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Archives for November 2016

From The Beginning: WildStorm Universe – Stormwatch #9, 25, & 10

November 12, 2016 by krisis

We’re finally here! It’s the issue of Stormwatch that inspired this month of blogging even though I had never read it before.

With “Images of Tomorrow,” Stormwatch #25 leapt one year into the future to show the dark timeline that awaited the team …but I’m already getting ahead of myself. First, we have to read issue #9, with H. K. Proger on script and Ryan Benjamin penciling.

The issue makes the unusual move of giving us a second story in a row with a point-of-view character outside of our main cast. This time it is Sunburst, one of the members of Stormwatch Prime rescued from Gamorra in #6-7.

stormwatch_v1_025_coverThe story is a “race to defuse the bomb” tale that gives us some backstory on Sunburst as well as context for his relationships with his teammates Nautika and Flashpoint. However, that was just a red herring (both for Sunburst and for us as readers), as at the end we learn the point of the story was for Defile to finally crack Sunburst’s psyche after he proved unbreakable during his captivity.

This would seem like a minor fill-in issue on its own, but paired with the portents of #25 it takes on considerably more foreboding.

Steven T. Seagle randomly steps in on scripting duties on #25, but he’s abetted by Scott Clark on his Stormwatch swan song after penciling six of the first eight issues. Between Seagle’s script, Clark’s slightly perverted character designs, and the darkness of the tale, the book is fantastic.

Every page carries a chilling new reveal that you’d typically expect from a “What If?” tale, except this one professes that it’s really going to happen! If I had sat down to read it at the time I would have never dropped this book.

Silver Surfer scripter Ron Marz takes the title over with #10 for a run through #24. While I was a little peeved to lose Brandon Choi on his best title, Marz quickly made me forget my annoyance. You can feel his expertise lock in immediately with the dreadful pall that hangs over Battalion’s narration, and the nuanced descriptions of his teammates doubling as introductions we’re getting for the first time.

Marz is re-teamed with his Stormwatch Special collaborator Dwayne Turner, who does a much better job drawing a solid, dour version team of the team this time around. Maybe that’s because Marz gives him so much more room to breath than in the rushed pace of the Special. Each member gets their own spread to show off their abilities as he explains their histories.

It was a brilliant move to turn this Avengers-style procedural drama about policing the globe into a towering tragedy via glimpsing the horror of a future that cannot be prevented it. It elevates Battalion – already a great character – to the position of being WildStorm’s own tragic Hamlet. And, we the reader are left dreading every page turn for what it might reveal about Battalion and Diva’s fate.

Want the play-by-play? Keep reading for a summary of these two teams going head to head. Here’s the schedule for the rest of this month’s WildStorm re-read. Tomorrow we get to one of my favorite runs of this entire era – Gen 13’s original mini-series! Will it hold up to re-read 20 years after my last time paging through? I can’t wait to find out.

Need the issues? You’ll need to purchase single issues – try eBay (#9-10 & 25) or Amazon (#9, 25, 10). Since further Stormwatch series hit these same issue numbers, be sure to match your purchase to the images in this post. [Read more…] about From The Beginning: WildStorm Universe – Stormwatch #9, 25, & 10

Filed Under: comic books Tagged With: From The Beginning, From The Beginning: WildStorm Universe, Image Comics, Ron Marz, Scott Clark, Steven Seagle, Stormwatch, Wildstorm

35-for-35: 1993 – Rid of Me by PJ Harvey

November 12, 2016 by krisis

[Patreon-Nov16-Post-Bug][/Patreon-Nov16-Post-Bug]This is where the choices are going to get really painful for me. I have a dozen favorite songs from 1993, at least.

Ace of Base’s “The Sign” and how it marked the end of my pop music fandom for the better part of a decade. Janet’s genre-bending “If” full of sex and squalling guitars. “River of Dreams” and the one time I could connect with my father over a piece of current music. Sheryl Crow’s Tuesday Night Music Club, a front to back listenable record that is so obviously the work of a collective of songwriters rather than a singular voice.

Juliana Hatfield, Liz Phair… I can keep going.

But, if we are going to talk about songs that really changed my whole damn life, we need to be talking about Polly Jean Harvey’s breakthrough album, Rid of Me.

All of it.

I didn’t come around to Harvey until a few years after Rid of Me, when I saw Tracy Bonham cover her “50ft Queenie.” Being a voracious consumer of female-vocal rock, it didn’t take much to convince me to head down to Borders to pick up the album that contained the original.

I was not prepared for what I heard. Rid of Me is a powerful and at-times terrifying album. This had all the rawness of Hole but the measured perfection of Tori Amos. It had guttural strength that stood up to anything on In Utero and spectral power that made it seem like a spiritual sister to Bjork’s Debut. While many fans and critics prefer her To Bring You My Love, the raw power of Steve Albini-produced Rid of Me remains her seminal work in this household.

