Blog From The Bench

After an encounter with a seemingly alien artifact, New Yorker Mitchell Hundred gained the mental power to communicate with and control machines. For a while, he donned a jet pack and a mask and fought crime as “The Great Machine.” But he’s since retired from the vigilante life, and now he tries to save New York City in a different way: as its newly-elected mayor. That’s Ex Machina in a nutshell, the story of a superhero turned politician.

Brian K. Vaughn is my current favorite comic book writer. His work on Marvel’s Runaways has been beyond amazing (that will be another blog entry in the future), and his work on Ultimate X-Men, The Escapists, and especially Y: The Last Man has also been outstanding. The guy has continually been able to create fascinating characters, witty dialogue and twisty-turny plots that keep readers guessing. He’s a major talent with a style of his own and I hope more folks out there check out his stuff.

In Ex Machina, Vaughn makes it look easy. Each line of line of dialogue is so character-specific that I can “hear” the characters’ voices in my head as I read. This super mayor is surrounded by a cast of equally quirky characters, and Vaughn gives each a moment to shine in each story arc. Also, another of Vaughn’s talents is that he’s able to track down all sorts of odd trivia--the guy must be a real research rat--that he uses to punch up the dialogue and the characters. And yet he does this without it ever feeling forced or unnecessary. Like I said, he makes it look easy.

In this fourth volume of the series, titled “March to War,” Mayor Hundred has to deal the aftermath of violence breaking out at an anti-Iraq war rally. Is it a terrorist attack, or has one of Hundred’s old foes come back for revenge? Speaking of old foes, this volume also reprints an Ex Machina special, which is an extended flashback to the time when Hundred, during his masked crimefighting days, met the man who may or may not be his arch-rival, one with powers both similar and different to his own. Both stories show a lot of wit, character development, and surprises. If you’re new to Ex Machina, though, I enthusiastically suggest starting with volume one instead of here. Volume four is some solid storytelling, but you’re better off coming to it already knowing who the characters are.

Those who are familiar with Tony Harris from his work on Starman in the ‘90s know how good he is. His style combines old school art deco with modern tech, making him the perfect artist for a New York story. Chris Sprouse fills on the special and does a similarly excellent job. The change between artists wasn’t jarring at all.

My only complaint about this volume and the series as a whole is that there’s still no answer to the question, “Why doesn’t Mitchell Hundred just ask ATMs for all their money and become a millionaire?” Other than that, it’s pretty much one of the best comics made today. For more info about Brian K. Vaughn, visit www.bkv.tv.

Allegedly based on an unused and forgotten creation by late comics legend Jack Kirby, Galactic Bounty Hunters is a throwback to good old fashioned sci-fi adventure, when things like rocket ships, laser guns, and giant lizards took precedent over stuff like lengthy dissertations about quantum physics and astronomical anomalies. It’s not brainy sci-fi, but it is fun sci-fi. Imagine if Star Wars was a lot cheesier than it is, and you might get the picture.

The first issue begins when we meet Mainframe, leader of the titular bounty hunters, in pursuit of a deadly alien named Slugg. As the action builds to a climax, suddenly there’s a twist, and we see Mainframe in a new light. I’m avoiding spoilers here, but a crisis arises that involves our hero traveling around space reuniting his fellow bounty hunters, which include a reptilian brute, a sexy feline, and a hovering cloaked robot.

Jack Kirby’s Galactic Bounty Hunters is published by Icon, which is actually a division of Marvel Comics. There are four writers and five artists credited, as well as five names listed under “developed by,” so it’s not like this is one person’s vision, but I’ll be damned if it’s not a lot of fun to read. The characters, settings, and action are all larger-than-life, in that big and broad Jack Kirby style. There’s also a jokey tone to the whole thing, with comedic bits like a drunken robot or an alien tough guy wearing an apron. As silly as that sounds, it all fits with the overall lighthearted adventure tone of the series.

