The Man who Fell to Earth and the Desire for Intelligent Sci Fi Films

I have been on a Sci FI kick lately. Some might say I have been on one since I saw Star Wars in 1977. But I say "BAH!!!" to that suggestion, as I am on a more cerebral kick than the ever pedestrian Star Wars. I think it was seeing Sunshine a few months back that really got me going on it. And kick might be the wrong word for it, as I mainly lean towards Sci FI style entertainment anyways. I mean Kurt Vonnegut is my favorite author and I read comic books with ever demanding fervour. So this past weekend I decided to sit down and watch a film I had never seen, but heard much about. I am not sure if it is considered a Sci FI Classic or not, but The Man who Fell to Earth was and interesting thing to watch.

I am not sure why but I have always associated it with The Brother from Another Planet. And as I watched David Bowie's oddity play a visitor from space so well, I also understood that this was in no way as good as John Sayles's Sci FI masterpiece. In fact on numerous times I found myself wishing I was watching Sayles's film rather than the oh so oddly edited The Man who Fell to Earth. The large gaps left in the story were just too disconcerting to really enjoy the film. And I have never read the book it was based on, so I felt at a loss. Though at its core, it was fun to watch the cast play with so many challenging ideas.

For those of you who have not seen it, Bowie plays a space alien, Thomas Newton, who travels to Earth to bring back water to his home planet. And to make it interesting rather than landing and trying to take what was needed by force or enslave the population, Newton creates a cooperation to gain the resources needed to build a return craft to take the water back with him. So we see Newton take on the recluse role of Howard Hughes as he uses the technology of his home world to create World Enterprises Corporation. Over time he amasses amazing wealth and turns it to creating a space craft. This premise is used to explore greed and alienation quite well. And while I was not over joyed by the film direction itself, it was far better than most of the Sci FI film Hollywood throws at us today.

Hollywood is content in pumping out summer block buster tripe dressed in Sci FI clothes and motifs. In fact the ever pleasant, non threatening Will Smith is almost always, for unknown reasons, the Sci Fi de rigor star of these movies, see I am Legend, I, Robot, and Men in Black among many others. And while any of these might be entertaining (I admit I surprisingly enjoyed I am Legend), they are far more in the vein of action movies than true cultural probing Sci Fi that the world knew prior to Star Warization of Sci Fi (yet another reason to be pissed off at George Lucus). For most studios, Sci Fi has become synonymous with inter-textual tie-ins at fast food locales and toy stores (see Star Wars and Star Trek for prime examples) and of course they have to appeal to children that will demand these simulacra. Where is the next Blade Runner or 2001 style critical Sci Fi films Hollywood used to be more than happy to produce?

While Sunshine fit more in the mold of 2001 or Tarkovsky's great Solaris, it was not produced by Hollywood. It was also promoted less than Bacon flavored Pepsi might be. And for the record I quite enjoyed Sunshine, but would have enjoyed it far more with a slightly personable cast. It dealt with alienation and the possibilities of hard science in entertaining ways. So why does it seem that Hollywood is more apt to release films like The Island where the main issue at hand is staring at the attractive visages of cloned beautiful people. I mean there was so much potential within to explore and bring up questions of what is life/reality/the ethics of cloning/etc, but these points were obstructed by beauty. The best Sci Fi deals with our fears and/or desires for our civilization. And for the past decade Hollywood has seemed to basically given up on addressing this on the big screen, almost as if they have given up on the future.

I would wager to say that the last great real Sci Fi movie Hollywood released was over ten years ago, when the criminally underrated Gattaca was released. I could also see an argument made for The Matrix here, but damn it, Gattaca is a far better Sci Fi film, as the fears it percolates and dissects are ones that we can actually hold in our hands; therefore, far scarier. As a quick aside: seriously, who could have guessed Uma Thurman could actually act? How is it possible that it has been ten years (eight if using The Matrix) since Hollywood created a serious thought provoking Sci Fi movie? Am I forgetting a great Sci Fi film during the time between then and now?

And yes, I know i am leaving out those current day episodic Sci Fi epics that occur over the course of weeks or seasons on television. I have another post in mind about them. It just strikes me as strange that a genre with such potential in these ever fluctuating, panic inducing times seems bereft of any serious treatment at the multiplex. Any thoughts on why?

Silence

Yes, I know I have been a bit quieter than I would like, but I caught the chicken pox and sitting up writing has not really been on my to do list.

I have quite few posts in the works, so fret not people. And more posts about comics too!!!

I might love comic books a bit too much....

But in the future look for some words following up on my melancholia post, the conclusion of the best comic series of the 00s, Y - The Last Man, the genius of Kyle Baker, and some pretty piss poor new albums. And I hope less excuses....

And maybe I will kick my ass enough to rekindle my Manhunter posts. That book really is quite good and it is a shame it is on hiatus.

Please tell me how this is a good idea

Oh My God. Vile, so vile that my initial thought was a bit on the inappropriate side. I sort of wondered if using more nukes in WW II would have stopped this travesty.

Now, I am of the mind that it was the nukes that created this, as if any non-radiated country, hell individual could have created this.

These are true snacks for the apocalypse.

Top 50 Movies

Here are my top 50 movies. Again, with these lists they are likely to change at any time. But as of right now I am quite happy with this list. Though it would have been easier if I had gone to 100, as quite a few favorites were left out of this.

What does this list say about me?

1. 8 1/2
2. Bamboozled
3. 400 Blows
4. The Adventures of Buckaroo Banzai Across the 8th Dimension
5. North by Northwest
6. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
7. Julien Donkey-Boy
8. Thesis
9. PI
10. Ghost Dog: The Way of the Samurai
11. Breaking the Waves
12. Shallow Grave
13. Fight Club
14. Mean Streets
15. Repo Man
16. The Squid and the Whale
17. Crumb
18. Naked
19. I Heart Huckabees
20. Magnolia
21. Primer
22. In the Realms of the Unreal: The Mystery of Henry Darger
23. Wonderland
24. Brother from Another Planet
25. George Washingtom
26. 3 Women
27. L'Avventura
28. How to Get Ahead in Advertising
29. Ratcatcher
30. Network
31. Midnight Cowboy
32. Butcher Boy
33. Blade Runner
34. Masculine-Feminine
35. Bonnie and Clyde
36. Dancer in the Dark
37. Jules and Jim
38. Barry Lyndon
39. Children of Men
40. The War Zone
41. Don't Let me Die on a Sunday
42. Orlando
43. To Catch a Thief
44. Mildred Pierce
45. Charade
46. Badlands
47. Heavenly Creatures
48. The Apartment
49. City of God
50. eXistenZ

Red Bean and Walnut Soup

Of course I find this recipe during the time i am doing a fast/cleanse.

But seriously, how good does that look? I would of course nix the chicken broth for a nice roasted veggie one. But that flavor combo with some nice bread and some wilted greens or broccoli rabe.... Man that would be a great dinner for sure.

And it is weird, as walnuts are one of my least favorite nuts, but only the texture of them, as I like their flavor and just love walnut oil. So I have a good idea that I will enjoy this one when I finally have a chance to try it next month.

Cocktail Madness

I really have to wonder what gets one to think that alcohol induced breakfast cereal is a good idea. I mean I strive for originality in the kitchen and never like to see creativity limited in any way, but this just seems a bit too out there for me.

I mean if people are enjoying it then good for Mr. Freeman and his cocktail pedigree, I am just not going to partake. I would however like to Go to Tailor and imbibe on his more normal cocktails though. Normal in that you actually drink them, what with his pumpernickel raisin infused scotch, lemon verbena rum, and whatnot, they seem like they would be far from normal.

