Tag Archives: watchmen

Who will watch the Watchmen?

So news (or a rumor?) has recently emerged that Lost and The Leftovers co-creator/show-runner, Damon Lindelof has been tapped to adapt Alan Moore & David Gibbon’s iconic comic series, Watchmen into a television show for HBO, and…I have mixed feelings…

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Look, if you’ve read just about any entry in this blog or if you’ve broken into my house and seen my graphic novel collection (yes, I said, “graphic novel” because I am a fancy man and I like fancy things), or if you’ve talked to me for more than like, five minutes about comic books, you’ll know I’m a pretty big fan of Alan Moore, and while I don’t really have any issues with movie studios adapting his work to film as long as they’re good (shit, adapt anything as long as it’s good), I don’t know if we need another Watchmen adaptation. But then again, do we need any comic adaptation?

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Yes, yes we do.     

Real talk: I like Zack Snyder’s 2009 film quite a bit. I’ve watched the 4 hour director’s cut a few times and despite some issues I have with it (notably Ozymandias’ portrayal and that sex scene that really pumps the brakes on the whole film) I feel like it’s about as good of a Watchmen adaption I ever thought we’d get.

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Oh you know, Adrian…he’s a very compl-

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But, he had a good reason for-

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Fine.

But can it be done better?

Maybe? I like most of Lindelof’s work. I loved Lost (even the ending, which I could write a 10 page dissertation about) and The Leftovers is amazing, so if anyone is going to tackle this property, he seems like the right guy to do it.

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Drink if Jack cries dies.

As long as he can bring in the more cerebral aspects of the book and refrains from boiling down the characters to their most palatable and bring forth their complexities in a mature manner, then I think it might outshine the movie.

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Me again…so…are you sure we shouldn’t explore-

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Honestly, my biggest fear is that this might be a cash grab since now the Watchmen universe is starting to bleed over into the DC comic universe (a decision that has been met with mixed emotions from the comic community at large).

But as long as Lindelof and Co. treat the material with the respect it deserves, I’m sure it’ll be great. Is it necessary? Nah. But fuck it. It might be cool.

Also, I wouldn’t be terribly upset if they left out this guy:

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Is that  your…oh, never mind. 

 

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The work of Brian Azzarello Part 2 FUNSIZE reviews

Let’s get into it:

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Spaceman (2011-2012)

This is a weird one that a lot of folks did not seem to enjoy. I recall being in the monitory in my gaggle of comic buddies when it came to praising Spaceman. I actually thought this miniseries was a well thought out story with some really great ideas. I don’t remember Azzarello ever tackling science fiction before (as long as you don’t count Superman) and I thought he pretty much knocked it out of the park. The characters were great. The unreliable timeline was compelling. I only wish this book had lasted longer.

Final Grade: A-

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Superman: For Tomorrow (2004 -2005)

This one felt like a cash-grab. I don’t direct that toward the creators. No, no, no. That missile is aimed steadily at DC. Jim Lee was hot off of Batman: Hush and this book felt like the publisher wanted to simply capitalize on having such a superstar artist in their ranks. It’s not godawful, but fuck me, it ain’t great. I will say that the scene where Superman basically threatens the Earth was fantastic. Otherwise, this is a forgettable comic, and it makes me sad.

Final Grade: C-

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Before Watchmen: Comedian/Rorschach (2012)

You know what. It’s fine. Not great, not terrible. Just fine. Move along.

Final Grade: Whatever.

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Joker (2008)

Goddammit, I really wanted to love this book. I remember picking the hardback up after the Dark Knight was released. Again, this sort of felt like DC just cashing in on an already established story. There were some interesting aspects to Joker, but overall, the book was more grotesque (which I’m not against, mind you) than compelling. However, the strip club scene is this graphic novel was great. It was absolutely disgusting, but great (see? I’m not a prude).

Final Grade: C+

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The Dark Knight III: The Master Race (2015 – present)

To say this series thus far has been a mixed bag would be a gross understatement. Every time Azzarello and Miller and Co. seem to add something worthwhile to the Dark Knight Universe, things just up and stall the fuck out. Look, so far, this comic is leaps and bounds better that Frank Miller’s abysmal The Dark Knight Strikes Back, but that ain’t saying much. Getting your scrotum pierced with a batarang would be a better time than rereading that fucking nightmare. Maybe Azzarello’s writing is helping elevate what should be a complete goddamn train wreck.

Final Grade: Who fucking knows?

