In case you need a refresher, since it’s been awhile, I’m going to take a brief look at what happened in the last series of Sage Escape comics before we jump into the brand new issue that just came out.
Previously: Sage survived the destruction of her village by Friendly Corp and seeks revenge. She travels to Mars and learns the person responsible for the media cover up was Elvis Cray. She assassinates him and is hunted down for it. We last left her trapped in an emergency escape pod, falling endlessly through space.
We pick up in the midst of a final conflict between the salesman assassin empire and the human resistance. Two ships on opposite sides of the conflict will discover the escape pod which holds our hero, Sage. Who will get to Sage first? And what will she do when she finds herself caught in the middle of the war? The first chapter in the “Equinox” storyline sets up what promises to be another grand adventure with Sage. This issue came out April 15th, so use your tax money and join us, won’t you? It looks like we’re going to be in for a treat. I’d hate for anyone to miss all the excitement.
This review doesn’t come with a trigger warning, that just happens to be the name of Neil Gaiman’s newest short story collection, which was released in early February. As usual, Gaiman delivers a unique cavalcade of stories marching in a variety of different formats. Stories in the first and third person, stories told as one half of an interview transcript, and stories that may read traditionally, but always don a twist. There is truly a wide variety of fiction here, for which Gaiman apologizes in his own introduction.
“I firmly believe that short story collections should be the same sort of thing all the way through. They should not, hodgepodge and willy-nilly, assemble stories that were obviously not intended to sit between the same covers… This collection fails that test. For this failure, as for so much, I request your indulgence and forgiveness…”
Trigger Warning amasses a collection of stories that were not meant to live in the same world, some of which were already given worlds of their own. “The Truth is a Cave in the Black Mountains” and “The Sleeper and the Spindle” already have their own bona-fide illustrated versions. “A Calendar of Tales” assembles all of the material that Gaiman wrote with the help of Twitter and BlackBerry. “Feminine Endings” has been around for ages, and any Gaiman fan has probably been aware of it since Neil first hooked up with Amanda Palmer back in 2009.
Still, there is a character to Gaiman’s writing that remains consistent. An oddness, a strange frankness about the world, that ties these disparate stories together. They are all so very Gaiman-y, which means, in some strange way, that they are all very much ours.
The stories twist and turn and surprise you, in their own way. Some of them are surprisingly funny, like “Orange,” the story of a girl answering questions about her sister turning into a god. [This happens to be one of my personal favorites from the collection]. There are the takes on classic horror (“Click-Clack the Rattlebag”), a Doctor Who story (featuring the 11th Doctor and Amy, so what’s not to love?), a Sherlock story, and a tale following the American Gods hero, Shadow. Then there are the heart-breaking new characters, making their first and only appearance in this book.
It is a worthwhile collection that possesses the ability to turn any short-story naysayer around.
Comic Review: A Tale of Sand by Jim Henson and Jerry Juhl–illustrations by Ramon K. Perez
Review by Prof. Jenn
A Tale of Sand is a screenplay written by the late great Jim Henson, which never saw the light of movie day. It was written back in 1974, the heyday of Henson’s immense creative output, and one can very much experience said creativity by reading A Tale of Sand. To have this surreal screenplay illustrated sketchbook style by an artist such as Perez only enhances the experience–I opine that this is better as a sketchbook-cum-comic than it would have been as a 1970s film.
The story follows Everyman Mac, who is on a quest for he knows not what (except that he really wants to light that last cigarette). He meets strange people and places as he crosses the desert, some of which are attempting to hinder him, not the least of which are the sinister Patch and mysterious Blonde. When Mac finally reaches the end of his journey, it’s not at all what he (or the reader) imagines.
The illustrations are pleasingly sketchbook-like, some unfinished and some inked to perfection. It adheres well to the odd dreamlike quality of the adventure. There is plenty of backstory about the project in the forms of introductions and afterwords (though in the Afterword, we read about how the lettering was created and handled, and we see colorized, more finished versions of some of the pages–did I miss something in my Press version of the book?), which again gives us another window into the fertile mind that was Henson’s oeuvre, including and beyond the brilliant Muppets.
Bottom Line: bar my confusion as to whether I’ve been given a different version, I still highly recommend A Tale of Sand.