I can’t pick just one song to highlight, so let’s just talk about half the record.

“Missed” never fails to stun me. It’s a lost track from Jesus Christ Superstar, Mary’s lament to a lost Jesus kept away in a tomb after Mary Magdelene insisting “Everything’s Alright.” It’s beautiful – takes my breath away on every play even after listening to it for 20 years.

The biblical theme continues on Bob Dylan’s famous “Highway ’61 Revisited,” the title track of his 1965 record.

Oh, God said to Abraham, “Kill me a son”
Abe said, “Man, you must be puttin’ me on”

Who on their second album decides to take a mid-record break to cover Dylan’s strutting country-rock paean to the famous road as a squalling, foreboding rock song? The Dylan original and faithful covers sound trite next to this muscular, paranoid version. The surging power chords, the surprisingly nuanced drumming, the jangling single note riff.

I’ve always felt this ought to be the credits tune to an adaptation of The Stand, with its depiction of God sparing Abraham’s son at the start to a roving gambler trying to start the next world war just to see if god would stop him in the final stanza. [Read more…] about 35-for-35: 1993 – Rid of Me by PJ Harvey

Filed Under: Crushing On, reviews, Song of the Day Tagged With: 35-for-35, bonham, PJ Harvey, Rid of Me

From The Beginning: WildStorm Universe – WildCATs #10-13 (Lee & Claremont Reunited!)

November 11, 2016 by krisis

[Patreon-Nov16-Post-Bug][/Patreon-Nov16-Post-Bug]What happens when you take Jim Lee’s high-gloss WildCATs and mash them up with storied X-Men author Chris Claremont?

That’s what we learn in WildCATs #10-13, where Claremont takes over scripting duties from Brandon Choi for Lee’s swan song on his own title.

wildcats-v01-010Claremont seems to agree with my assessment of the title – that Zealot is the interesting part, and everyone else should be jettisoned. He spends barely a combined two pages writing Marlowe, Spartan, Maul, and Warblade and the book is better for it.

Instead, he recruits a new primary team composed of Zealot’s smarter little sister Savant, generic gun-guy Soldier who is redundant to Grifter (since he’s stuck in Kindred for the first half of this story), Superman analog Majestic, and his own Huntsman.

It makes sense that Lee would recruit Claremont for a story that opens the door to so much of the history of Kherubim without ever saying it out loud. Lee seems to be in a rush to get all of these elements out onto the table before he departs the book, and it shows in his art. It’s still Jim Lee, but there are few of the magnificent, splashy panels he’s most known for. It’s his most utilitarian work on the series to date.

Even Claremont can’t seem to make sense of Lee and Choi’s WildCATs, their allies, or their villains. Tapestry is a visual stunner, but her power to weave souls isn’t too different than Misery’s psychic push from Killer Instinct. Her motivations are even less clear – does she want Marlowe, the mysterious Alabastar Wu, or Zealot?

Who knows. What becomes rapidly apparent is just how much Lee and Choi’s stories really have adhered to the Claremontian model. Is this truly so different than WildCATs #1-4? Is Voodoo’s ruse any different that Misery’s in Killer Instinct? Is Voodoo’s distribution of power any different than the Void/Marlowe team-up from the last story? Is it partially resolved by women repeatedly wielding the totality of their psychic powers?

This confusing yarn is an enjoyable read because the real Chris Claremont knows how to leverage these wordy tools like no other. Also, his stoic Huntsman is more charismatic than the entire male cast of the book save for Grifter – who mercifully returns to the action for the final issue.

The real delight here are the back-up features, which hint at a world beyond the WildCATs team we’ve been reading so far. Solider’s story is generic, but opens a new window on Zealot’s immortal history. Majestic’s interlude makes him out to be a Superman who decided to abandon humanity. And, Zealot’s first encounter with Tapestry shows she hasn’t always had a will made of steel – and some of that might even be Tapestry’s doing!

Want the full details? Read on to watch me try to make sense of my first Claremontian recap – may the goddess save our souls.. Here’s the schedule for the rest of this month’s WildStorm re-read. Tomorrow we head back to Stormwatch for this month’s main inspiration, the fast-forward from Stormwatch #9 to #25 and then back to #10!

Need the issues? This is another rare WildStorm title with a TPB collection, called WildC.A.T.s: A Gathering of Eagles (ISBN 978-1887279451)! Here it is on Amazon and eBay. Note that I’m unsure if it includes the backup features. For single issues, try eBay (#10-13) or Amazon (#10, 11, 12, 13 or #10, 11, 12, 13 (try both sets)). Since future WildCATs series hit these same issue numbers, be sure to match your purchase to the cover images in this post. [Read more…] about From The Beginning: WildStorm Universe – WildCATs #10-13 (Lee & Claremont Reunited!)