 

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The work of Brian Azzarello Part 1 FUNSIZE REVIEWS

Even if Alan Moore would shun me for doing so, I’m finally getting around to reading some of the Before Watchmen titles, namely The Comedian and Rorschach mini-series, both of which were penned by one of my favorite writers in the graphic medium, Mr. Brian Azzarello. So I figured it’d be fun to touch on some of the books from his career that have made a lasting impression on me, good or bad. Here we go:

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Loveless (2005 – 2008)

Fuck, I loved this book. I was really bummed when DC/Vertigo pulled the plug on it. And they did it right when what started out as a western comic about assholes doing asshole things to each other was evolving into a vast, century-spanning epic about America (which would basically be a historical comic about assholes doing asshole things to each other). This comic is pretty much what Quentin Tarantino is trying to do in his movies now a days. Loveless holds up a mirror to American history’s ugly mug and makes it take a long, hard look at the horrors hiding behind its visage.

Final Grade: A-

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100 Bullets (1999 – 2009)

For ten years, Brian Azzarello and Eduardo Risso created one of the greatest crime stories ever told. This comic is staggering in its execution (pun totally intended). Every single character is well-realized. The dialogue pops with authenticity, and the stories the series tells range from insanely intimate to monstrously epic in scale. There is no stone unturned in 100 Bullets. This is one of my go-to recommendations for my friends who don’t read comics. I tell them that if this doesn’t do it for them, I’m not sure what will (maybe Preacher?).

Final Grade: fuckin’ A+

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El Diablo (2001)

This mini-series felt like a dry run for Loveless. There are certainly some cool elements in this comic, but ultimately it just feels bland. What made things worse for me, is that I read it after reading Loveless. I can only assume it would have had more of an impact on me if I had read it before. Oh, well. All’s fair in loveless and war (thank you, thank you; I’ll be here all week).

Final Grade: D+

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Batman: Broken City (2003-2004)

You know, some people shit on this comic, and I can understand why. Killer Croc is a pimp with some sort of crazy psoriasis; The Riddler is a car thief; things are not what they should be. But that’s what I dug about it. Teaming up with Risso again, Azzarello pretty much gave Detective Comics the 100 Bullets treatment and didn’t give a fuck about continuity or staying true the already established Gotham. They knew you were familar with these characters, but why not try a little something different with them?

Final Grade: B

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Wonder Woman (2011 – 2014)

Goddammit, was Azzarello’s run on this book amazing. I sometimes wake up in the middle of the night and wonder if Brian’s departure from Wonder Woman was the reason DC decided to bail on the New 52 and hit the reset button again. I mean, besides Jeff Lemire’s tenure as Animal Man writer and Scott Snyder & Capullo’s Batman, I don’t think there was another title with such a high caliber among the New 52. Azzarello took a character that the entire world was familiar with and injected her story with a brand new mythos, one that worked well in the grand scheme of the DC universe and produced a cast of great supporting characters to root for. This book is fantastic. I was never a big WW fan before this, and I don’t know if I ever will be again. Azzarello may have ruined the character for me by being too damn good at writing her.

Final Grade: A

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Bounding into Comics

Hey guys, I’ve been writing reviews for Bounding into Comics. Check them out here. Enjoy.

I’m currently reading From Hell and I wanted to know what you favorite Alan Moore comic is (and please don’t say Watchmen a bunch of times). Let me know in the comments.

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Batman v. Frank Miller: Dawn of Callousness

So Frank Miller is (sort of) writing Batman again. This calls for cheer and jeers for myriad reasons. Thus far, DC Comics has only published 3 (out of 8) issues of the third installment of the Dark Knight Returns series, The Dark Knight 3: The Master Race (yes, I shuddered when I ready the bit after the colon, too).

Before we dive into my thoughts on TDK3 (which are not fully developed since the series hasn’t even reached its halfway point), there are a few things I want to bring to light regarding my love/tainted-love/hatred of Mr. Frank Miller and his body of work. Here goes:

I know at this point anyone who sites The Dark Knight Returns (TDKR) as being one of those books that changed the way they looked a superhero stories and comics in general, like, forever, sounds like a broken record, but that doesn’t make the sentiment any less true. Especially in my case.

For some people the moment of realization that masked vigilantes would actually be stark-raving lunatics if they were integrated into the real world was presented to them by Alan Moore and David Gibbon’s brilliant Watchmen; for me, I caught that sucker punch from TDKR.

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*source unknown, but from somewhere probably awesome*

The library across the street from my house actually had a paperback copy of the trade. I recall walking there at the age of 15 and checking out the dogeared trade and tearing through it one summer afternoon. I also remember returning it and then going home to chastise my other comics for not being as good.

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Get your shit together, Chris! 

A couple years later, it was announced that there was going to be a sequel. I was elated by the news.

The day of its release, I picked up the first issue of The Dark Knight Strikes Again (TDK2). I read it with the same fervor I had when I first devoured its predecessor. But did TDK2 have the same shattering impact on my comic psyche? Not so much.

But how could it? I wasn’t expecting it to be. I was, however, expecting something slightly better than this:

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Gentlemen, indeed. Hopefully one of them is a chiropractor.