Comic Review X2: Edgar Allan Poe’s Spirits of the Dead and Springheeled Jack
Reviews by: Prof. Jenn
Edgar Allan Poe’s Spirits of the Dead by Richard Corben
The well-thought-out introduction to this collection states that Poe’s oeuvre is one of the most frequently comic-ized bodies of literature around. The dark subject matter and often taut tension makes for a good image-to-text pairing, I would guess, and the mysterious nature of much of the subject matter lends well to the interstitial storytelling of comics. Being able to read between the frames is especially appropriate for the unhinged characters and strange plots of Poe.
If only this collection rose to the occasion.
What I liked:
- The androgynous, Faerie-ike narrator character, Mag, who looks as though she stepped right out of Brian Froud’s Faeries, and who links all the stories together like a TV host.
- The brief, sometimes one-frame flashes of a dream-like world within a real one. It’s an entertainingly jarring effect, like in films Natural Born Killers or Fight Club.
What I didn’t like:
- The art is so grotesque as to be distracting to the storytelling. In a Poe collection the emphasis should be on a twisted dream world or world of madness, as graphically violent as the stories can sometimes get. The art doesn’t evoke Poe, but goes beyond the grotesque into the just, well, gross.
- While I can appreciate that putting the Poe stories (and especially poems) into a different medium requires some adaptation, blatantly changing the endings to stories, or rewriting events is taking adaptation too far. The worst culprit of this treatment is “The Raven”–not only is it no longer in verse, but in brutal, sparse prose, with a completely different outcome to the climax of the narrative. What was a psychological thriller (with a verse rhythm well-suited to illustration) turns into a badly written gory slasher film.
Springheeled Jack by David Hitchcock
It’s not every day you see a black and white graphic novel, and it’s rarer still when it is richer than many full color ones. Springheeled Jack is a masterful graphic novel which takes a real legend from Victorian England and spins explanations (and other literatures, characters, etc. from that era) into a compelling Twilight-Zone-like story.
This book won an Eagle Award for Favorite Black and White Comic, and it’s easy to see why. The richness of the grayscale matches the London fog of the setting (and the morose mood of our protagonist) perfectly, and the detail in each panel is astounding. Those who like to read the fine print in their comics, both in words and in images, will enjoy savoring each page of this book, even as they can’t wait to turn said pages, to see what will happen next.
The terror of Springheeled Jack was an unsolved mystery that pervaded the mid-1800s streets of London–what devil-like horror was it that killed and disappeared so many people? This story takes a plausibly creative sci-fi turn on the “true” events and also ends on an amorphous enough note that we can hope the story will continue.
Bottom Line: I highly recommend Springheeled Jack for comic lovers, steampunk aficionados, and anyone else who likes a thriller with sci fi flavors.
We have reached the end of the series and…I’m not sure I can say I am satisfied with the twist. In storytelling, we commit to a plotline, and when we learn that the journey has not been as it seemed, there is often a sense of betrayal. While it wasn’t quite like that in this series, there was a tinge of the feeling, and that brought about a range of mixed emotions as we closed the cover and thought over what it all meant.
We started off the issue with memories, but also a foreshadow. Thomas is recalling what he was doing during 9/11 and how his girlfriend was in one of the towers. You remember his girlfriend, the love of his life, Susie? Yes, commit her to memory, because she plays a larger part in this series than first realized. But that reveal comes later.
Thomas arrives at the scene of the remembrance and plays up the crowd with an overabundance of showmanship. It feels wrong, disrespectful, but it’s for a purpose. By stirring up the strong emotions, he can fuel the spell and release the souls. And by utilizing one more item in his family’s bag of tricks, he even manages to escape the cops who come after him, giving him long enough to go through the ritual and transport the soul box over to Emma while he is taken into custody. She ensures the souls were released to heaven. All seems to be going according to plan.
Though, I wonder if the assassination attempt was quite foretold. When an angry bystander pulls a gun on him, ranting that Thomas must pay for his sacrilege, not only does Thomas get shot, but Marcus as well when he tries to protect Thomas from the second bullet. But they’re alive, quickly transported into an ambulance, where Thomas says he just wants to get back home to Susie. That’s when everything you thought you knew about this story gets turned on its head.
We’ve seen Susie throughout this series, joining Thomas on multiple occasions. They were a happy couple, committed to one another. Except, it was all a lie. For ten years, Thomas has been living in a hallucination. Susie hasn’t been with him, because she’s been dead since the planes hit the towers. And if that weren’t bad enough, the morning of the attack, she had just revealed that she was pregnant. Piling on angst after angst.