The question here is: how much of this actually came from Kirby himself? I got burned by Marvel’s Sentry hoax (they claimed the Sentry was a long-lost Stan Lee creation, and this was later revealed to be nothing but a marketing stunt), so I’m cautious about any new characters that are alleged to be unused creations from back in the day. That being said, the comic is a blast to read, so I suggest readers enjoy it as a tribute to Kirby, and not as a genuine Kirby work.

So if you think today’s comics are too dark and morbid, check out Jack Kirby’s Galactic Bounty Hunters for some retro fun.

No, all you pervs, this isn’t Satanic porn.

It’s a webcomic, as in an original comic book or comic strip that you read on your computer screen, instead of on paper. Despite several years’ worth of work by hundreds of talented creators, webcomics have yet to take the world by storm. To date, it still appears that only ones reading webcomics are other webcomic creators. Well, perhaps a few faithful voices, such as yours truly, can help spread the word about some good ones (even when writing about comics at a DVD review site).

The Devil’s Panties is a semi-autobiographical strip by writer/artist Jennie Breeden. She’s cast herself as the main character, with her siblings and roommates rounding out the supporting cast. There’s also the classic gag of an angel on one shoulder and a devil on the other influencing Jennie in various ways. In this case, though, they appear to represent Jennie’s inner thoughts more so than the classic “good vs. evil” debate we expect. This, naturally, lets Breeden get away with having the angel say and do all sorts of non-angelic things.

Unlike a lot of the whiny “poor me” autobiographical comics out there, Breeden's is a full-on comedy, keeping the feeling upbeat throughout. She shows a real knack for wringing laughs out of ordinary, mundane situations. Now matter how much crap Jennie has to put up with, she faces it all with a good attitude and some sly humor. This is helped along by her artwork. Although some might argue that her art is a little too rough, I say it’s filled with personality and energy. The facial expressions are especially good, which is vital in a humor comic.

Like many webcomic creators, Breeden sticks to the “joke-a-day” format. As a result, her comedic timing occasionally seems rushed. As much as I’ve been enjoying the comic, I’d love to see Breeden tell a longer story with her creation, giving the humor and the character development a chance to breathe a little. But that’s probably just me.

So try on The Devil’s Panties if you’d like a few slice-of-life laughs. It’s at http://devilspanties.keenspot.com, or, if you must read your comics on paper, there are three print issues--reprinting material from the web--available from Silent Devil. (And before anyone asks: No, Breeden and I aren’t friends or anything. I just discovered her comic recently, I liked it, and thought I’d let folks here know about it.)

That being said, hey Jennie, if you’re reading this, can I have a date with your little sister?

For the longest time now, I’ve been thinking about using these blogs to write about comics, which, along with movies, are one of my three great loves. (The third is, of course, roller derby.) I know this is kind of presumptuous of me, because I’m not the only judge who's a comic reader, and that comics have very little to do with DVDs, but I’m going to give it a shot anyway.

Civil War is currently the big crossover event at Marvel Comics. A "crossover" is a huge, multi-part epic in which all the various heroes come together in a single story. The first three issues are out, and I picked them up this week. This time, the big event isn’t a world-threatening villain, but a political issue dividing all the superheroes down the middle, forcing them to duke it out with each other. It’s a simple enough concept, but one that promises lasting repercussions, as these things so often do.

I’m still not entirely sold on Mark Millar as a writer. I’ve enjoyed some of his work, while I’ve failed to see what the excitement is about with others. Civil War is equally hit and miss. Millar really knows how to put together a big, cinematic action set piece, aided of course by artists Steve McNiven, Dexter Vines, and Morry Hollowell. Unfortunately, the core concept driving these heroes to battle one another seems forced, as does the reality TV-inspired incident that kicks the whole thing off.

