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2018-8-5 Mea WebVersion

This is what I’m into at the moment: single page comics. Other than a handful of three-panel strips, this is my first stab at sequential art since about ’98, when I attempted an ongoing comic on notebook paper (it was terrible). Obviously there’s a strong Jack Kirby influence on this one. I’ll be posting more of these one-pagers in the near future so subscribe to this blog if you’re interested (the button’s on the right for desktop users and on the bottom for those browsing on mobile).

Hellspawn and Creep Shows

A three-chapter sample of Corpus Evil is coming soon. I expected to have it online this week, but I decided to get a mailing list set up so that anyone who reads it can choose to be notified when the novel releases. The problem is setting up mailing lists is much more complicated than I expected. (It’s probably not complicated at all, but it is boring if you’re expecting a set-it-and-forget-it solution.) That and I really don’t know what my newsletter would entail, other than: “Hey, the novel’s out. Um, bye now.”

So I’ve been reading a ridiculous amount of Spawn lately in an effort to catch up. I don’t give a damn what people say, I still love 90s comics and I even like (fight me) Rob Liefeld because his stuff reminds me of what I tried to draw when I was a kid. (On second thought, this connection is probably a chicken-and-egg situation.) I never cared much for moderation and 90s comics were gloriously excessive.

Todd McFarlane was the king of this stuff. I drew Spawn and Violator about a million times growing up and I still doodle ’em to this day (uh, that sounded raunchy but you know what I meant). As much as I love McFarlane’s art, I keep thinking the same thing whenever I read his writing: I wish Spawn comics didn’t take themselves so seriously. (For context, I’m currently working my way through the Jim Downing issues and his name might as well be Debbie Downer.)

Then I crawled out of bed this morning and discovered RLM uploaded a serendipitous video (see above) in which they review Faust, a Brian Yuzna film about a “superhero” who’s suspiciously similar to Spawn. I quite like Yuzna and special FX wizard Screaming Mad George, but I somehow missed this pairing. In other words, I know what I’m watching this evening.

If you live anywhere near The Circle Cinema in Tulsa, you should probably check out their 35mm showing of Creepshow this June. Creepshow is a huge influence on Corpus Evil; I listened to John Harrison’s soundtrack for the film more than anything else while I was writing it. In fact, I think Creepshow is a more enjoyable Tales from the Crypt adaptation than HBO’s Tales from the Crypt.

Horror Talk (via an /r/horror post) drew my attention to an unproduced script for a Friday the 13th sequel. Here’s the direct link. I haven’t started it yet, but I’m keeping it open in a spare tab for light reading.

The weather here is stupid. Clouds are stupid. Chances of rain are stupid. Everything is stupid.

Logan (2017) [Midnight Movie]

I generally like MCU movies (more than X-Men movies, in fact), but the stylistic continuity is limiting to what the filmmakers can do. Each movie is different, to an extent, but directors aren’t allowed a whole lot of breathing room, which is a shame because the franchise attracts such big names. I want to see Kenneth Branagh make a Kenneth Branagh movie starring Thor, not a run-of-the-mill MCU movie. Meanwhile, Edgar Wright’s removal from Ant-Man still feels like we missed out on something great.

X-Men’s stylistic continuity, on the other hand, has been thoroughly torched, tossed out the window, and struck by a large truck. The varying tone has made the franchise a little spotty (to put it nicely), but it’s apparently given director James Mangold a whole lot of breathing room—the same kind of breathing room Christopher Nolan had when he rebooted the Batman franchise. 
This isn’t a Wolverine film. It’s a James Mangold film. And it’s probably my favorite mainstream comic book movie since Richard Donner’s Superman. I’ve merely liked X-Men movies up until now. Here’s the first one I loved.
It’s notable something this different got made with such a huge IP. It just doesn’t move like a carefully plotted action movie. It moves like a deliberate drama and feels like a classic western. Usually when I see these movies, I’m reminded of all the other comic book movies. This one reminded me of Clint Eastwood’s A Perfect World and Unforgiven.

