to spell everything out about a book, I'm not
that breaks from convention. Monocyte is a book that not only delivers
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| Monocyte #1 all rights reserved |
on this promise in many ways, it also puts responsibility squarely on the shoulders of readers as to whether that's a good thing or a bad thing.
The collaboration of Kasra Ghanbari and menton3; Monocyte takes
advantage of excessive amounts of four syllable words with political and social themes backed by fully painted artwork. Though billed as a horror comic, Monocyte goes farther than that label by presenting a social revolution of sorts where the promise is death. The monstrous figures of
the book give way to commentary that I suspect has been relevant to all
times; in this case through the warring factions of the Olignostics and the
Antedeluvians.
The artwork of menton3 gives life to bleakness, and it has to. This is a depressing place wherein even the upper echelon look tortured. He and Ghanbari have crafted the language of the book in a very Old-Testament kind of manner. It's verbally poetic but not necessarily fluid: you have to not only pay attention to what's being said but truly analyze it's meaning. Words like "Olignostic" and "Antedeluvian" don't exactly roll off the palette (and they shouldn't). Monocyte isn't a casual endeavor and it's going to provoke a reaction from the reader.
The artwork of menton3 gives life to bleakness, and it has to. This is a depressing place wherein even the upper echelon look tortured. He and Ghanbari have crafted the language of the book in a very Old-Testament kind of manner. It's verbally poetic but not necessarily fluid: you have to not only pay attention to what's being said but truly analyze it's meaning. Words like "Olignostic" and "Antedeluvian" don't exactly roll off the palette (and they shouldn't). Monocyte isn't a casual endeavor and it's going to provoke a reaction from the reader.
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| Monocyte #1 all rights reserved |
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| Monocyte #1 all rights reserved |
Never having been one to spell everything out about a book, I'm not
 |
| Monocyte #2 all rights reserved |
even sure I could if I wanted to here; readers are going to have to figure everything out for themselves. Some will like it and some won't, but it's the simple act of being so non-traditional that is going to invoke reactions ranging from having your ass kicked to that of scratching your head.
Hopefully it'll do a lot of both to people.
And that's where the responsibility factor I mentioned comes in to play. Are we as ready to break from tradition like we, as collective readers, claim to be? Are we prepared to go outside of our comfort zone and try something that we know isn't going to read like that book we've been reading for years?
These are the thoughts that two issues of Monocyte have brought me to, and I like that.
Ghanbari and menton3 set out to break from the norm with this book. That fact is apparent by it's presentation, it's subject matter and it's unwillingness to give. The story is shrouded with a societal doomsday that sludges it's inhabitants through a hopeless landscape. Power achieves power and this is the way of things in Monocyte. Those who don't have enough want more and those that have the most will do anything to keep it.
Then readers are given one that comes along wishing to destroy it. A figure that not only has the desire to break what is seemingly unbreakable, but to do so without remorse or hesitation. The endless phase of permanence that's been established by Monocyte's inhabitants are suddenly faced with what they least expected: Change.
I'd say there's a bit of life imitating art right there, and the book that Kasra Ghanbari, menton3 and IDW Publishing have delivered has taken a decent swing at the comic world's jawline.
One person is going to love this and one person is going to hate it; but it would be a shame if both people didn't even know about it. Two issues in and I can't predict what's going to happen or how it's going to get there, but I think the very existence of this comic is to be applauded.
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| Monocyte #2 all rights reserved |
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| Monocyte #2 all rights reserved |
Wednesday, September 14, 2011
Wed Re-Cap: Criminal Macabre: No Peace For Dead Men
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| Criminal Macabre: No Peace For Dead Men |
If you're already a fan of the Criminal Macabre books then there's no point in me preaching to the choir. I'm guessing that even the passing fan is going to read No Peace and come away more excited about the property after finishing today's tale. The best thing I found about it though, is the fact that this issue is a surprisingly great jump-on point for any that have never read these comics. Steve Niles weaves a perfect balance of telling a new tale that continues where (and who) his substance abusing Detective is, yet still turns the page towards the new to come.
Even if you've never read a single page of Criminal Macabre, it's world is established clearly here. And though you'll read things that you know are an obvious reference to past stories; you'll find it doesn't matter. All the tools you need as an intro are here for you AND you still get a good story to read.
Some folks complain constantly about whichever monsters they feel are "played out". Whether it's vampires, zombies, or other creepy crawlies; Criminal Macabre is for those of us that love our monster stories regardless of the trend of the moment. Everyone that grew up playing in that sand-box had their favorites: Dracula, Frankenstein, The Wolf-Man... it always lead to the unbridled joy of "MONSTER FIGHT"!
Criminal Macabre taps in to the excitement that, I have to admit, has never left me since my childhood. Cal and his ghoul friends mixing it up against the vampires, werewolves and other bumps-in-the-night; told for an adult audience by a guy that has obviously kept that sand-box in his back yard all these years.
Adding artist Christopher Mitten to this world is also really adding fun to Niles' creations. Under Mitten's skill these characters have a grittiness in their demeanor that fits their bloody world wonderfully, and colorist Michelle Madsen brings a balance to everything else.
There's no question to me that this creative team should stick together and run with this. Yeah, Dark Horse, I was talkin' to you.
Criminal Macabre: No Peace For Dead Men is $3.99 and I think you monster lovers should give it a try and see how it sits with you.
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