Speaking of “forced,” one of the most-talked-about elements in Civil War has been a life-changing decision made by good old Spider-Man. I have to admit, I wasn’t shocked at all by what happened (notice how spoiler-free I'm being), because in my heart of hearts I know it won’t last. There’s either a big fake-out coming at the end of Civil War, or a year from now a new writer will take over and re-write history (again!) so that Spider-Man will go back to being the same old Spidey we all know and love. This also applies to that hideous red and gold costume he’s currently wearing.

On the plus side, Millar has wisely made Captain America the emotional center of Civil War, and I’m really enjoying all of Cap’s scenes. It looks to me like Millar really “gets” Captain America. Like DC’s Superman, Captain America can be a tough character to write, because he’s always the staunch do-gooder. Millar makes it work, though, by giving Cap something to believe in and to fight for, even if that something is a controversial one.

So there you have it. Three issues in, I’d recommend Civil War more for the butt-kickin’ action than the credibility-stretching plot, but at least it’s a cut above a lot of limp, unnecessary crossovers we’ve seen in recent years.

Shadow Skill v.1
ADV Films
Release date: Nov. 15, 2005
Amazon

In the mythical kingdom of Kurada, no one is more famous than the Sevalle, the most powerful martial artist in all the land. In various towns and villages, rumors spread that the current Sevalle has died, and a new one has been chosen. Meanwhile, Elle Ragu and her brother Gau ride into town, looking for work. Elle is a fantastic fighter herself, especially when various supernatural monsters or nefarious thieves show up. It turns out the that unsuspecting Elle is in fact the new Sevalle, but that high and mighty stature isn’t helping her pay off her debts.

Shadow Skill mixes genres left and right, and yet it seems very little is new here. The big draw is the hand-to-hand combat, featuring the exaggerated action anime is famous for. There’s also the fantasy element, involving raging monsters and characters casting flashy spells. That makes comedy the third element to the series. Elle, the most famous person in this world, spends money the second she gets it, with little thought to the enormous debts she has compiled.

This disc, featuring the series’ first four episodes, is entertaining enough, but there’s not much new here. Characters ride into town, start some mischief, get into an epic battle, and then move on. It’s well-animated and the voice acting is appropriately enthusiastic, but most anime viewers are likely to shrug it off as the same type of thing they’ve seen before. Perhaps, as the series progresses, it will reveal more about this world, and what it means to be a Sevalle. There is mention of invading forces from another kingdom, so it’s possible there is an overall arc to the series. But it doesn’t get started here. Picture and sound on the disc are great, in its original full frame aspect ratio, and 2.0 tracks in English and Japanese, with English subtitles.

If you like your fantasy adventure tales with a light touch, such as the kind found in Hercules: The Legendary Journeys, then give Shadow Skill a rental. But if you’ve spent months pouring over every little detail of the last few episodes of Neon Genesis Evangelion trying to find some sort of meaning to it all, this might not be for you.

For more information, go here.

Count Duckula
Capital Entertainment
Release Date: Oct. 4, 2005 (hey, that’s this week!)
Amazon

From the creators of Danger Mouse came this genuine oddball from the late ‘80s/early ‘90s. Count Duckula is the latest in a long line of deadly vampires, but a botched resurrection spell has made him less than fearsome. Instead of a vicious bloodsucker, he’s now a clumsy vegetarian. Duckula’s only friends are his butler Igor, who longs for the good old days of terrorizing the Transylvanian countryside, and his gigantic, destructive, yet well-meaning nanny.

I recently had the opportunity to view a publicity screener containing only the first two episodes, but even at two, a formula presents itself for the entire series. While hanging out in the castle, Duckula and Igor get into a discussion that eventually becomes about another part of the world. Meanwhile, some treasure seekers and/or vampire hunters are trying to get inside. Thanks to a magic mirror, Duckula transports the entire castle to the foreign land in question, and numerous misadventures follow. The first episode finds our heroes and their adversaries in Egypt, wandering around a boobie trap-ridden pyramid. Then, it’s off to Spain and right into a bullfighting ring.

