Wednesday, February 22, 2006

He makes my brain work...DREW SMASH!

He makes my brain work...DREW SMASH!

If any comic lover's haven't checked out any of Chris Ware's work, you should. He's one of the 15 Masters of American Comics subjectively chosen by MOCA and deservedly so. His use of the panel to break up page space into sometimes postage stamp-sized (sometimes smaller) chunks is as frustrating as it is fascinating. Go for the obsessive fractioning of space, stay for the pretty colors and impeccable design. He sells his work cheap, too.

ChrisWare-alize!
  • Quimby Mouse
  • The Acme Novelty Library (I don't actually own this one, so I can't personally vouch for it.)
  • Jimmy Corrigan: The Smartest Kid on Earth
  • The ACME Novelty Library #16 (This one's also known as Rusty Brown, and I absolutely love the way it's designed. It's a great package, especially for just over ten bucks.)

    Watching:
  • Shoot the Piano Player
  • Dolemite

    Listening to:
  • Be, Common
  • One Day It'll All Make Sense, Common
  • Anansi Boys CD

    Reading:
  • The Authority Vol. 3: Earth Inferno and Other Stories (Finished.)
  • The Authority Vol. 4: Transfer of Power (Finished.)
  • Runaways Vol. 1: Pride and Joy (Finished.)
  • Runaways Vol. 2: Teenage Wasteland (Finished. [For some reason Amazon doesn't have a link to the digest-sized volume that I read, so I provided a link to the volume one of the hardcover that contains digests 1 & 2.])
  • Jimmy Corrigan: The Smartest Kid on Earth
  • Runaways Vol. 3: The Good Die Young
  • Captain America v5 (issue one - current)
  • Fell (issue one - current), by Warren Ellis and Ben Templesmith (...which has no centralized website that I could find.)

    D


  • Sunday, February 19, 2006

    Countdown to Multiple Infinite Identity Crises!

    Countdown to Multiple Infinite Identity Crises!

    Due to some screwy, madcap mix-up with Blogspot, this post got lost in the shuffle. In manually restoring this post, however, the newest post involving me and a comics exhibit at a museum got bumped down beneath this one. So, to read the NEWEST post, scroll down to the post beneath this one. I hope that confuses everybody.

    (NOTE: I'm not going to check for any grammatical or spelling errors because I'm hungry. Please excuse any mistakes because my attention was divided between writing this post, ignoring my grumblimg stomach and watching the "Battlestar Galactica" miniseries [which is badass].)

    I recommend to anyone that loves the comics medium to read the precursors to DC 1985 Crisis on Infinite Earths, the three volume series (and more coming) of Crisis on Multiple Earths.

    The story goes like this: Garner Fox, writer of both DC's Golden Age of superheroes--which were discontinued as Western, war, crime, romance and other genre comics gained in popularity as interest in the superhero genre faded--and DC's Silver Age superheroes waxed nostalgic and wanted to combine both sets of heroes into one universe. Gardner Fox ran into a problem, however, when trying to combine the Golden and Silver Age universes; he'd already established the Golden Age superheroes as fictional within the Silver Age universe.

    Will Fox be able to combine his two groups of heroes in time?? Stay tuned to find out...!

    Meanwhile...
    (Why did superheroes rise again in popularity, you ask? The short answer is The Bomb. After Little Boy and Fat Man hit, it became evident that no mere human could fight against forces of that magnitude. Remarkably, the Silver Age heroes still defeated such powerful forces by punching them. It's low-tech, but apparently it got the job done at the time.)

    Back at the ranch...
    We left our hero, Gardner Fox, on the brink of combining two different ages of the very universe!

    Fox's ingenious work-around to the problem was to propose that there were two Earths, and they occupied the same points in space but vibrated at different frequencies. The Silver Age heroes occupied Earth-1 while the Golden Agers occupied Earth-2. Not only did the Earths exist in the same space at different frequencies, both Earths resided in two distinct universes that occupied the same space at different vibrational frequencies. By altering the vibrational pattern of one's own being, one could travel to this other Earth by matching one's own vibrational pattern to that of the alternate Earth. Follow? Good.

    Fox further supposed (eventually) that one could have an infinite amount of Earths/universes "stacked" within the same points in space that all vibrated at their own respective frequencies and had their own respective versions of DC superheroes. (To my limited knowledge of the DC multiverse, there was only one Earth without DC heroes. Ours, Earth-Prime.)

    Of course, in Crisis on Infinite Earths the DC multiverse collapsed down to a universe, but that's another story (one I, sadly, have yet to read).

    And despite that little tangent, anyone who loves comics should read Fox's Crisis on Multiple Earths. It's cheesy, sure, but the scripting is also ingenious and the artist, Mike Sekowsky, with his almost woodblock style composes every frame perfectly and allows the narrative flow with great economy and grace. Go read it.

    Watching:
  • "Battlestar Galactica: The Miniseries"
  • 11:14
  • "Paranoia Agent - Enter Lil Slugger"
  • "Paranoia Agent - True Believers"

    Reading:
  • DC Universe: The Stories of Alan Moore (Finished.)
  • Swamp Thing Vol. 1: Saga of the Swamp Thing (Finished.)
  • Jimmy Corrigan: The Smartest Kid on Earth
  • Crisis On Multiple Earths, Vol. 1
  • The Comics Journal, no. 271

    D


  • "Here at MOCA, we encourage our visitors to enjoy and appreciate the art on our walls BUT ONLY UNDER OUR STRICT SUPERVISI-- DON'T TOUCH THAT!"

    "Here at MOCA, we encourage our visitors to enjoy and appreciate the art on our walls BUT ONLY UNDER OUR STRICT SUPERVISI-- DON'T TOUCH THAT!"

    So I went to the Masters of American Comics exhibit at MOCA yesterday and--while I love the idea of comics art as high art in principle--I didn't like the MOCA execution of the idea. There was something slightly nauseating seeing comic art on stark white walls behind glass. It felt like visiting comics in prison. I should've been interacting with them via a closed-circuit phone system.

    I also got in trouble...three times. Once I answered my phone to let a friend of mine who was meeting me at the exhibit know I had, indeed, arrived. Okay. That's my bad. I should've known better than to answer the phone in the exhibit itself. Ten minutes after that a different museum security person came up to me and asked me to check my bag back at the main desk. So, okay, fine. I went back to the desk and checked my bag. Fine. Whatever. Probably should've told me something as I entered, but fine. Twenty minutes later a third security person warned me to stop pointing at the exhibit. Pointing. Don't do that. Don't point at the art. We left shortly thereafter.

    When one takes a piece of work out of its original context to place it in a museum setting, one must be cognizant of how this change of context will change the art itself. I can tell you that, while Will Eisner's The Spirit and anything by Jack Kirby held up under the context, most of the work suffered from the change from tangible sequential narrative to a sterile single page on a wall.

    If you love your comics, people, hold them, don't frame them.

    Reading:
  • Archie's Double Digest Magazine, no. 167 (Finished.)
  • Crisis On Multiple Earths, Vol. 1 (Finished.)
  • Point Blank (Finished.)
  • The Authority Vol. 1: Relentless (Finished.)
  • The Authority Vol. 2: Under New Management (Finished.)
  • Jenny Sparks: The Secret History of the Authority (Finished.)
  • The Authority Vol. 3: Earth Inferno and Other Stories
  • Jimmy Corrigan: The Smartest Kid on Earth
  • Runaways Vol. 1: Pride and Joy


    D