Filed Under: comic books Tagged With: Chris Claremont, From The Beginning, From The Beginning: WildStorm Universe, Image Comics, Jim Lee, Majestic, WildCATs, Wildstorm, Zealot

Krisis, Issue #1, Chapter One: April Tenth (pt. 2)

November 11, 2016 by krisis

krisis-chapter-01aFrom last week…

It was awkward those first few years. Martina had been Nathan’s best friend and Ella’s role model. Without her, their lives felt empty. Neither one of them seemed to be able to fill the chasm that was left in the wake of Martina’s disappearance. After a while they stopped trying, and from there they found their connection.

Nathan wondered about their April ritual as he trudged around another corner of the stairwell, cast in a dull yellow by a series of sconces on the walls. He knew why they spent time with each other the rest of the year, but he was never sure what Ella marked with these visits. He was marking his hope – hope held out that one day Martina might join them for dinner. It would definitely fit her dramatic sense of occasion to show up to celebrate the anniversary of her own death.

Five years is a pretty dramatic interval, Nathan mused as he reached the top of the stairs. Maybe this is her year.

.

Krisis, Book 1

Issue #1: Girl Disappearing
Chapter One: April Tenth (pt. 2)

 

Ahead of him, Ella pushed open the chipped wooden door of her apartment and walked directly to her bright green couch. Nathan suspected she chose it just for the contrast with her hair. He followed her through the door into a bright single room with weathered wooden floorboards. It was half living space and half efficiency kitchen. The two sides were divided by a long, low table to the right of the door, which bore Ella’s computer and piles of textbooks. A wall on their left framed the bathroom, weirdly shoehorned into the middle of what would otherwise be a studio apartment, likely due to the placement of old water pipes directly below it. On the other side of it was an alcove barely big enough for a bed.

Nathan swung the door closed behind him while Ella situated herself in the middle of the couch. Across its cushions she had strewn several textbooks, a sheath of sheet music, one large knitting needle with accompanying yarn, and Martina’s old guitar. The battered end table beside the couch held another pile of text books, plus a small stand of candles. He smelled familiar, savory scent waft across the room from the kitchen.

“I ordered pizza from that place you like and always ask me if I order from,” she said, as if it was Nathan’s offense for ever suggesting such a thing to begin with. “Then I got it in my head to make those potatoes. You know, bake them first and then mash them, and then bake them again?”

krisis-chapter-01b-timothy-krause-flickr

Adapted from “Woman with red hair of which I am jealous” – Timothy Krause, Some Rights Reserved.

Nathan smiled in anticipation. “Like Martina’s from Thanksgiving? I love those.”

Ella’s face turned stony and he knew immediately had had erred by mentioning her name so early in the event. Their April ritual had evolved a set of rules to observe. Priorities. Awkward small talk, food, less-awkward catching up, then talk about Martina. No acknowledgment of the occasion at any time prior to the plates being cleared.

It’s Ella fault for making the potatoes, Nathan thought. They practically scream Martina’s name. Ella drew the first blood. Still, it was his job to steer them clear of these little entanglements.

“Anyway, potatoes don’t especially go with pizza, Ella, do they?”

She shrugged and let her stoic face slip, but he knew she was still silently accusing him of breaking their pact. She picked up the guitar, and began to idly sketch scales up and down its neck. She made no motion to clear any of her other debris from the couch cushions, so Nathan settled in the middle of the floor, legs crossed Indian style, his messenger bag beside him.

“The books are for school?”

“Mmm hmm,” she studied her fingers carefully as they walked up the neck of the guitar.

“Anything interesting?”

“Not terribly, no,” she said, not pausing from her E flat diminished seventh scale.

Clearly he would have to try a different tack.

“I was on the news. Playing a show. I emailed you about it, but I know you only read my emails if I call you and ask you to – which sort of defeats the point of email, yes? And I didn’t call, so you probably haven’t seen it yet.”

“Nope.” Ella put a heavy plosive on her “p” so it echoed out against the bare wooden floors of her apartment. She was now playing in the key of F.

“Well, I brought my laptop so you could see. Or, more accurately, so I could compel you to watch.”

Ella studiously ignored his proposition, in favor of her scales.

Nathan sometimes wondered if he was the only person who asked her questions anymore. Not the sort of perfunctory questions she’d hear from a cashier or a bus driver (not unreasonably, she refused to acquire a driver’s license), but the questions of a friend.

Ella had kept to herself ever since Martina’s accident. The friends she had at high school lost a war of attrition against her, and as far as he could tell she hadn’t found any new ones at college. It was like her social existence withered away from that day forward.

Another anniversary to celebrate on April tenth, he mused.

Nathan remembered that night and the days that followed with terrible clarity – Ella’s mother’s call to his phone the next day when Martina never showed up for their family dinner. Had he heard from her since the show? Did he have any idea of where she’d be other than her apartment?