Count Duckula was a combined American and British production, so you can imagine how the tone of the series is mixed. But in this case, it’s a good thing. There’s over-the-top slapstick in the Warner Brothers tradition combined with the dry line delivery British humor is known for. This what I like to call “summer stock theater” comedy, with a reliance on mistaken identities, slapstick, the occasional musical number, and puns, puns, puns. If a joke is too stupid for you, don’t worry, because another one is only seconds away.

The look of the series is unique. The characters are very simply drawn, but the backgrounds are highly detailed, with odd angles and moody lighting. Imagine Carl Barks collaborating with P. Craig Russell and you might get the idea. The picture quality on the disc leaves a little to be desired, though, with a soft image and several specks and scratches visible. The sound varies from good to great, especially during the toe-tapping Thriller-style theme song.

The first season of Count Duckula was released in stores earlier this week. Animation junkies in search of something different should give it try.

So I tried a Ouija Board for the first time a few nights ago. A friend brought it over, so we turned off all the lights, spread the board out on my living floor, lit some candles and some suspicious-smelling "incense," and gave it a go.

It didn't take long before the pointer-thingie (OK, it's called a "planchette") started moving around. I sure wasn't moving it. I barely touched it at all, and there were times that I thought it would slip out from under my fingertips. My friend swears up and down that she wasn't moving it either, and that, like me, she just had a feather-light touch on it.

We asked a few "yes" or "no" questions, which the board seemed to answer easily enough, to the point that it really felt like it could understand us. But any time the planchette moved to the letters to spell something out, all we got was gibberish. We tried sticking to yes-no questions, but it was like playing an especially frustrating game of 20 questions.

So if all this didn't make for a weird enough evening, it all took an even more bizarre turn. At one point, my friend asked a question, and the planchette moved to the "L" and then the "A" then the "L" then the "A" and so on. Just back and forth, L-A-L-A-L-A-L-A-L-A. It did this every time we asked a question. We kept trying to guess what it was saying. "Are you singing?" "Is this about Los Angeles?" "Is this about someone named Al?" All we got for our troubles was L-A-L-A-L-A-L-A-L-A.

And that was it. My big supernatural experience. My friend assures me that it's not always gibberish, and that sometimes the board offers genuine messages and helpful advice. We'll see.

(What does any of this have to with movies and/or DVDs? Nothing, I guess, so here's a link to Judge Naugle's review of Amityville 3-D, in which the characters use a board in one scene. Enjoy.)

Last year, director Makoto Shinkai (Voices of a Distant Star) won the annual Mainichi Film Award for Best Animated Film for his latest work, The Place Promised in Our Early Days. For this award, the film beat out favorites such as Katsuhiro Otomo’s Steamboy and Hayao Miyazaki’s Howl’s Moving Castle. It also broke numerous attendance records during its opening weekend. Now, this thoughtful sci-fi hit arrives in North America for all to see, but does it take flight?

After a brutal civil war in a near-future Japan, the country has been divided in two, with a massive sea separating both halves. After growing up one side, all two best friends know about the other side is what they can see: a giant tower in the distance, rising out of sight. The boys are engineers in training, and are building their own small plane, with the hopes of someday flying across the sea and visiting the tower in person. They let a young girl in on their secret, and the three of them make a promise to fly to that tower someday.

Then, fast forward a few years. As young adults, our protagonists have drifted apart, and one has disappeared altogether. Political strife leads to resumed fighting among both halves of the country. In a high-tech laboratory, scientists aim their instruments on the mysterious tower, which holds secrets that change the world. Drifting back into each others’ lives, our heroes decide to keep their childhood promise, no matter what the risk.

