Crushing Krisis

Comic Books, Drag Race, & Life in New Zealand

Archives for September 2011

#MusicMonday: “Electric Love” – Victoria Spaeth & The Spaeth Cadets

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One of the amazing things about discovering a local music scene is that you realize that your next most-favorite song in the world could be walking around on the streets of your city, waiting for you to discover it.

Over the past few years my ratio of beloved favorite tunes has tipped in favor of local, with the incredible songwriters in Philly’s scene lodging melodies in my head again and again. On Friday I was a terrible delinquent friend and fan and fell asleep on my futon before I could drive to Old City to see three of those songwriters – Dante Bucci, Andrea Nardello, and Victoria Spaeth – play a show at the Tin Angel that I had been looking forward to for months.

Seriously, I should never be allowed to sit by myself on that futon after dark without a guitar in my hands. Nothing but narcolepsy can come of it.

Luckily, technology has saved the day – there’s a video playlist of Victoria Spaeth’s entire set from the show, which includes her breath-taking tune “Electric Love.”

I remember the first time I saw Vicky play “Electric Love” song, as well as “Breath and Release,” which is on her debut CD. It was as if she sucked all of the air and light out of the whole room and surrounded herself with it, so that you couldn’t survive in the vacuum unless you were right there with her in the moment. Both songs are instant classics – they sound like lost Joni Mitchell tunes with their sighing vocals, string-slapping rhythms, and easy sensuality.

It has been amazing to watch Victoria grow from a girl who played Jewel songs at open mics to a serious artist with crazy guitar chops who is penning some of my favorite songs. I’m so very proud of her progress, especially because it means I have even more favorite songs to fill my ears with.

DC New 52 Review: Justice League International #1

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On Saturday I realized I had been actively avoiding Justice League International.

As a fair representation as a lifelong DC skimmer, I look at this cover and see Batman, a lame alternate version of Green Lantern, and a bunch of unidentifiable nobodies. Not exactly the most-inspiring reason to read a comic book.

That’s always been one of my major problems with DC – past the heavy-hitters from Justice League of America and a handful of other heroes we all played with in the 80s as super-friends toys, I’ve never heard of these people. Unlike Marvel, they don’t sprout from one of just a handful of classic lines of 60s and 70s titles. I suppose you could say the same thing for the extended supporting cast of the Avengers or the X-Men, but they’re part of a larger interconnected family of stories. Even when they’re off panel their lives are being affected by what’s happening.

Can you say the same for Godiva or Vixen?

I seriously don’t know! Maybe I’m just projecting my DC distaste – but this weekend I finally sat down to find out by reading this issue.

Justice League International #1

Written by Dan Jurgens, art by Aaron Lopresti & Matt Ryan

Rating: 2.5 out of 5 – Okay.

In a line: “A different Justice League?”

140char Review: Justice League Int’l #1 is a standard “let’s start a team” take on a redebut, cribbing Giant Size X-Men. Plot set motion, but not thrilling.

Plot & Script

 

Dan Jurgens is a comics veteran – he knows how to structure a first issue and introduce a new team.

He starts with an effective and not-unappreciated device of performing a roll-call of potential members that reveals their countries of origin, though a quick primer on powers may have also been warranted. A UN security guy informs his committee “No masks or hidden identities” … and then tries to pick Batman? The committee members were wise to decline, yet Bats is still on flying the jet when the mission takes off. Doesn’t that make him a hijacker? I think it’s the League’s duty to restrain him.

Everyone gets at least three on-panel moments – their roll call intro, lines within the Hall of Justice, and on the battle field. We also get to see each member in action at least once. As a result, a newer reader has some way of identifying (and identifying with) a team of relative strangers.

The whole scene outside of the Hall of Justice doesn’t especially make sense. We’ve been lead to believe this is a world that hates and fears heroes – or, at least, it did five years ago when Justice League and Action Comics are set. Why, then, are there protesters outside of a Hall of Justice? Who would there be to assemble inside said hall? And, why had they vacated to allow the UN inside? Furthermore, we see that all these heroes seem to know each other and their work, which is also confusing in the context of this week’s books.

Weirdly, the only person who gets any character depth is Guy Gardner, who promptly disappears (I assume he is an act one gun that will come back in the third to save the day.) I was especially confused by the bullish Guy Gardner as a Green Lantern, since we see a different Green Lantern in Justice League. I thought there was only one per sector?

I suppose all will be answered, but the issue felt weirdly out of place against all of the other books this week. Also, this seriously plagiarizes Giant Size X-Men in a number of different ways, right down to the geological horror of the villain.