So, how does this make us feel as readers? I am all for twist endings, and I enjoy when I can be surprised. But, there’s a difference in twists and deception. The latter is what I’m feeling now. Perhaps I’ll feel different once it’s sunk in, but for now, betrayal seems a good summary.
Rating: 3/5 Stars
With 2014 beginning to fade from recent memory, it’s about time I write about my favorite graphic novel of the preceding year: Bryan Lee O’Malley’s book Seconds. Released over the summer, it is O’Malley’s first published work since the last Scott Pilgrim installment was issued in 2010. The story follows Katie, a young chef trying to open another restaurant so she can leave Seconds (her first culinary establishment and the place where she lives in an apartment upstairs). After a dramatic incident in which a young waitress gets injured, Katie discovers her resident house spirit, who gives her a mushroom and an opportunity to erase a mistake and rewrite events. Soon afterward, Katie finds a patch of these mushrooms and begins abusing their power, despite Lis, the house spirit’s insistence that they should only be used once per person.
The book itself is beautiful. The half dust jacket and cover boards have different designs, giving it a unique style. I’m also a sucker for any novel that takes the color of the panel lines into account (props to the colorist, Nathan Fairbairn).
Seconds differs quite a bit from the Scott Pilgrim series, and more resembles his first graphic novel Lost at Sea. The book is a single, contained story, rather than a series released manga-style. The story also incorporates a narrator, though there is some witty banter exchanged between it and the main character, implying that the narrator may be an inner voice of Katie’s. These quirks bring the story to life. There are even some nods to Scott Pilgrim for O’Malley’s dedicated fans. (Scott and Ramona are eating in the restaurant on page 259, for example).
One of the Second’s flaws is its main character, which is admittedly sort of the point–she is flawed to a fault. As she digs herself farther into trouble by continuing to eat the mushrooms that erase her numerous mistakes, it seems to take an unbelievable amount of time for her to learn from these errors. She is hard to root for. Katie differs even in style from the others. O’Malley’s style is cartoony, but Katie’s design takes it to another level, as she is the only character with gravity-defying anime hair.
There is nothing groundbreaking in Seconds; no new story elements or decisions that set it far apart from other works, but it has just the right amount of humor, quirk, and design to make it pop. I want more graphic novels like this, with a single developed story that plays with narrative styles, and some nice resolution at the end. Seconds is worth checking out, and not just for Scott Pilgrim fans.
Book Review: A Dance in Blood Velvet by Freda Warrington
Review by Prof. Jenn
The re-publishing of Warrington’s lush vampire epic continues with A Dance in Blood Velvet–a story that takes place after They Lived Happily Ever After. Because hey, vampires really do have literally the opportunity to do so. However, as former humans with every human foible still intact, it’s not so simple. Relationships become tautly intertwined as Karl’s former companions reawaken and challenge what Charlotte has found and begun with her new life as a vampire. Charlotte herself is learning what sort of a vampire she is becoming as well as dealing with searing jeolousy which finds manifestation (or retaliation?) in her obsession with a ballerina.
Warrington has a gift for portraying realistic strong feelings and is an excellent author of character. Because of this, what we get in this sequel is not over-ornate romanticism but powerful driven characters, going for their objectives no matter what. The reader finds it hard to put the book down, as long as it is, because she must find out what happens next. As far as how it reads as a sequel, I can imagine someone coming into this story without having traveled with the characters before, as there is enough explanation (without info dumps) and opening discussions between Karl and Charlotte that one could hit the ground running without having read the first one. Though, you’ll want to read the first one too.
This book ends with a potential serial villain much in the vein of Batman’s Catwoman–definitely an antagonist and dangerous, but surprisingly not always not on our heroes’ side…and we are left with the idea that yes, we will be seeing this villain again.
Bottom Line: this series is extremely well written–A Dance in Blood Velvet is a taut, tense, exhilarating read.
Comics Review: Crime Does Not Pay vol. 8: ed. Philip R. Simon
Review by Prof. Jenn
The 8th volume of vintage comics, Crime Does Not Pay, is an entertaining collection of not only vintage true crime comic stories but a delightful and instructional collection of vintage ads as well. Remember when I reviewed volume 5? Well volume 8 is even more entertaining as well as historically educational.