Free the Music

I love Last.fm. I have been a user for years. In a time that I felt so many musical options were being closed off to me, it has opened me up to some of my favorite artists. I sort of fell back in love with music through Last.fm, after slipping into a rut of not noticing new artists or pretty much caring.

So to say that today's announcement made me ecstatic would be a slight misnomer. I am pleased in ways I am having a hard time even conveying. No more 30 second clips to figure out if I want to invest in an artist. This pleases me soooooo much.

The music industry might not die as quick a death if they continue down this path and let the people hear the music they want. Now if only more artists would upload their tracks to Last.fm.

Here are some artists that I discovered though Last.fm:

Nouvelle Vague
France Gall
Keren Ann
Emilie Simon
Lee Hazlewood
Mareva Galanter
Brisa Roche
Sibylle Baier
Lady & Bird
The
Televangelist & The Architect
Isobel Campbell & Mark Lanegan
Carla Bruni

And those are only the ones in my top 50 artists list. So go over there and check them out if you have not used the site before. Be careful, the use of that site will cause you to buy more albums/songs than you planned, but it will so be worth it, I promise.

And some people say i am never happy........

Top 50 Works of Fiction

Since this blog mainly exists to discuss media products, ones that I am often quite critical of, I am going to periodically leave lists of things that i really enjoy, to give as wide a spectrum of my tastes as possible to the reader. Today I start with works of fiction.

This is in no specific order and I am sure 3 weeks from now it would be quite different as well....

1. Random Acts of Senseless Violence
2. His Dark Materials
3. Play It As It Lays
4. The Great Gatsby
5. Cathedral
6. Post Office
7. Breakfast of Champions, or Goodbye Blue Monday
8. Watchmen
9. The Portrait of a Lady
10. Snow Crash
11. The Historical Illuminatus Chronicles
12. The Grapes of Wrath
13. Underworld
14. The Fortress of Solitude
15. A Home at the End of the World
16. The Sandman
17. VALIS
18. Traplines
19. The Wind-Up Bird Chronicle
20. Invisible Man
21. The Lord of the Rings
22. The Middle Kingdom
23. Moby-Dick
24. To Kill a Mockingbird
25. The Invisibles
26. Invisible Monsters
27. The Perks of Being a Wallflower
28. Youth in Revolt: The Journals of Nick Twisp
29. Give Me Liberty
30. Skin
31. Native Son
32. Slapstick, or Lonesome No More!
33. The Dark Phoenix Saga
34. Jinx
35. The Amazing Adventures of Kavalier & Clay
36. V for Vendetta
37. The Beach
38. The Black Cauldron
39. The House on Mango Street
40. The Velveteen Rabbit or How Toys Become Real
41. Maus: A Survivor's Tale
42. Amnesiascope
43. Moonshadow
44. Batman: The Dark Knight Returns
45. Calvin and Hobbes
46. Skinny Legs and All
47. The Castle
48. Neuromancer
49. The Stranger
50. Blankets

Annihilating Melancholia

It would not be a lie to say that most people would classify me as negative or even pessimistic. Even if they chose to refrain from those descriptors, not many would say that I ever exuded happiness. And they are right I am not one who craves being happy, and one might say that I would have a hard time even describing happiness or even what happy is. In fact a group of my friends have compiled a list of things that I hate, including: cookies, or cake without the ake as I like to say, why bother (that i dislike cake as well is of no relevance); grass, far too much of the land is covered with this mostly useless greenery, we need plants and flowers that can attract bees and sustain life for more than cows; swimming, get tossed into a pool as a toddler and forced to be on swim team as a kid and you would hate it too; along with many other things that mostly would cause mass indifference or joy in other peoples' lives. I bring this up because one of my friends tried to tie my hatred of things to happiness with the most illogical syllogism I have ever come across: "you hate happiness, but hating makes you happy. It is a vicious circle." It makes for good humor and whatnot, but it is quite untrue. I do not hate happiness, I just find it fleeting.

But even this causes unease in many people. They want me to be happy, as my often sour disposition moves in direct opposition to the way they want to view the world. I can not tell you how many times people have suggested to me that maybe I could benefit from anti depressants. But I am far from depressed. I am not about to take my own life, as I assume some feel my world view suggests. And as much as it troubles me, Shia LeBeouf, an pretty bad actor, has summed up my feelings best when stating why acting was the most important thing in his life: "Happiness isn't worth anything. It's momentary. This is forever."

When I first read that I felt like someone took me out of me for a moment. Then when I used this exact quote to defend myself others would say things like "Nice defeatist attitude. Suicide should cheer you up." Statements like this make my head nearly implode. There should be emotional change in every sane rational individual all the time depending on the situation. Yet to the majority of people my admitting it and embracing it should be cause for suicide? Color me seriously confused. It seems completely insane to me to cling to one emotion against all others. I go through life and take it how it comes. I do not strive to be happy nor pissed off, but during the course of a day i usually get both and everything in between.

And while I have thought of this since then it never really made it to the top of my investigation list until I read an amazing article called In Praise of Melancholy by Eric G. Wilson. The heart of his argument provides a nice bookend to my earlier thoughts on the matter. He claims that in a recent Pew Research study "that almost 85 percent of Americans believe that they are very happy or at least pretty happy." And like him I find this to be shockingly awful. That there are just 15% of people that exist outside the obviously accoutrement filled zone of happiness seems absurd. He takes this further and suggests that as a culture we strive to annihilate melancholia. And rather than embrace this with a marketers fervor (what with self help books and psycho active drugs galore), he sees some deep drastic problems with this. What would challenge us to strive to get better if every one was happy all the time? He focuses on melancholia and its dramatic impact of the artistic spirit and drive. And while I completely agree with him on that, I also wonder where any innovation would come from in a world where everyone smelled roses and bathed in champagne. The shop keeper or office worker who resides unhappily in his/her job creates new products to shift the dullness of repetitive efforts to some new product. Do you think the self correcting type writer was developed in a vacuum or in direct consultation of the steno pool and their frustration and unhappiness with their mistakes?

Yet our culture is bowling towards a world where happiness is essential to exist. How long have we been a Prozac Nation? I have heard countless times of someone behaving like an ostrich by doing their all to avoid bad news. Comments like "oh, I do not even watch the news, it makes me far too sad" are too prevalent through out our entire culture. To this I often sit wanting to bang my head into a wall. How can one convince someone that it is okay to embrace moments of contemplation about events that directly effect others that share our planet. Wilson suggests it is the creation of art (writing, painting, music) that helps lead people to places where they can become aware of their own potential. Potential to not be happy and the potential to leap over it with the realization that there is more to life than a dreary force fed happiness. He suggests when happiness "is no longer viable. We want something more: joy. Melancholia galvanizes us, shocks us to life." While he does not come out and directly say it, he is associating perpetual happiness as a sort of emotional prison. I could not agree more.

