My tweets of the last week:
Crushing On: RedCo Audio
RedCo Audio saved my studio, my sanity, and my bank account. If you are wiring a studio, a patch bay, a home theatre, or any other kind of DIY multimedia project you should buy your cables exclusively from RedCo.
Is that a ringing enough endorsement?
Let’s backtrack for a second. In every occupation, hobby, or pastime there are hidden costs that do not reveal themselves until you are in too deep to avoid them.
Well, maybe not entirely hidden, but at least not obvious. When you buy a new photo printer, you know it will need paper and ink, but you aren’t always thinking about how expensive those glossy papers and photo inks will be, and how you might need a new card reader for all your massive files.
The same goes for any musical hobby. You assume your big expenditures will be your instrument, amplification, and various tone devices – and wow that is already a lot to expend, let me tell you. Instead of equipping myself to play bass from scratch in the last 12 months I could have put a down payment on a brand new car or a timeshare.
Eventually you get there. I did, and I am historically terrified of electric rock signal chain technology. I’d prefer something lower-fi, like a stick tied to a washtub. But I persevered – I got my ideal instrument and signal chain set up in my custom home studio, only to realize I didn’t have enough cables, and when I looked them up online I found that a 2ft patch cable costs THIRTY DOLLARS.
WHY WOULD THAT BE?
This actually looks pretty elegant, as washtub basses go.
…all the blood rushed from my face. I almost fell out of my chair.
I was going to have to drain my entire savings account to cable my studio. Not only that, but the cables weren’t even what I needed! In one case I needed a 35ft, not 50ft, and right angle TS connector, not straight TRS – but that didn’t exist. I’d be spending a mint on the wrong options!
Enter RedCo Audio. They are a small company in Connecticut specializing in hand-made custom cables. And, not just custom lengths. You can pick everything from the gauge of the cable down to the angle of the connection. They can make audio cables, coax connections, and custom multi-channel snakes. They have every option you could every imagine, including the very same materials used by Mogami and other boutique brands.
A 50ft Mogami studio-quality XLR? $110 list price. A 50ft RedCo XLR with the same materials? $55. That doesn’t even account for the fact that you might only need 45ft, and wouldn’t mind a lighter cable gauge. (New price? $38)
A $300 spend at RedCo got me a dozen new cables totaling over 250 feet, which would have cost more than $1000 to buy retail. I’ll admit, it was super-confusing to pick all the right cables and connectors, but I left notes in each order about what I planned to use the cable for and RedCo gave me an unexpected personal call to recommend a few changes in my order, which they made for no additional cost.
Two weeks later, I had a box of brand new custom cables on my doorstep, each the perfect solution to a need in my home studio.
I love RedCo Audio. Love love love. I will never in my life buy studio cable anywhere else, and I’ll always get exactly what I need.
DC New 52 Review: Superman #1
Superman has been dangled like a carrot over readers’ noses all through DC’s 52 debut month, from his hot-headed flashback appearances in Justice League and Action Comics to his benevolent present day cameos in Swamp Thing and Supergirl.
The promise was implicit: you’ll get your full dose of Superman in the title with his name on it. Not only that, but that his modern depiction would help to contextualize the superheroes that appeared throughout all 52 books.
Well, we’ve arrived. 51 books later and it’s time to unveil the boy in blue in the present tense – in the capable hands of comics veteran George Perez.
Superman #1
Script & breakdowns George Perez, pencils & inks by Jesus Merino
Rating: 2 of 5 – Uneven
In a Line: “Superman, however, was occupied with other matters.”
#140char Review: Superman #1 is all the reasons modern readers mock 80s comics. Perez way overdoes it on script in this tangled one-shot plot.
CK Says: Skip it
Superman #1 under-delivers, focusing on every possible detail except for Superman. Classic creator George Perez over-scripts this allegory about print media living past the digital wrecking ball. Despite keeping this plot confined to a one-shot and fitting in a super-brawl, this issue was a chore to read.
This issue is too obsessed with text. Do we really need to know all the ins and outs of the Daily Planet’s newfound home in a major media empire? Perez chooses to defray his heavy-handed narrative voice-over by assigning it to in-story speakers, but it just makes things worse.