The true crime stories in this volume are more gruesome than in volume 5, and more diverse, as we have female villains in this as well as your customary male ’30s-’40s gangster types. The ghostly narrator character is back, celebrating his acolytes’ descent into worse and worse malfeasance, until their comeuppance causes the repeated declaration, Crime Does Not Pay. The art is colorful and newspaper-y in style, and the ads are a continued delight in historical study and odd nostalgia, as are the letters to the editor. Two dollars for a published letter? Count me in…
Bottom Line: The Crime Does Not Pay series is a fun read and an excellent exercise in edutainment.
The 9/11 memorial is quickly coming up, and Thomas is determined to be there…even if it means breaking the law to do so. I feel like the end of this series can only be a success for him, but at times I doubt the through line.
When we start the issue, Thomas is still being detained down at the police station. The detectives on his case are of no use, and are trying to keep Thomas in custody overnight, just long enough to ensure he misses the ceremony. His lawyer, Mr. Hughes, has decided to take matters in his own hands if Thomas has any hope of getting out. Hughes distracts the detectives long enough for Thomas to do some magical slips out to freedom.
This is one of the many times I have issues with the “random magical item there to save the day” but it also underlies a problem with the universe as a whole. At times, Thomas seems to be using his position to his own financial advantage, but at other times he keeps all these magical ‘get-out-of-jail-free’ abilities pushed to the side until he can flash them in an emergency. I was hoping for more consistency as we went on, but I don’t feel like we’ve gotten it. Small issues, though, and things I can overlook for the grand scheme of things.
Upon Thomas’ escape, he calls the mayor to tell him to call off the cops, but the mayor refuses. Then he tries to get up with Emma Caldwell, but she’s a little busy at the moment. Instead, he’s left to fend for himself, and dealing with the public is going to be quite difficult. He gets in a fight with the locals on a ferry and then they throw him overboard. Cue the memory flashback that enforces the lesson he learned way back then – he needs to get back up and keep fighting, even when it seems he’s already lost. He takes that advice now, and onward we go.
Out of the river, he goes to see Arnica, who has a client (Albert) tied up and gagged, as she was in the middle of a scene. She lets him use her phone to call Marcus and Thomas asks for help – show the live feed of the exorcism on the blog so that he can harness the power of multiple people believing to make the magic stronger. With that done, he heads out, with The O on his trail. Emma’s having the same problem, and they both manage to do away with them, temporarily for Thomas and seemingly permanently for Emma. I want to know what she did on that beach, because she’s got some serious power behind her to achieve such a feat.
As we end the issue, The O follow Thomas to the bar he had previously mentioned in a tweet, and thankfully a group of fans eventually show up to dissuade a bloody showdown. The group puts off The O temporarily, though Thomas vows to destroy them once he’s done with the 9/11 event. Will he even make it through the event? And if he does, is he in any place to follow through on his threat? We’ll have to wait and see how it all turns out.
Rating: 3/5 Stars
Book Review: Chicks Dig Gaming ed. by Brozek, Pearson, Smith?, & Rabe
Review by Prof. Jenn
Books of this nature can easily fall into the trap of redundancy. Witness my review for Queers Dig Timelords, another anthology of this ilk, and indeed in this series. Chicks Dig Gaming does not, however, fall prey to the trap. The collection of essays span from wicked satire to sweet nostalgic memoir, to a celebration of gaming in general or certain games, a recounting of a particular gaming event, to analysis of a game or game trope, a recounting of the history of video games, to the ever-important discussion of the unfair and even dangerous treatment of women in the gaming world. This collection doesn’t only discuss video games, but board games, LARPing and pen-and-paper RPGs are discussed as well.
My problem with Queers…, as you recall, was that the essays all had the same tone and even the same subject matter (Doctor Who changed my life because…). This, especially read in big sections in one sitting, started to grate on the nerves, or at least became repetitive fawning. Chicks...doesn’t do this, as each essay has an author voice distinct from every other, and the topics at hand vary widely. I commend the editors for this, as it’s an entertaining as well as an informative read throughout.
Highlights of this collection include: a satirical look at the lack of boys in video gaming and what we can do about it, a paralleling of Mario to a bodhisattva and the Mario games to Buddhism, how one author who didn’t like video games at all tried Portal, and a delightfully written description of how another author learned to get cutthroat in Eve Online.
Bottom Line: this collection is highly recommended for anyone who loves any games.