While science has forever looked for that device that offers perpetual motion, they have yet to find one. There is a reason for this, anything that starts with out the threat of stopping defies the entire nature of our finite universe. We are but small specks in regards towards things in the magnitude of the universe, and it would do us wonders to remember that and in doing so see that everything is fleeting. To try and dictate a single desirable emotional way of being goes not only against the nature of man, but of the universe. Yet the fact remains, our culture is pressuring the last 15% to acquiesce and join Bobby McFerrin and Clinique on unabashed happiness trips. Yet as Wilson says, "to foster a society of total happiness is to concoct a culture of fear." Which on its face seems contradictory, but is a spot on critique. Happiness is emotional safeness. It is growing up in a nest, letting your wings grow large and plump, but never using them to soar, so you stay in the nest, as you are too happy to want to experience the other. Persistent happiness weighs one down like an anchor and causes fear of that which might shift that happiness even for a second. In a recent email with a friend she told me one of the scariest things she had ever heard:

"At a wedding about 12 years ago in Florida, right before I moved to California. I was talking to a girl I went to high school with that I wasn't close to and she said she couldn't ever imagine leaving Florida because it was "so safe" there. Um, wtf? and she meant emotionally safe, not physically safe. Sigh. I don't want to associate with people who have that mentality."

And thus we have happiness as a trap, the fear of new experience forcing one to stay insulated with the known. And to this all I can say is Gah!!!! In the drive to get everyone happy, we are helping remove discovery from the table. And if we are not inquisitive people, how can we justify our existence? Is just being a consumer enough? In the coming emotional Gattaca like state, that will be exactly it. How and even why will we produce new things when we are happy with what is available? As if our cultural forms are not recycled and reproduced enough as it is, what will happen when melancholy is no more?

Wilson's uses Keats to show how if one is able to embrace and utilize the low portions of ones life, of which Keats had many, the troubles the heart suffers is the stuff that drives our culture forward. Keats saw death first hand, first by his family and then ultimately through his untimely death due to consumption. Yet he found that "to deny death and calamity would be to live only a partial life, one devoid of creativity and beauty. Keats welcomed his death so that he could live." Yet this is exactly what prescribed happiness is all about: denial. That America seems to want to embrace this denial is one of the most troubling things that is facing us in the beginning years of the 21st century.

This feels far from complete, so I am going to try and figure out why Americans are scared to be sad in future posts. For now I will just campaign for others to embrace their melancholia. Note the ticks that make you sad and try and use them to propel your desires and endeavors forward. Remember that "most hide behind a smile because they are afraid of facing the world's complexity, its vagueness, its terrible beauties." A prison of grinning teeth is just as real as cold steal bars. And in the meantime you can find out more of Eric Wilson's fight against traveling down the road to eternal happiness in Against Happiness: In Praise of Melancholy, his new book that has quickly made it on to my must read list.

Is Disco Trek Dead?

So they released the new Star Trek preview today.

All I have to say is this movie looks more and more like a bad idea all the time. JFK and Spock talking over the creation of The Enterprise. Wow, how original. Someone using JFK's magnificent oratory on space exploration to give us goosebumps... And really, how far into the future is Star Trek, in their world, no other president or leader has much to say about space travel, even though the cost to fund building Starfleet must have instilled much more rhetoric. But no, just like this franchise fans are constantly looking backwards so are its creators.

And just why does the ship building yard look so much like the set of blade runner, are the new de-aged Enterprise crew replicants?

How hard is it to let things die and remain so? I guess not nearly as hard to create new stories and mythologies. They might as well market this film in the same vein they used to market Oldsmobiles, "This is not your father's Star Trek." It worked so well for Oldmobiles....

So here is to hoping this film floppity flop flops, and the door to nostalgic space travel will close and new ideas can burst forth from elsewhere.

The well is dry, time to drill for water elsewhere.

My Juno rant

Everything about me wanted to like Juno. And I left the theater a bit uplifted, and rather happy that I spent an hour and forty-five minutes at the movies, but I was not sure if I liked the overall tone movie. The acting was great and it showcased a side of humanity not normally seen on screen, the forgiving, quick witted non-smarmy kind. While Juno obviously held disdain for much life had to offer, she was not a single serving of angst plated over easy. While her despondent movie brethren often look down upon everything with equal sense of near entitlement, Juno seems to accept that which comes to her, not necessarily liking it, but accepting it. There is little fight in her towards the things she can not control. In this, she is not apathetic like the kids in River's Edge, but just has a better understanding of the world than most 16 year olds. And while the film seems to be about her unplanned pregnancy, it seems far more about the way she is able to plug in with that which surrounds her.

From the very start of the film we see her charting the territory that that surrounds her from "the most magnificent discarded living room set" she has ever seen to the animated environs that show her suburban town. At first it is a bit off putting to watch Juno step onto the 4 color palate of a comic book, but this is the first hint that while the following story seems real, it is as fake as any global disaster than only Superman can deflect. Yet at the same time it shows how Juno traverses the world on her own terms. The realms and facts of everyday life need not concern her, which we can see as she pops back into the real world and tries to deny the facts of two previous pregnancy tests. When asked why she needs a third test she replies: "I think the last one was defective. The plus sign looked more like a division sign. I remain unconvinced." So rather than accept the harsh reality of being another statistical teenage pregnancy, she tries to deflect away the facts with her wits and opens herself to a third possibility on her true/false baby exam. This is who Juno is, and she is presented in the most admirable way. And at this point I just knew I was going to love this film.

Yet, I sit here, after much thought, pretty much with only condemnation about it going though my head. Why? What about this film makes me so uneasy? Well for one thing, the whole film seems to be summed up in a montage of what Juno thinks a jock wants. It shows what the credits call 'Pretty-to-Goth Girl' morphing from preppy cheerleader to hot topic model extraordinaire. That is the whole movie, a pretty cheerleader film (read typical Hollywood popcorn movie) as "gothed out" (indie). The airs of the film all point to it being outside the mainstream, but it is just more of the norm masquerading in amazingly witty dialogue and longing for a more wholesome time of idealized family life, or "the way we never were."

This is nothing new, the co-opting of a genre to present the idealized status quo, but the marketing angle of this film makes this feel dirty beyond belief. The movie poster, with all its mismatched vertical stripes, is extremely bold and even uses a quote that calls the film "fresh". But again, this film is about as fresh as 3 day old popcorn at the modern multiplex. The marketing seems to try and recall the quirkiness of movies like Napoleon Dynamite. This points exactly to my first major issue with the film: its use of quirkiness as a substitute for real character or plot development. Yet the quirky, goofy look of the two main characters helps make them different enough to float out of the strata of a normative movie. And it is directly from the use of quirk as a point of reference rather than from direct character development that makes what was a promising premise fall to the depths Juno does.

And thus the my real loathing of this film begins. It dresses itself up in quirky colors and asserts its relevance to pre-packaged divergent culture with a classically indie rock soundtrack and Juno's acid tongued quips, but it exists really to embrace the idealized post WW II nuclear family structures. The script only pays lip service to family life outside the suburban norm. As Juno and her friend search through the penny saver to find adoptive parents, Juno longs to have her baby in a loving non-conventional home: "I was thinking I could give the baby to somebody who likes that kind of thing. You know, like a woman with a bum ovary or something. Or some nice lesbos." In fact this is the only time the movie even presents the idea of an alternative family. Everything else seems post war Eisenhowerian bliss in Juno's idealized suburban realm. In fact, the couple she decided to adopt out to lives an hour away, so not to distract with the lovely portraiture of the complacent suburbs Juno presents. And granted Juno still decides to give her child to the newly single Vanessa at the end of the movie, which I assume would have made Dan Quayle have an aneurysm if she was played by Candace Bergan, but this is the only time a family is allowed to be so ill defined in the film. And Vanessa is already damaged goods what with not being able to have a baby and all, though will likely be a loving mother.