What made TDKR so great was its dark underworld and dystopian society; its self-referential satirical tone that never traveled to cuckoo land territory, but instead embraced the lunacy without making if feel like a cartoon. All of that was gone in its little-loved follow up.

The work Miller churned out in those three grueling issues (especially the post-9/11 ones) made me wonder if he lost a bet or maybe lost his mind. The latter appeared to be more likely after the releases of the jingoistic Holy Terror graphic novel and that god-awful-what-the-fuck-am-I-watching? Spirit movie. It was then that I wondered if Frank Miller was just a shitty artist (and shitty dude), and what I was reading was the first time he was blatant enough to drag his unmasked shittiness into his art…

…I’m gonna go with yes.

Now I don’t think everything Miller has created since Strikes Again has been awful. I’m a fan of some of the Sin City stories (That Yellow Bastard in particular) despite some of the blatant sexism that rides a dangerous line between social commentary and perhaps Miller’s own vision that all women as either damsels in distress or whores. Oh, wait…it just occurred to me That Yellow Bastard came out five years before TDK2. Soooo…Never mind. Everything he has created since then has been garbage (maybe even since Sin City: Hell & Back, which was a huge let down for me, too).

But I digress.

It really does feel like The Dark Knight Strikes Again was the turning point in Miller’s career: before SA and after SA. Before we had great works like Ronin and his run on Daredevil (although it fell victim to some of the same trappings as Sin City) and after SA…well, we covered that. Oh, wait, did I mention this happened too?

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*source: DC comics (they might deny it, though)*

That’s right. Soak it in.

But now we have a new goddamn Batman. Or the return of an old goddamn Batman or some goddamn thing…I don’t goddamn know. Let’s just say the Internet shit its collective pants when DC officially announced that Miller was returning to his Dark Knight Universe with The Master Race. The title alone raised a ton of red flags. This is completely understandable since the words “Master Race” have a certain connotation that’s pretty hard to escape. And given Miller’s 21st Century work, one can only strike up an image like…

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*source: history we wished never fucking happened*

Yeah, that.

Now, I know Miller is no stranger to evocative subject matter (even when he was killing it in the 70s and 80s) so I gave him the benefit of the doubt and decided to buy The Master Race as it is released month-to-month (something I DO NOT like doing). So how is the comic? Is it super racist and insulting? Is it just plain boring? Does it suck? Does Wonder Woman still need a spinal realignment?

Well, no… the book so far is actually good. It’s no Dark Knight Returns, but it doesn’t make me want to set every Batman comic I own on fire either. It’s somewhere in the middle. The dialogue is good, not great. The story seems to be ramping up to something big. The art it tight and easy to follow. There isn’t a lot wrong with the book other than it isn’t super engaging or challenging.

I’ll say it: this comic seems safe. But I don’t know if it will stay that way. Like I mentioned before, we’re not even halfway through this thing.

I think the reason for this sterile version The Dark Knight is because of Miller’s involvement, or lack thereof really. The book appears to be spearheaded by writer Brian Azzarello (100 Bullets, Wonder Woman) and artist Andy Kubert (all the X-Men comics I loved in the 90s), leaving Miller as the backseat driver of the project. Azzarello, whose work I absolutely love, seems to be trying to imitate Miller’s voice to a certain degree and Kubert’s art is much cleaner than I’m used to.

It’s as if Frank Miller jotted down some story points and just handed everything over to the new team, but the new team was too scared to make it their own. Instead, it seems like they want to relive the glory days of The Dark Knight Returns and slap Miller’s name on it so jaded comic nerds like me can maybe admire the guy’s work one last time.

Now I don’t know if that’s true or not (I try to shy away from behind the scenes stuff about media development until I’ve consumed it). But damn if what I’ve read so far doesn’t make me believe that’s the case.

Look, I wish TDK3 all the best. I want it to be good. Hell, I want it to be great. I can forgive that shitty Superman cover Miller drew for the mini comic in the first issue since his pencils for the interior pages were fine. I can (almost) forgive the $6 cover price DC is charging per issue and the $12 per issue hardback version. I can forgive the stupid layout and awkward mini-comic being glued to a piece of card stock making the whole book a pain in the ass to read.

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I let THIS slide, Miller! Do me a solid, man! 

But I don’t think I can forgive Miller for all his previous artistic transgressions. At least not yet, anyway. But hell, he doesn’t need it. He doesn’t need forgiveness from any of us. He’s given us some great work, some of comics’ finest. And as much as I want nothing more than to love Frank Miller once again, I don’t.  And maybe, just maybe everything he gave us before The Dark Knight Strikes Again should be enough to outweigh any negative views we have of the man and his late career work.

This isn’t the Frank Miller was want, but maybe it’s the Frank Miller we deserve.

 

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