He wound up riding shotgun with Lilly, their mother, first to Martina’s apartment, then tracing their way back to the club. He remembered all too clearly the broken side rail on the bridge, the police tape and the boat below. They hadn’t pulled up the car yet, so had no way of knowing its owner. Yet, Lilly had a deadly certainty about her from the moment she stopped her car along the side of the bridge.

Ella had nothing but silence for him (and everyone else) in the following days of police reports and interviews and the terrible waiting for divers to find a body.

No body was there to be found. Just one car window, wound down, and Martina’s purse, entangled in the gear shift. Martina wasn’t officially dead, but she was decidedly missing without a trace.

It was a year later that Lilly proclaimed they had waited long enough, and preemptively scheduled a funeral. Or, whatever that was without a body or an official death or any kind of religion to steer the proceedings. That was Lilly’s way. If she was done hoping and ready to begin grieving, everyone else would simply have to follow suit as efficiently as possible.

The whole thing felt eerily like a graduation ceremony free of any graduates. Certainly not the raucous rock and roll wake Martina would sometimes describe to Nathan on long car treks to far-flung gigs. No, this was Lilly’s version of Martina’s funeral, and Lilly had always been private about the family. It had been years before she even acknowledged Nathan as one of Martina’s friends, let alone her best. The brief service was just Lilly and her husband, Edward, some of Lilly’s friends from work, Nathan, and Ella. None of Martina’s friends from high school or college. No other family – as far as Nathan ever knew, Martina had none.

True to form, Ella remained sullen and wordless through the event, a brief, joyless affair held around a wreath of flowers (lilies, of course) framing a smiling photo of Martina. Afterward Lilly asked if Nathan would drive Ella home while she said goodbye to her coworkers.

Alone together in his car, Ella finally spoke. It was the first time he had heard her say a word since Martina disappeared, other than curt replies to her parents.

“You were the last person to see her.”

It was not a question.

“I suppose I was,” he admitted, though they both already knew it to be true.

“What did she say?” [Read more…] about Krisis, Issue #1, Chapter One: April Tenth (pt. 2)

Filed Under: Fiction Tagged With: Fiction, Krisis Novel

35-for-35: 1992 – “Tear In Your Hand” by Tori Amos

November 11, 2016 by krisis

[Patreon-Nov16-Post-Bug][/Patreon-Nov16-Post-Bug]tori-amos-little-earthquakes-alt-cover-photoI stopped seeing Tori Amos live because of “Tear In Your Hand.”

It is one of my favorite songs of all time.

It is one of my favorite songs of all time, and after seeing Tori Amos five times she had played it at every show. When the next tour rolled around, I couldn’t bear the thought of seeing her and breaking the streak.

(Of course, that was probably her best tour since 1998. And she did play “Tear In Your Hand” in Philly. Oh, well.)

I cannot entirely explain my fascination with “Tear In Your Hand.” It’s not the most memorable song on Little Earthquakes, by far. Yet, it has a hypnotic quality to its constantly circling chords that draws you in and than keeps you spiraling.

Tori redraws the same piano figure again and again – a B suspended fourth to major to suspended second that then puts the fourth in bass for the same figure and returns back to the top – as she rambles through a stream-of-consciousness that starts when all the world just stops and rambles through reading Sandman comic books, liking the same ice cream as a serial killer, and how that other girl might just be another side of herself.

I think the entire song exists in that stopped-world moment. He says he doesn’t want to stay together anymore, and as she takes a deep breath he touches a hand to her cheek to wipe away the first tear and when he does her life just flashes before her eyes in an instant, like a forever dream sent from Morpheus himself.

tori-amos-denim-chair-1991Meanwhile, the arrangement is a beautiful puzzle of pieces tugging at your ear drums. The sighing backing vocals are pulled right from “Crazy For You,” while a chugging woody bass sound hints at indie rockers like R.E.M., and the increasingly intricate tangle of guitars begins to obscure the initial piano line – plus, the headbanging bridge, one of the hardest rocking moment on Little Earthquakes.

She knows him better now than she used to, and she knows it never could have been – even if that other woman is just the pieces of herself she hadn’t yet revealed. And so it’s time to say goodbye.

I don’t think it’s a marvelous song, especially without Steve Caton’s beautiful guitar arrangement. Yet, there’s something undeniable about its unspooling narrative that became synonymous with seeing Tori Amos live, and I’m half afraid she’ll skip and half afraid she’ll do it and that fragile magic will be gone.

Here’s a 2005 live version from VH1 – perhaps its only major TV broadcast: [Read more…] about 35-for-35: 1992 – “Tear In Your Hand” by Tori Amos

Filed Under: Song of the Day Tagged With: 35-for-35, Tori Amos

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