How different is Juno from Cher from Clueless? Sure Cher is searching for clothes while Juno is seeking parents for her unborn child, but those are just plot conventions, they are both determining how to plug into their distinctive worlds. And while Juno does not demonstrate the obvious conspicuous consumptive power of Clueless, it does seem to be working towards a set of underground cool notes through Juno's cultural cache. From her arguments of 1977 being the best year for rock and roll to her off centered wardrobe, how many young women will begin to model themselves after her? In other words, Juno presents Juno as someone to emulate, and provides clues of what to buy to be more like her.

Juno is obviously a character to look up to, far better than the empty soulless teenagers portrayed on what was once the WB. But I have a major problem that not once throughout the entire film is she presented with a healthy response or option for birth control. While all characters seem to agree it would have been best for her to avoid the pregnancy from the start, the only time a condom is even mentioned is when Juno explores her options at the planned parenthood center clone. The abrasive desk clerk offers her a condom in a most uncouth manner:

Desk clerk: Would you like some free condoms? They're boysenberry.
Juno: No thank you. I'm off sex.
Desk clerk: My partner uses them every time we have intercourse. They make his balls smell like pie.

That is it. Condoms are treated as the entryway of a punch line. And while this could be interpreted as an astute commentary on abstinence only sex ed, there is far more at play here than just that. As aforementioned, Juno is an easy character to idolize. She is written in a way that many people wish they were, and I say the lack of any other mention of contraception is damn near criminal. The 16 year old girls that will look to her for inspiration should not have to look to her for sex ed, but that is the way of the world, and the creators behind this movie needed to address this issue. That they do not is as irresponsible as showing only angst driven complications Juno suffers from the pregnancy. They almost make pregnancy seem cool.

This brings me to another major theme that percolates under the surface throughout the movie, the issue of family structure. Juno's voice over at the beginning of the film really highlights this as she talks about how her mother left her and her father for New Mexico and had "three replacement children" and how she lives in a blended family with her father and step mom and their toddler, who says nothing the entire film. And this is a huge source of contention for me. From the film i know about four things about Juno's sister, she takes toddler ice skating lessons, over uses Ba-cos, is a scapegoat for Juno, and most importantly never speaks. She is much more a plot device than a person. Her presence is almost like a salve to prop up the fact that only families with children are real, that two married people, have to have at least a single child together to have any meaning. Just the thought of this convention drives me mad. That this hip script and film would seem to advocate for such a ill conceived notion of marriage boggles my mind. I expected far better of you Juno, far, far better.

Juno's main foil in this film is her Mother, who gave her up after knowing her, rather than right after she was born, never holding her in her arms. That we, the audience, never even see the mother, really shows how little actual drama is in the script. Sure there is the fact that Juno is pregnant and her navigating what that means to a 16 year old, but again this movie is far less about the pregnancy than about how quick Juno can spit out witty ephemera to polish the rusty rudder of her life. As the Pretty-to-Goth girl sequence really sums up the core essence of how this film presents it's self to the audience, Juno begins her decent back to a normal 16 year old, well non pregnant at least, by asking her father "I guess I wonder sometimes if people stay together for good... I just need to know that it is possible for two people to stay together happy forever. Or at least a few years." And so this takes us back to the moment of conception, as Juno figures out she loves Bleeker (and as much as I have harsh feelings towards much of this film, what a great name for this character), the father of her child. That even though a pregnancy has come between them, this is the real thing. And so we get the happy Hollywood ending to such an edgy film.

Wait, what? Every character seems to have what they crave at the end of the film, Juno and Bleeker are together, making music, Juno's step mother is loving on her dog, which up to this point was impossible due to Juno being allergic to dog saliva (did her pregnancy cure this allergy as well???), Vanessa has her child that she holds lovingly (it is a wonder that she was not shown walking off into the sunset pushing a stroller), her useless husband (soon to be ex) has his last chance at rock and roll fame and a loft downtown, Juno's dad is happy building model ships and that his daughter no longer resembles "a planet", as Juno once refers to herself. The only character that seem worse for the wear of the film is Bleeker's mom, who does not approve of Juno. How did a film with such a premise, that relied on such witty, tongue piercing dialogue reformat itself to a photo spread in Better Homes and Gardens or a Rockwell cover of the Saturday Evening Post? With the birth, even Juno's wit now seems to be absent. Love even conquers that? Color me unimpressed.

But I guess the major reason that I have major problems with this film is that even knowing all the above, I still quite liked parts of it. In other words, I took the bait and was hooked in like that first time someone puffs on a cigarette all the while reading the surgeon general's warning. Maybe it was not meant to be so vitriolic towards the culture it critiques behind veils. But the core of my emotional response to this film remains that I would like to think that my 16 year old self would be friends with Juno, or a reasonable facsimile of her. So rather than battle with my emotions (a never ending battle to be sure), I can say that I really enjoyed the notion of the film and felt a sort of kinship with Juno, but have a deep dislike for the puppet mastery behind the curtain trying to instill pre-packaged, pro-consumptive, normative values through a mural of self discovery. But I guess it is my fault to think that any romantic comedy could hold any sort of meaningful critique on society at large.

some songs that are really getting me going right now

I have been lax in showcasing any music. That needs to change. So here are 5 songs that really burrowed under my skin and decided to stay. I like each one very, very much.



Brisa Roche - Mystery Man

She has a new album coming out soon. I eagerly await it.



Laura Veirs - Cast a Hook in Me

From the new album Saltbreakers. I really like the way this album sparkles with references of nature. And the video is quite fun as well.




Vincent Delerm - Sous les Avalanches

I know next to nothing about this french signer, but this is my song of the summer for me. The viedo is quite a bit much though, just listen.



Ultra Orange & Emmanuelle - Sing Sing

Is this a cover? I really like this one. It puts me in the mood to walk through the city, no destination in mind, just enjoying.



Charlotte Gainsbourg - The Songs that we Sing

From one of my favorite albums from last year, that only just hit stateside.

y - the last man

There are only 4 more issues of this book left. And I am pretty sure I am going to cry when it is over. It has been one of my must read 1st for years now. And when 355 gave away her scarf this past issue, I so totally cried.

I can not wait to take 2 or 3 days and just read all 60 issues of this book in a row and really inhale Brian K. Vaughn's ever so delectable tale. I also plan to do a through analysis once it is done. But if you have not read this, get thee to the store/library and start picking up trades.

You need to be reading this.

manhunter 5

DC Comics
Writer: Marc Andreyko
Pencils: Jesus Saiz
Inks: Jimmy Palmiotti
Colors: Steve Buccellato
Letters: Phil Balsman
Editor: Joan Hilty

The JLA. What. Are. They. Doing. In. This. Issue???

I can not blame Andreyko on this one, as it has all the look of editorial interference, but still it bugs the crap out of me. Yet after seeing the sales for JLA titles, I presume a little Martian Manhunter is bound to help sales, but it just felt inorganic. That said, the introduction of the JLA was very inspired.

Issue 5 opens quite nicely, with Manhunter training on an old movie set with Dylan made robots. That her 'danger room' is an old movie set is quite a nice nod to this book taking place in Los Angeles. We get 6 pages of action from the start. And while last issue seemed to set up a block of stories, we do not lose this element even though we see Manhunter kick robot ass. The self referential nature of her fighting a male Cheetah is both quite humorous and over the top. While fighting this oddly sexed robot, Manhunter - without any irony, i might add - thinks "The Cheetah? Thought she was a, well, a she. Hard to keep up with all the gender switching in the villain community." And yet two pages later she faces off with a Mark Shaw era Manhunter doppelganger. Now, I enjoyed the laugh, but it makes Spenser come off as someone who can see no further than herself to not see the problem with her sentiment.