From the mayor’s overbearing introductory speech to a nonsensical newspaper article that reads like a bad blog post fraught with grammatical errors, Perez presents an unfortunate example of why modern comic readers tend to mock the overly-narrated issues of the 70s and early 80s.
If there is one aspect of the issue safe from criticism, it’s the artwork. Perez’s breakdowns guide artist Jesus Merino to fine issue of art – where’s it’s not obscured by text balloons, that is. A Courtney Cox inspired Lois winds up the star of the issue, and like Cox she’s an ageless blend of leggy starlet and purring cougar.
A one page diversion that sets up Stormwatch makes no more sense here than it would in any other title, except this is the ostensible present-day super-flagship. It’s still awkward.
In a graphic design nitpick, center-aligned narration boxes that contain entire paragraphs are a bad move. Readers don’t want to drag their eyes down a ragged left margin of text in a box. It’s confusing.
Superman #1 is a disappointing delivery given the buildup we’ve seen all month. While I’d welcome a series of one-shot stories showing the Man of Steel in action, I don’t think Perez’s narrative style jibes with Metropolis – especially when the ultra-efficient Grant Morrison is the other scripter in town.
DC New 52 Review: I, Vampire #1
Comics have been cashing on on vampires since long before Twilight, Buffy the Vampire Slayer, or even Interview with the Vampire.
When interest in super-hero comics began to decline after World War II (and was further assaulted by Frederick Wertham) horror magazines were part of what kept the medium alive. Even after horror comics were censured by the Comics Code, classic monsters still turned up in comic plots.
Marvel’s 1970s title Tomb of Dracula was a mammoth soap operatic battle between Dracula and a bevy of would-be slayers. The 90s brought indie babe Vampirella to popularity, an Elvira-esque busty vampiress.
Marvel and DC have been dipping their toes back into blood for the past few years to see if the time is right to re-capitalize on vampire stories, but neither has quite struck gold. Has the fanged moment passed, in favor of the suddenly hip zombie movement of the past few years? Who knows, but DC and Marvel are both launching a new vampire ongoing this fall to find out.
I, Vampire
Written by Joshua Hale Fialkov, art by Andrea Sorrentino
Rating: 3.5 of 5 – Great
In a Line: “Normally I’d lock you away somewhere until I could find your sire. But, well, y’know…”
#140char Review: I Vampire #1, a bitter Twilight divorce tracks bad romance between noble vamp & lover who wants to consume the world. Unexpectedly arresting
CK Says: Consider it.
I, Vampire #1 is like Twilight written by Anne Rice, disposing of the sappy pursuit of undead teenage love and focusing on the eventual bitter fallout – and how the results can be deadly in the form of a 400-year-old scorned lover who wants to take back the night (and the entire human race) from a plague of superhero do-gooders.
I know that vampires aren’t for everyone, and even the people they ARE for might be a little tired of them after the past few years. That doesn’t change the fact that Joshua Hale Fialkov delivers on both gore and romance as he kickstarts this story from square one.
We get modern day vamp-on-vamp violence of race-traitor Andrew as his vampire slaying is narrated by his recent break with lover Mary. Andrew and Mary have already done the star-crossed thing, and the immortal lovers thing, and now they’re at the point of an ideological divide. Their debate? If you could be a young beautiful superhuman every night for the rest of your life would you content yourself with drinking cow’s blood and working the night shift forever, or would you rather try to take over the world from the masked men who have brightened its corners?
Yeah, it’s a little more complicated than your typical lover’s quarrel, and it has terrifying ramifications for the warm-blooded population of America.
Try to get past the twinkling nearly-nude hot bodies on the cover, which are probably keeping some readers who would dig this title at a distance. The interior art is the ash-colored world of a war comic or Walking Dead, bringing a bombed-out look to Boston at night – where the rubble is a heap of discarded bodies. Despite the loverly narration, we get hints that Andrew is going to be an acerbic post-Whedon anti-hero as he apologizes to fresh vamps for staking them.