The first time we see Logan, he’s sleeping off a hangover in the back of the limo he drives for a living. He’s awakened by the sound of thugs trying to steal his wheels. He tells them exactly what you’d expect Wolverine to say: “You don’t want to do this.” Yet you get the feeling Logan’s talking to himself this time. He’s old, he’s limping, and when the thugs shoot him, the wounds remain for the remainder of the movie. He’s also experiencing a bit of blade-extension dysfunction.
It turns out Logan’s healing factor gets weaker the older he gets and, as a result, he’s experiencing the effects of adamantium poisoning. (He’s something like two hundred years old at this point… it’s especially amusing to see the world famous hero require reading glasses.) Logan lives with Professor X and the mutant albino Caliban (Stephen Merchant, who’s great in the role) in the middle of nowhere. It’s likely they’re the last mutants alive. Charles is worse for the wear than Logan; the first time we see the professor he’s zooming about jerkily in his wheelchair, mumbling like a madman. Sometimes he has seizures, which puts everybody within a large radius at risk of death by telepathic shock.
And Charles cusses now… a lot. He’s gotten quite curmudgeonly in his old age, earning some of the best laughs in the movie. Patrick Stewart manages to play him with equal amounts of realism and dignity. 
One day Logan is hired to drive a woman and her daughter across the country. It turns out the little girl is more than what she appears to be: she has mutant abilities which are suspiciously like Wolverine’s. Naturally, the secret lab responsible for her existence sends their highly militarized security team to get her back. The leader of the team is the film’s villain, Donald Pierce (Boyd Holbrook). Pierce doesn’t like “muties” and refers to his band of cyber-enhanced killers as “the good guys.” This is probably the best movie villain since Fury Road’s Immortan Joe.
There’s a bit of a surprise about midway through the movie. I’m amazed the trailers haven’t spoiled it. Lately, there have been a lot of surprises in movies like this, but when the surprises are, “Oh, look, another crossover cameo,” they kind of lose their effectiveness, don’t they? The surprise in Logan isn’t like that at all. It’s jarring, yes, but far from distracting.
What’s special about Logan is it sticks with you like a real fucking movie. I’m still piecing together some of the backstory and it occurred to me, a day later, that a lot of this stuff had deeper meaning than I initially thought. The balls-to-the-wall action at the end almost feels at odds with the rest of the movie, but maybe the movie earned it.
I saw the trailer for Justice League after watching Logan and I’ve gotta be honest: I pretty much couldn’t care less. I have a feeling a lot of superhero movies are going to feel old hat compared to this one. There are certain ways these movies comfort us, even when we’re sick of being comforted, so I’m not convinced this is the right time for the DCU to adopt a Saturday morning cartoon vibe. Meanwhile, Logan has more in common with The Road than its own franchise. And man, it feels so damn fresh.

Tales from the Crypt Vol. 1 (2007 revival series) [Comic Books]

With the worrisome news that M. Night Shyamalan is rebooting the Tales from the Crypt television series for TNT, I looked to the relatively recent comic book revival to lift my spirits. Instead, it all but crushed them. Even the lackluster cover suggests a downgrade in quality, but once you get to the first story you’re assaulted by some hideously out-of-place artwork.

Case in point:

Does anything about the above panel suggest horror to you? I’m not saying this is bad art, just that it has no business being in a Tales from the Crypt title. Yeah, I get they’re going in a new direction, but creative decisions like these suggest the creators were more interested in doing their own thing and only slapped a familiar title on it to sell it to an unsuspecting fan base. (I admit it worked on me, but isn’t the idea to sell a series of comics, as opposed to just one?) This looks more like Sunday paper funnies and the other stories don’t do much better of capturing the original run’s spirit.
Below is probably the best panel from the entire thing:
There’s something wrong when you have a lot less bite than your 1950s counterpart.