The scene really works though, as it refers to her previous adventures, as it looks like she is falling off a roof again, Manhunter thinks "Way to stay focused, Kate. I friggin' hate getting knocked off roofs." That Andreyko pays so much attention to past actions makes this series ever more enjoyable. The series also is starting at a time where DC seems to be making a real effort to tie their world together in much the same way. And while the continuity police can be a real drag, this effort hearkens back to the comics i grew up on (and assume Andreyko did as well). Yet Andreyko really pushes his forward thinking in his writing, not just rehashing past plots/characters/wtfever as other notable creators are known to do.

Dylan and Manhunter's problematic dynamic also rears its head in this scene. The facial expression Dylan exhibits really show how much he had missed his niche. He is simply thrilled to be back in the game. And Spenser is quite happy to have his expertise guiding improvements to her equipment: "I can feel the difference. Its like a second skin. Nice." And for someone who is not seen giving anything resembling a compliment this is high praise indeed. Yet while she enjoys what Dylan can do for her, she still does not trust/like him, as we see when she sternly tells him that her "personal life is not a topic of discussion. Ever. Got it?" This is prompted when Dylan makes a crack about why she needs to put on the suit and go man hunting and tosses out a quip about her father. Hmmm, foreshadowing maybe....

We next see Spenser getting her ass handed to her by her ex. He got a temporary restraining order against her seeing Ramsey and she is less than pleased about it. And once again we see the control freak Spenser not able to control a situation. And she just seems like she is about to break. And since the Shadowthief is still out there, you don't think... Nah. But of course Round 2 is going to happen, but what would make him return to LA, as he normally stays at home in St. Rochs (DC analogue for New Orleans). Well it appears he returns to LA to be with his "only friend," who of course is not seen due to his shadows taking over. So will Manhunter have to face two villains in trying to spear Shadowthief? Well if she does, you would think she could use some help --- and enter the JLA. And really this is just sloppy storytelling. Provide a threat larger than ever - he did just kill Firestorm - and show that he has at least one person backing him up. And rather than Manhunter being able to go in for the kill and prove herself, just bring in the JLA to LA - who have not seen the city since Early in Grant Morrison's run when they fought angles (in Los Angeles, get it...). But again I can see this as an editorial mandate. And really it hurts for the reasons he is so good. It is just so unnatural and differs so much from the organic story telling that Andreyko excels at.

But, the introduction is at least written in a way that seems novel. Rather than have them crash through a window, we are given them through the perspective of a starstruck window shopper, Spenser's assistant. We find that the JLA - none of the big guns, just Hawkman, Martian Manhunter, Vixen, and the Green Lantern, here John Stewart - are in town to find Shadowthief and are letting all law enforcement personal know of their presence. And while it was an inventive way (though not much different than the idea of JLA as ambassadors in the JLI era) of highlighting the JLA, it just seems out of place for a group that has shown it has carte blanche to intervene where needed anywhere in the country. Wouldn't it be more beneficial and efficient to have Martian Manhunter contact all law enforcement telepathically and have the team out searching for Shadowthief? But then we would not get the wonderful scene of the Green Lantern saving Spenser's coffee that she drops when she sees the team walking into her office: "Don't worry. Ms. Spenser, I've got it. I know how expensive those Lattes can be." And while that is funny it just seems out of character for the JLA to be acting this way.

So as Spenser knows the JLA are after Shadowthief as well, she must find and slay him quickly. And so we see a race between her and the team to get to Shadowthief. And as this is Manhunter's book, of course she gets to him 1st, but not before adding some light hearted barbs at her city, all the while distancing herself from Batman: "Now I know why there are so few active Metahumans in LA. Everything is so damn spread out. It's not like I can swing from skyscraper to skyscraper." If she were more self conscious she could see that this might be a point where she would question her sanity. But she is on a mission and needs to find Shadowthief fast. And she does, in a cemetery. If only the book could play some ominous music to go along with yet another ridiculously predictable locations for Round 2. And even though Andreyko uses a tried a true local for this fight he is able to make it interesting by having Shadowthief re-animate Copperhead's corpse with his shadows to fight Manhunter. And with this we find that his only friend was indeed Copperhead. Yeah, he is totally balanced and stable....

And so a quick fight ensues. Manhunter is attacked with shadows entering her nose and mouth, but defends herself with a knife made of light and essentially a flash grenade. And while it looks like she is winning, she issurreptitiously knocked into a mausoleum. At which time the JLA rain down and capture him, after getting a few shots in for Firestorm. And so once again Spenser 'fails'. She was out for blood. But rather the see it as a pure failure she sees it as an opportunity to bring the end to Shadowthief "the old-fashioned way. A trial. A verdict of death." I find it interesting that she sees her day job as old-fashioned. It is like she views her Manhunter identity as the ultimate upgrade, Prosecutor 2.0.

But that is the end of the TPB. And really, as I mentioned before, Andreyko is not writing for the trade, but it is just so abrupt a closure, really a lack of one, that you are left wanting more. And maybe that is the marketing angle, to get the reader to search out the single copies or the next trade, but I find the lack of any of the story lines unsettling and pretty poor form. This of course is a criticism of DC, as i am sure Andreyko was just happy to see his book get the trade treatment. But I do not want to get to much into a discussion about the 1st five issues as a whole here. I will explore them tomorrow in a recap of the trade.

On the whole this issue has problems galore. But the 1st scene alone makes up for these. Spenser is really growing into her role of Manhunter, even if she was not able to squash Shadowthief like she wanted. And the Ramsey subplot continues to click along quite well. I just wish we had more motivation from Spenser's ex. I just had to look up his name again - Peter - which should tell you enough about how slow and poor his development is. There is so much left unresolved and so many questions about what happens next that even a misplaced JLA appearance can not take the focus off a nicely running ongoing story. In fact the pacing of the series so far makes me wonder if Andreyko has spent anytime in TV. He really brings a cinematic perspective, noir in particular, to the page.

if you are interested....

this will be all about me:

[1] Are you in a complicated relationship?
Every relationship I have is complicated.
Still looking for my Zelda Fitzgerald though....

[2] Do you hate more than 3 people?
I would put that number closer to 300k

[3] How many houses/apts have you lived in?
13

[4] Favorite candy bar?
Sweet tooths are for commoners
Give me curry, or give me death

[5] What are you currently listening to?
"Off the Couch" - The Blacks

[6] Have you ever tripped someone?
In elementary school I was on crutches more than any human should. And if you are on crutches you have to get all the benefits...

[7] Least favorite school subject?
In school it was science, but I have sense found it fascinating. Bad teachers = the worst.

[8] How many pairs of shoes do you own?
3

[9] Do you own a Britney Spears CD?
No

[10] Have you ever thrown up in public?
Holding my head in shame, yes.

[11] Name one thing that is always on your mind:
"Where did this come from..."
I am fascinated by the origins of things and the political economy around their production

[12] Favorite genre of music?
Currently, French pop

[13] What is your zodiac sign?
Sagittarius

[14] What time were you born?
5:45ish int he morning

[15] Do you like beer?
Craft beer is the best.

[16] Have you made a prank phone call?
I was kid growing up in suburban Tejas, what do you think.

[17] What is the most embarrassing CD you own?
Other people give me shit for it, but I love my Carpenters box set.

[18] Are you sarcastic?
um.....

[19] What are your favorite color(s)?
Blue and green

[20] How many watches do you own?
I might still have one, I don't know.

[21] Summer or winter?
Winter.