The conversational narration has some moments of melodrama, but I felt like they were defused by the illustrations they hovered over. I’m duly impressed with artist Andrea Sorrentino. In the present we have Andrew’s grim vampire hunt through a tangle of limbs. In the past we have a romantic moonlit night that bears the same heavy shadows as the terrifying street scene. Sorrentino likes to draw some horror and revenge into love, Lady Gaga style.
I wasn’t expecting much from this fanged title in DC’s relaunch, but it wound up as one of my favorite books. Whether it’s superheroes or vampires, there is delight in finding a fresh spin on an old story, and I think Fialkov and Sorrentino succeed in this first issue. Yes, reluctant vampires and blood-thirsty lovers have been done before, but not in a superhero universe and not with this tone. It will be interesting to see where they head without the narrative frame they use to keep this one standing, but this bad romance is worth a read.
DC New 52 Review: The Flash #1
I always wonder – are simpler superheroes simply better?
Take The Flash, for example. On one hand, it’s a snap to translate him across mediums. No dark origin. No alien lineage. No link to Greek gods or convoluted weakness. The Flash is super-fast. That’s all you need to know.
The problem that arises is which way writers take that simplicity. Make a simple hero too pedestrian and he’s effectively a beat cop. try to craft too much mad science and mythology around a simple hero and the concoction collapses under its own way.
DC has visited both sides of the spectrum with The Flash, most recently using him as the impetus for their line-wide relaunch with their special event, Flashpoint. I have no interest in that Flash – running through time with his super-speed.
I refuse to believe that there aren’t enough challenges on Earth a little more complex than bank robberies but still not a synch to solve with super-speed alone. Surely there’s a place for a straightforward hero without making him boring or unbelievable.
The Flash #1
Written and illustrated by Francis Manapul & Brian Buccellato
Rating: 4.5 of 5 – Remarkable
In a Line: “Somebody please tell me I don’t have a homicide with Flash’s fingerprints on it!”
#140char Review: Flash #1 is a magnetic fast-paced tale worthy of its charming hero, w/gorgeous art that’s still comic-y & glows on the page. Good clean fun.
CK Says: Buy it!
The Flash #1 is a beautiful, energetic, fun first issue that frames The Flash as both a hero and a human, who is caught within tricky mystery his speed cannot immediate solve.
Francis Manapul and Brian Buccellato write a seemingly simple story that’s full of deft turns, introducing Barry Allen’s world in layers. First they set the place, then a name, then the nature of their hero, before finally evoking the red frictionless suit to get the adventure underway. You go from zero to Flash expert in a matter of pages – or, at least, expert enough to never feel left out even without a coddling origin story.
I realized all of that after my read was through. What struck me in just a single panel is the beautiful art of Manapul and Buccellato and the intrinsic, compelling link between the art and the script.
The issue practically glows, and I can’t explain why. It’s the mix of Manapul’s background elements that don’t seem to have any lines at all with slick foreground characters rimmed in thick black lines like mascara. They fairly leap off the page.
Meanwhile, Buccellato’s colors don’t look like typical comic colors, but instead seem like color pastels rubbed onto the page and then illuminated from below with a lightbox.
Maybe it’s the gala event Barry is attending at the beginning of the issue, but Manapul’s character designs have the retro simplicity of Mad Man – or, at least, their animated Mad Men Yourself app. His Flash is attractive out of costume, but stunningly handsome in it – a blue-eyed everyman Adonis you can’t help but cheer for.
Flash might be the fastest man on Earth, but that doesn’t make his world any simpler. His hot nerd first date with co-worker Patty Spivot is interrupted by masked mercenaries and he’s being hunted in and out of costume by persuasive reporter Iris West, but first he has to do his job and crime-scene-investigate the merc who mysteriously died after Flash kinda saved him from a deadly fall by throwing him through a building, except for the dead guy is an old friend of Barry’s, which makes their next conversation a little complicated.
Got it? And that’s just in the first half of the issue.
The Flash lives up to its hero’s name with a kinetic first issue that’s easy to consume in a blink, but both the story and the art warrant a more slow-motion read. It sets up a mystery without being a major brain-teaser like some of the other amazing books out from DC this month. What it is is good clean fun in comic form that you can love equally as a kid or an adult – which is exactly the best way to frame a Flash comic. Manapul and Buccelatto seem like they were born to bring this hero to life.