Artwork

 

Lopresti ads to the slightly retro feel of the book with a charming, ultra-heroic take on the characters. It’s not super-exciting, but it’s solid pencil work that nicely complements Jurgens’ story. I especially love his faces, which are distinct and expressive throughout, helping to sell a mostly “talking heads” issue.

In the past I’ve found Lopresti to be a bit rigid and stodgy, but that’s not the case here – maybe due to inker Ryan, or maybe from the beautifully understated set of colors. Characters feel as though they have weight, but also momentum. Godiva is especially lovely, Booster is a definitive over-muscled hero, and Batman has a lurking quality with his tendril-like cape. The action is limited to just a few pages at the end, but what we see is effective.

(In the final fight Vixen gets a Phoenix-esque flame effect around her body as she flies off the ground. I was confused as to whether Fire was using harmless flames to lift Vixen into the air or if this was a power beyond the seemingly Black Panther set of agility and claws.)

CK Says: Consider it.

Justice League International has a slight by-the-numbers feel thanks to its hastily assembled multicultural team of heroes (plus hanger-on Batman) responding to orders from a bald guy to face an unspecified geological terror. It’s Comics 101 – and, effectively the first half of Giant-Size X-Men #1.

Jurgens works to quickly establish the personalities and conflicts of all the members within the somewhat rote, old-school story. No Morrison-style existential dilemmas here. We’re given at least a hint of the attitudes of each and their powers were all obvious enough to be telegraphed by the art in a few panels of battle (except for Booster’s, which are unclear).

The bottom line is that this cookie-cutter approach aims the book more towards the DC insider than the newbie. A long-time DC fan will likely be excited to read the B-list characters they’ve grown to love (as I would be on an X-Men b-team). It’s a good intro for a new reader, but I’m not sure it’s worth revisiting in another month.

30 for 30 Project: we’ll be right back!

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My 30 for 30 Project of video cover songs from each year of my life resumes tomorrow! I’ve been holed up in the studio all day working on songs, and I can say without exaggeration that this week will feature some of my favorite songs and most unusual performances – ever. For example…

Come on, just try to tell me you aren’t wondering what that ridiculousness is about.

Point your browser at me tomorrow afternoon at 12:30 ET to see what I have in store from 1988.

DC New 52 Review: Swamp Thing #1

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In the 80s DC was the edgy comic book company. Even before the launch of Vertigo, they were the publisher letting a new generation of writers use their heroes in non-traditional ways.

While Grant Morrison may be the last oddball left standing from the period, it was ushered into existence by Alan Moore. It was Moore’s hand that guided the landmark Watchman and deconstructions like Killing Joke. He made it possible for the Morrisons and Gaimans of the world to be mainstream comic authors.

While the modern day might treat Watchmen as Moore’s opus, he was already writing bizarre 70s eco-hero Swamp thing for nearly three years by then.

Both Moore’s verdant hero and Morrison’s Animal Man are seeing reinvention in the reboot. Will either hint at the success of their 80s glory years?

Swamp Thing

Written by Scott Snyder, art by Yanick Paquette

Rating: 1.5 of 5 – Weak

In a Line: “I had this Botany professor, Dr. Riis … he would always talk about how the plant world is the most misunderstood area of biology.”

140char Review: Swamp Thing #1 is utterly gorgeous in the hands of Paquette, but it’s all Swamp Talk (+ a dull lecture from Superman) & no Swamp Thing. Lame

CK Says: Skip it.

I’ll come right out and say that I completely hated this script for this issue. It’s the only one so far from the reboot that felt deliberately decompressed, aside from the wreck of Justice League.

Swamp Thing being a dark hero with roots in Alan Moore stories is meaningless when it comes to a fresh start. While Scott Snyder does plenty of explaining via pages upon pages of dialog, it never stops being expository to start being compelling. As a reader who has no idea about the character the talking didn’t really help – it was like listening to a conversation on a bus about someone I’ve never met.

Snyder inserts plenty of heavy-handed one-liners, like “buried alive” and “raised from the dead” in an attempt to make a dull B-story seem like a portent. The chatty issue was made more jarring by a weirdly out-of-context Superman acting like a camp counselor, completely at odds with both other versions we’ve seen so far in the reboot.

The saving grace is a beautiful rendering of an inert script by Yanick Paquette. If he can make dead birds and talking heads look this good, imagine what he’ll do with an issue that’s actually about Swamp Thing?

Despite a gripping into and a final panel giving a hint of what’s to come, this issue is skippable due to the interminable bore of its doughy middle.