[22] Is anyone in love with you?
Yes.

[23] Favorite color to wear?
A blue based plaid

[24] Pepsi or Sprite:
H2O, soda is of the devil.

[25] Ever been out of the country?
Yes.

[26] Where is your second home?
The bar.

[27] Have you ever slapped someone?
Yes.

[28] How many states have you been in?
48

[29] How many lamps are in your bedroom?
Zero

[30] How many video games do you own?
Zero

[31] What was your first pet?
I had a dog named Charlie when I was an infant, who guarded me like I was Ft. Knox. But the 1st pet where we chose each other was my lovely cat, Puff.

[32] Ever had braces?
For 11+ years. I had, and still do, have fucked up teeth.

[33] Do looks matter?
Often, but not always.

[34] Do you use chapstick?
Only when needed.

[35] What was your favorite class in high school?
English

[36] American Eagle or Abercrombie?
I am far more of a Goodwill/Thrift store person

[37] Are you too forgiving?
That would be a no.

[38] How many children do you want?
Zero.

[39] Do you own anything from Hot Topic?
Is that a beach shop?
but no.

[40] Favorite breakfast meal?
Scrambled tofu.

[41] Do you own a gun?
I will take the 5th.

[42] Ever thought you were in love?
Yes.

[43] Have you ever smoked weed?
Who the hell has not?

[44] What did you do 3 nights ago?
Spent evening at a bar for the release of an indie rock cookbook

[45] Been to the Olive Garden?
Yes.

[46] Have you ever called your teacher mom?
Yes.

[47] Have you ever been in a castle?
Yes.

[48] Nicknames?
At least 300, but I will answer to anything.

[49] Do you know anyone named Bertha?
No.

[50] Ever been to Kentucky?
Yes.

[51] Do you own something from Banana Republic?
I was just given a shirt from there.

[52] Are you thinking about somebody right now?
No.

[53] Ever call somebody Boo?
No.

[54] How many people have you kissed?
If i was nine I would have quite a bit easier time answering this.

[55] Do you own a diamond ring?
No.

[56] Are you happy with your life right now?
I have never been happy with my life.

[57] Do you like your hair?
Seriously, I wish i was bald.

[58] Does anyone have a crush on you?
Yes.

[59] Any siblings?
A half brother.

[60] What were you doing in May of 1994?
Finishing my 2nd year of college.

[61] Do you own a Backstreet Boys Cd?
No.

[62] McDonalds or Wendys?
Bullet to the head would be better...

[63] Do you like yourself?
Infrequently.

[64] Are you closer to your mother or father?
Not so much.

[65] Favorite physical feature of the preferred sex?
Hip bones and shoulder blades

[66] Are you afraid of the dark?
No.

[67] Have you ever eaten paste?
No.

[68] Do you own a webcam?
No.

[69] Have you ever stripped?
No.

[70] Ever broke a bone?
Way too many times.

[71] Are you religious?
That is a big no.

[72] Do you chat on AIM often?
No.

[73] Pringles or Lays?
Not so much...

[74] Have you ever broken someone's heart?
Yes.

[75] Full House or The Brady Bunch?
I have never seen an entire episode of either.

[76] Own an ipod, mp3 player, cd player?
Everything but an ipod.

[77] Did you like your high school guidance counselor?
I have no memory of this person, good or bad.

[78] Has anyone ever called you a tease?
Yes

[79] Do you have a birth mark?
A small spot on my right kneee.

[80] Do you own a car?
No, I ride the subway.

[81] Can you cook?
Better than most.

[82] 3 things that annoy you:
Hipsters, children, restaurants with no vegetarian options.

[83] Do you text message often?
No.

[84] Money or love?
Enough of both to get by.

[85] Do you have any scars?
Where to begin...

[86] What do you want more than anything?
To be 55.

[87] Do you enjoy scary movies?
No,

[88] Relationships or one night stands?
Relationships.

[89] Big Red or Juicy Fruit?:
Seriously???

[90] Do you enjoy greasy food?
No really.

[91] Have you seen all the Rocky movies?
No.

[92] Do you own a box of crayons?
No.

[93] Ever had sex in a public place?
Yes.

[94] Who was the last person that said "I love you" to you?
Anne

[96] Who was the last person that made you cry?
My mother.

[97] When was the last time you laughed?
More than likely Saturday.

[98] Who was the last person that texted you?
???

[99] Who was the last person that called you?
Kathleen

[100] When was your last kiss?
Over a week ago.

manhunter 4

DC Comics
Writer: Marc Andreyko
Pencils: Jesus Saiz
Inks: Jimmy Palmiotti
Colors: Steve Buccellato
Letters: Phil Balsman
Editor: Joan Hilty

The contrite remorseful Kate Spenser we saw last issue is nowhere to be found in this issue. Also there is no mention of Ramsey, only an almost psychotic drive to make one portion of her divided life whole again (more on this aspect in a later posting). Once again the issue opens with the 1st panel highlighting a Batman villain, Two-face again. But unlike issue 2 he is not surround by Arkham escapes, but fodder for Blackgate, those no name helpers that are quickly smashed via Batman before taking about his main villain. Does Andreyko want to be writing Batman. Will Spenser somehow develop into female -- dare i say it??? -- Batwoman? I would say no, he is just establishing his characters in knowable contexts. Though this logic is immediately questioned by using Killer Frost and Black Manta as two other contextualizing villains. Oh, but that's right, DC only knows how to market itself to longtime DC comic readers. So anyone picking up this book will already know all three major villains. But who is this face in all three panels and why is Batman, Firestorm, and Aquaman kicking his ass? I guess Blackgate's doors open as liberally as Arkham's.

So we have the introduction of yet another major player in Manhunter's life, a "'Go-to' tech guy for psychotic killers and sadistic megalomaniacs," who is now in the witness protection program, of which Spenser help put him into. And Dylan's introduction is downright genius. We first unknowingly saw him in issue two, as he accidentally poured a milkshake down Spenser's suit. It was played for laughs, but it was here where Spenser realized who he was and that she could enlist him in being her tech guy. His more proper introduction is being beat by superhero after superhero and then browbeat by his wife. The 1st time we see him current day he is in full loser mode and mowing a very unkempt lawn and missing his old life. Here in his rundown home, with his disinterested wife, a bad haircut, and a wardrobe screaming for euthanasia, Dylan is shown at his most miserable. The genius comes in when Andeyko uses one of his sparsely used splash pages showing Dylan doing nothing but attempting to mow the yard. And by looking at the page, not doing a good job at that. In just a page we can see just what a malaise he is in. And while he is at his lowest point Spenser swoops in with an offer to give his life meaning again.

And with that offer Dylan's life changes instantly. His wife leaves him because "there is a part of your life you don't want to share with us, so I'm making it easy for you. I'm leaving." And out the door walks his mundane existence. He is ready to get back in the game. And while we are not really shown too much of his motivation, we can see that he is very different than Spenser. When his wife walks out with their toddler his only reaction is sarcasm and to watch them depart thinking to himself, "Well I guess that is over." And while he does not revert back to helping the criminal element, he goes back deep into his Metahuman tech role. This is the polar opposite reaction Spenser has when in issue 3 her ex threatens to claim full custody of Ramsey. She is willing to fight, Dylan is only able to revert back into a comfort zone he had been forced to give up. The difference in characters here (not to mention the already tense relationship) will likely lead to many moments of good fiction and a fun dynamic to watch.