If you’re one of the ones who doesn’t “get” what the big deal about this anime stuff is, this film is a good place to start. It has a lot of makes anime popular. The visuals are absolutely top notch. The colors jump of the screen, and character movements and facial expressions are fluid and detailed. The storyline is serious and ponderous, devoid of any slapstick silliness. There is a science fiction element to the plot, but it takes a back seat to the characters and their interactions.

Other elements that make anime popular aren’t here, though. If you’re hoping for giant robots or butt-kicking kung fu, this isn’t where to go. The mood in The Place Promised in Our Early Days is a ponderous, melancholy one. If you want an alternative to Disney-style kiddie fare, then this could be just what you’re looking for. But if you want an action-packed sci-fi roller coaster ride, try Appleseed instead.

Keeping up with all the visual eye candy, the 1.85:1 anamorphic widescreen transfer is nearly flawless. The sound comes in Dolby Digital 5.1 surround in both English and Japanese, and makes full use of all the speakers. I just about flew out of my chair when a realistic gunshot sound effect came out of the left rear speaker behind me. Subtitles are in English. There are no extras.

The Place Promised in Our Early Days arrived in stores on July 12, 2005, courtesy of ADV Films. For more information, go here or here. Give it a rental if you're in the mood for something different.

From the always venerable Merchant Ivory Productions comes Merci Docteur Rey, a comedy about parents and children, Americans and the French, opera and murder. It’ll hit store shelves on Aug. 9, 2005, courtesy of Image Entertainment.

An American opera singer (Dianne Wiest, Edward Scissorhands) and her 20-something son (Stanislas Merhar, Adolphe) are living together in Paris, and yet growing farther apart. She spends her days prepping in front of the mirror, while he’s made a hobby out of experimenting with personal ads. Meanwhile, an actress (Jane Birkin, The Last September) finds her neuroses in overdrive after the untimely death of her therapist. Naturally, everyone’s lives get mixed with up with each other. Secrets are kept, identities are mistaken, dead bodies start piling up, and what’s that jar of mayonnaise doing there?

This is a somewhat confused film. The script is quite witty, with several clever lines and running jokes. But the actors deliver all their lines with such a feeling of world-weary dread that it’s difficult to wring any genuine laughs from their performances. Back in full Bullets Over Broadway mode, Wiest fares better than the rest, and is as good as she always is. Plot-wise, much of what happens depends on a handful of highly improbable coincidences, which are likely to get the most forgiving filmgoers’ heads spin. Visually, though, the movie is a real treat, with bright vibrant colors in almost every scene, helped along by a pristine DVD transfer. Likewise, the Dolby Digital 5.1 surround is solid, with no evident flaws.

Things get a little tricky when going over the language options. See, about half the movie is spoken in English, and the other half in French, depending on what the scene is and which characters are involved. There are three subtitle options. “None” gives you English subtitles for just the French dialogue. “English” provides these subtitles for every line regardless of the language. “Spanish” does the same, except, you know, in Spanish. But if you’re French, and you want to enjoy this French movie translated into French, then that’s just tough merde.

So Merci Doctuer Rey is amusing but falls just short of being a great comedy. For more info, go here or here.

I got some bad news tonight. As of this evening, my long-running webcomic New In Town has officially ceased to exist.

After more than a year of frustrated e-mails and phone calls, all as a result of problems with transferring my domain name from one service to the other, I learned tonight that they sold some other bastard my domain name. So, three years-plus of hard work on that silly little comic, and it's all gone now.

A longitme comic book fan, I fell in love with the idea of webcomics after reading Scott McCloud's Reinventing Comics. Here, it seemed, was a way for writers and artists to express themselves and develop an audience without having to negotiate the complicated and expensive publishing process. It promised to breathe new life into the then (and still) dried up independent comics scene. This was the way to get my voice heard, and now it's over.

Everybody's telling me to "buckle up" and start the whole thing over again, with a whole new domain name, etc. But I'm wondering: What's the point? Doesn't the fact that this has happened just prove that dreams don't come true?