While this issue seems mainly about introducing Dylan, and there is little action - hell, the Manhunter suit is only seen in the trunk of Spenser's BMW - the issue works quite well. It has nothing in it that will change the world, but it is a fun comic. If he is not careful, Anrdeyko is bound to create a highly sympathetic slime-ball in Dylan, as his ambiguous personality is so different that the rigid black/white perspective that the other leads take. Would he have gone back to the villain side if they approached him first? I would think so, as he is mainly interested in producing the tech. And for this it appears Spenser has found a boon like no other for herself.

The art again is much looser than issue 2 - what happened there anyway. And this issue ends with yet another rift on the darkness taking over Spenser's life. After enlisting Dylan we see Spenser in the DA's office looking up at large Metahuman's in near darkness. While she is silhouetted with only the light from the computer screen making her form visible, she hears 2 assistant DA's talk about how Shadowthief has killed Firestorm. And with this revelation the confidence is striped right off Spenser's face. Her inability to beat Shadowthief has lead to a death of a major - in powers, not in sales, obviously - hero. Her failure here has a direct effect just as her failure to put away Copperhead. And so the reader knows that Round 2 is coming.

I enjoy how this book is written with many story arcs meandering into one another and not for the trade paperback market. It has a very 80s story telling vibe to it in that way, but without the droning voice overs drowning it in verbosity. Anderyko really is excelling in telling a vibrant story about extremely flawed characters. So DC goes ahead and throws in an unneeded JLA appearance next issue. But more on that tomorrow....

manhunter 3

DC Comics
Writer: Marc Andreyko
Pencils: Jesus Saiz
Inks: Jimmy Palmiotti
Colors: Steve Buccellato
Letters: Phil Balsman
Editor: Joan Hilty

After the let down of issue 2, issue 3 is a rolling good time, with some nice pumping action and tons of emotion that was totally void last issue. The set up here is that there are two streams of story to track, one eight hours ago, Ramsey at the hospital, and one right now, Manhunter and Shadowthief, round one. Andrekyo uses some deft footwork to bounce back and forth from each story to make the change overs flow extremely well, all the while leaving the reader with a strong desire to get back to the other action.

The cover of this issue is superb in capturing the darkness overcoming Spenser's life. It is obvious that it is Shadowthief trying to muzzle her, but the stark contrast between the red of Manhunter's outfit and the creeping darkness plays extremely well to the of the challenges Spenser experiences in the 3rd act in this story. Truly inspired.

And where issue 2 lacked any action, the first page here blasts forth with no less than a "KABOOM" from Manhunter's staff, firing off into the night. This echoes the explosion at the conclusion of issue 2 and her frustration with Ramsey's hospitalisation, that the reader is unaware of when just opening the book. But her inner monologue, far better this issue, does state that "an innocent child is fighting for his life." This is the 1st time Andreyko opens with the traditional splash page front and center, And here he uses comic book convention to aid his story in the best possible way. In fact he has been using the splash page quite judiciously, as a to focus on a jarring shift in point of view of a scene and to close both books with a violent bang. The reverberations of her attack here plays off these ending slash pages of so well. We see exactly what was able to pierce Copperhead's thick skull and just how badly injured Ramsey might be.

The next two pages provide us with the beginning of a great fight scene. As Manhunter rests on the top of a building, Shadowthief finds her and marvels at the notion that a woman killed "our friend" (for those who don't know, he is a bit deranged and talks to the many voices that live in the shadows he controls). The banter between these two characters resonates with a crisp bristling pulse that sets this issue apart from the previous two. Yet right as it seems he has her down for the proverbial count, we jump 8 hours previously to the Ramsey's ambulance arriving at the hospital and it is obvious that Spenser's concern has drowned out the confidence that will not swell again till she faces Shadowthief hours later. The expressions on her face as she realizes that she is helpless in helping her son are fantastically conveyed. I also like how Andreyko sets up a situation that more than resembles Spenser's powerlessness upon hearing Copperhead's not guilty verdict. Only this time, she has nothing to go get to make the situation 'right'. And thus the darkness from the cover begins to streak over her face, as her world comes close to collapse.

This also works to Andreyko strength of creating questions in the reader. Will he be ok? How will the take charge Spenser react to her helplessness? What is her ex going to say? etc... But before any of these questions can be addressed the reader is taken right back to the fight. As the punches fly back and forth, Andreyko makes light of one of the basest and damn near convoluted comic conventions ever, oh so smart verbal sparing as Manhunter thinks to herself: "The witty banter is hard to come up with on the spot. Maybe i should take an improv class at the Groundlings?" This is a damn neat perfect response to what is such an excepted fact of comic scripting. It is such an expected fact that, Andreyko does nothing to try and diminish the tit-for-tat, but just his sly comment on the act shows the reader than the writer knows this would never happen, but a fight in a comic without it just does not work. I also like to think that Andreyko uses this as a metaphor for Spenser's smoking. I mean how is she able to climb up buildings and go multiple rounds with Metahumans, all the while her lungs screaming for more air. But i have been known to project before....

And so after being nearly taken out by Shadowthief, Manhunter uses her staff as a flashlight to take away his shadows. And while i guess Hawkman should maybe just carry around a really strong flashlight, this would be a very bad ending to this fight. And Andreyko obviously understands this, and has the ever dastardly Shadowthief throw knifes at her to make her move her million dollar flashlight. And just like that, the action turns. Manhunter loses her staff and she precariously hangs on to the roof with just her fingers. So of course, a shift in the action to the equally compelling joust (verbal) with her husband at the hospital. And while their animosity for one another percolates at a ferocious pace, the best part of this scene is how Spenser's eyes are almost swallowed by darkness. You can see the guilt radiating off her face in every panel and the distress of not being able to do anything to help Ramsey is very evident. And when the Doctor states the injures and his unknowing if Ramsey will be ok, only prompts the darkness to overcome every space that Spenser is in. In fact when she and her ex are looking in on him, she is presented in almost silhouette. The art just stands out and makes this just such and emotionally compelling read. The art team does such a better job here than with the 2nd issue. The lines are not as thick and life nearly vibrates off the page, or sinks into it when it is called for. And as Spenser leaves the hospital her life seems to brighten up when she states: "at least someone likes me," as she reads a headline with those who approve of Manhunter's methods, 68 - 30%.

While she can not effect any change on Ramsey's condition, she is able to flee the scene and hope to do more good as Manhunter. Which leads up right back to the fight with Shadowthief, and Manhunter hanging on with just finger tips. And as he is quite sadistic, Shadowthief begins to remove one finger from the ledge at a time. Not a real original move by a villain, but one that surly drives a sense of urgency for Manhunter. But then Andreyko does something totally unexpected. And while he uses a massive dues ex machina coincidence to do it, it works ever so well. As Shadowthief's power is to command darkness and shadow, he can extend his limbs in much the same way Plastic-man can. Only as he removes Manhunter's fingers from the ledge, a searchlight form a helicopter separates his hand and fore arm from the rest of him. And Manhunter grabs it trying not to fall the many stories to the ground. And the best part about the next page is that Manhunter is falling off the building and Shadowthief is moving through the shadows down the building just as fast. But it is unknown who is screaming "AAAAAGGHHHH" as they move closer to the ground. It is such an effective way to convey the terror both must be feeling.

Yes, Shadowthief gets his hand back, and Manhunter does not go splat on the ground. She falls hard, "SMASH," on a sign jutting from the wall. And as Shadowthief scrambles to recover his hand, he tells her that she almost has his "respect, " but she "better be dead." But in proper James Bond villain fashion rather than making sure, he just leaves her on the sign. This is the worst part of this issue. At least make it seem that he could not fight anymore, rather than he is just too stupid to check. But Manhunter is alive, and banged up along with her staff: "my weapon is toast." The reader finds that she knows about as much about her outfit as s/he does as she states: "At least now i know the costume is armored." This continues to show Spenser's arrogance. She just jumped into fighting crime without even considering how it would effect those around her. The last page of the book (not a splash page) shows that she is forced to think about that now, as she looks in on Ramsey's hospital room window from an adjacent roof and a tear finally runs down her face.

Yes she killed Copperhead, but she lost her case against him. She nearly lost her son. She nearly lost her life against Shadowthief. Not much good has happened to Spenser and she ends this issue with something that is likely foreign to her, she needs to ask someone for help. She is obviously not used to failing, but she did it on such a grand scale in the first 3 issues of this book that she is practically succeeding at it.

This was such a better issue than number two and captured so much more emotion than the first issue. By far the best so far and it will take some mighty good writing to better this. And just who is she going to look to for help repairing her damaged equipment?

manhunter 2

DC Comics
Writer: Marc Andreyko
Pencils: Jesus Saiz
Inks: Jimmy Palmiotti
Colors: Steve Buccellato
Letters: Phil Balsman
Editor: Joan Hilty

While issue one opened with two unknown cops, issue two opens with the far more famous Batman's rouges gallery, Joker, Poison Ivy, Killer Croc, Scarecrow, Zsasz, and Two-Face causing much carnage. Nothing in the 1st issue suggests a Batman appearance, but he is all tied up and about to be opened up like a "pinata." Joker, as he is oft to do, has a killer line when he wonders aloud "What sort of candy do you think will spill put?" as he attempts to open Batman's secrets with a scalpel. Yet another comic book convention is upheld, right before Batman is 'sliced and diced', he is saved by Manhunter. Only Andreyko shows how Kate Spenser is not beholden to normal comic book conventions as she proceeds to slaughter Batman's foils, riding comicdom of them is 5 simple panels, far quicker than they are even able to escape Arkham.

Batman then becomes the moral conscious of DC comics (quite funny what with the downward moral spiral he was on prior to OYL) by attacking Manhunter and stating what it means to be a hero by nearly giving the verbatim premise of DC heroism: "What makes you think you're any different from those beasts you murdered? Who gave you the right to take a life? At least these villains acknowledge their bloodlust and don't pretend to play hero!" Again here Andreyko plays with the notion of being a hero. He has the most visible DC hero (yet one that is all but an urban legend in his books at the time - DC often times has a far too schizophrenic relationship to Batman wanting to pigeon hole him into a specific role, thanks Frank Miller, wasting much of his potential. But this is a story for another day...) 'teach' her that her way is not the way DC heroes act - that he will not allow a Punisher style hero to pollute the pool. To this Manhunter can only respond by saying: "B-but I'm a good guy -- I'm --." We see Spenser react to the admonishment rather than Manhunter in the same way she questioned the need to steal the Manhunter gear in issue one.

While this four page scene is quite gripping, though the art is not nearly as clean as it was in the 1st issue. In fact muddled would be a good descriptor. The next page pulls the stage curtain away as the reader realizes that s/he just sat through an eye-opening, taunt replaying of the Dallas shower scene. It was all a dream.... But rather than fall down and worship at the alter of Batman, Spenser just wants to light her cigarette. This is a very compelling way to show her distance from the 'normal' hero. She shows how green she is by noting that she needs a place to put her costume and wondering how other heroes do it. Andreyko tries too hard to deconstruct the image of a hero here. Rather than just present Spenser as her own brand of hero, he must compare her to Black Canary: "How does Black Canary do this in Fishnets and heels?" Yet she asks this when she is wearing skimpy sleeping attire and pretty much forgoing the 'different kind of female hero' attitude expressed in the book's introduction. But the scene in question does help establish Spenser as a seriously flawed character, unfortunately only in pitting her as diametrically opposed to other DC heroes, rather than through actual character development.

I also hate to say that the rest of the book sort of takes on an auto pilot vibe. And frankly I think this is because the lack of questions about the future it generates. The 1st issue really grabbed readers with hanging plot features making them wonder what would happen next. In issue 2, this is not explored in the same fashion, and is worse off for it. What we get is an acknowledgement that Copperhead had friends, well at least one: Shadowthief (which unless you are a long time DC reader you would have no idea of who this was or exactly what his power is). And the introduction is interspersed with a media talking head, yet another comic book convention and yet another thank you to The Dark Knight, discussing Manhunter's arrival on the scene. And frankly, Shadowthief's introduction is overshadowed by the news report. And for someone that demands retribution for Copperhead's death, this is just an abysmal way of highlighting his threat. And of course since he is a villain he must hang out in a dank, musty bar. This does not play to Andreyko's strength as a writer. Spenser is interesting because of her attitude and how she is not compelled to fall into the conventions of heroism. A guy who sticks his fork in a table seems quite a lazy way of saying he is bad.

And to follow more conventions (just not comic book conventions) we are next introduced to Ramsey, Spenser's shuttled child of divorce. How many times have we seen this on TV or in the movies. I remember watching (Bad Movie Alert) Little Giants over 10 years ago and one of the kid's absentee fathers was shown as a suit wearing, briefcase carrying, running late to the big game man. He had no dialogue, but you knew instantly who and what he was. So while it is fairly new for comics, Ramsey's introduction just fell flat. Spenser's ex, and one would only know his name was Peter if they read carefully, challenges her and her work-a-holic lifestyle: "Way to show your son he's a priority, Kate. This is the fourth time you have forgotten to pick him up." So Andreyko tries to change up who the 'bad' parent is, but it just falls flat. And while we can see that Spenser cares about Ramsey in her inner monologue about killing Copperhead: "And you can't convince me what I did was wrong. Dozens of families can sleep at night," it is quite obvious she is clueless in relating to him. She is all about work, positioning their day together only in ways that she can work straight through her weekend. And even suggests it would be fun for a child in the video game era to curl up with books that she likely enjoyed when she was young, Dr. Seuss and Judy Blume. Her narcissism quite evident, but is not enough to compel the story forward and the scenes with Ramsey are as awkward to read as it is likely to witness, but compelling comics this does not make.

We next come back to Shadowthief and get some proper characterization of him. He steals into the morgue where Copperhead's body is being held. After attacking and knocking out a mortician, he peals back Copperhead's strange metal tomb and views the carcass. He remarks with disgust and obvious bloodlust for Manhunter: "Good God. What did this 'Manhunter' do to you. Let's take your fangs to remember you by... And to plunge into your killer's temple after the Shadowthief beats him to a thick, bloody paste." Andreyko captures his need for revenge quite well and the reader wants to come back to see the fight that will ensue. Add this to the cliffhanger, Ramsey finding Manhunter's Staff (nicely following up the earlier set up of Spenser's wondering were to keep her tools), and it bursting with an explosive charge in his hands, and the reader should feel compelled to return for the next issue. But with the down tracking of this script and the art seeming less fluid and clunkier from issue 1, the next issue must be good to keep most coming back.

The pacing of this issue is odd (cramming in too much perhaps), and for it to start with such an eye popping dream sequence, the rest of this issue really seems a let down. And while I took issue with the last issue's fight scene, this issue could have used more action. And since this was by and large an issue to advance plot the reader should have a better clue where the story is going. Spenser's inner dialogue also dominated and while we did find out quite a bit about her, it was mostly once again from her being different than others, not simple strong characterization that the series is known for.