For those of you who don’t know what Movie Klub is, it is a klub… err… club that Lan D. Ho and Jon Finkel started a few years ago. Lan, a onetime (and one-time) Grand Prix Top 8 competitor [although a participant in the greatest Grand Prix Top 8 of all time] moved to New York City a couple of years back. Lan originally moved to NYC to make his Magic: The Gathering documentary I Came to Game, and live the real life Big Apple adventure with his friends (Magic and otherwise) along the way. He showed up without a job or anywhere to live (so a somewhat less prepared, though equally handsome Felicity), but brought with him longtime friendships and contacts, and a love of new experiences and slightly-above-average mind that landed him, eventually, a position at Susquehanna International Group.
Anyway, when Lan first moved to New York, he took up “resident gamer” status at Jon Finkel’s apartment (basically you get to live in Jon’s lavish New York luxury apartment in return for being the sixth- or eighth-man to fill out drafts when we are short)… Rough life, I know.
Lan started the once-per-week New York Movie Klub, whose original members included himself, Jon of course, Webb Allen, Dan O’Mahoney-Schwartz, Tuna Hwa, YT, and Tom Martell (plus other awesome people, obv).
Some years later, Lan has located a little south to the City of Brotherly Love, but Movie Klub continues strong, having become the social center of the week for some thirty-plus mostly awesome New Yorkers (and the occasional New Jersey-er) from various walks of life, hanging out at Jon’s every Wednesday.
This week it was my turn to show and I showed the kick-ass movie Kick-Ass.
I knew I wanted to show Kick-Ass ever since I was invited to the New York premiere by then-UGO television blogger Hillary Rothing (@tricia_tanaka), whom I had met over Twitter. The premiere feature Kick-Ass [comic book] co-creators Mark Millar and John Romita, Jr. in a Q&A afterwards, where we learned all kinds of reasons why the making of Kick-Ass may have in fact been even more interesting than the movie itself (and the movie is effin’ great).
Kick-Ass is a somehow non-satirical, often hilarious, ultra-violent movie about a kid who decides to become a real-life superhero. He has no StarkTech, no great physical or financial super resources, and no “great responsibility” borne by possession of great power. He is just a kid who likes superhero comics and buys himself a goofy green wetsuit and some surplus police batons… I know that as a teenager who grew up on a mix of Dungeons & Dragons and Marvel zombie-dom, the same kind of fantasy occurred to me more than once, but the protagonist of Kick-Ass, christening himself (ahem) “Kick-Ass” just took that vital step that separates the boys from their, you know, eventual padded rooms.
But his heart is in the right place.
Kick-Ass follows essentially three story threads, the heartwarming, uncomfortably funny, and somewhat Dexter-like birth and colossally unsuccessful early adventures of the aforementioned Kick-Ass; the backstory and development of Big Daddy and Hit-Girl, a father-daughter team of actually competent, well-funded, and well armed super vigilantes who befriend him; and the latter family’s arch-rivals, a wealthy drug cartel who eventually produce their own superhero.
Hit-Girl is among the most unique, interesting, and irreverent characters in the history of fiction, an eleven-year-old girl with the fighting prowess of a less scrupulous Drizzt Do’Urden; it is the presence of Hit-Girl that at once makes Kick-Ass such a singular piece of fiction… and simultaneously what made the movie hard to sell to studios in the development process. Not to say too much that might spoil the experience for those of you who haven’t watched it, but she is not only and eleven-year-old murderous sociopath (with a heart of gold), but the only eleven-year-old character in the history of mainstream fiction whose typical dialogue involves “giant cock” and (in the parlance of Arrested Development) the ever-popular “Seaword” [you know, if you grok].
Millar and company, in making Kick-Ass were attempting to create the Pulp Fiction of superhero movies, and I think their particular combination of emotional poignance, inappropriate hilarity, casual bloodletting, and genuinely surprising moments mean they were successful in that. It is in fact one of my favorite films.
Kick-Ass was directed by Matthew Vaughn, who also directed Movie Klub classic (also selected by YT), Stardust. The amazing thing about Stardust, adapted from the Vertigo fairy story by Neil Gaiman and Charles Vess is that it is actually better — that is, in my opinion, ends better — than the original… And Stardust has been one of my favorite stories since its late-1990s publication. Vaughn’s most recent film is X-Men: First Class… so I can only assume he likes the comics as much as I do.
General consensus among Movie Klubbers was overwhelmingly positive for Kick-Ass. During my introductory speech, hosting Jonathan Magic asked what the Rotten Tomatoes score was; I didn’t know offhand, but looked it up on ye olde iPhone 4 during the movie, and later responded with 76%.
The best possible recommendation, then, coming from Jon was:
“Then 24% of movie critics are morons.”
Kick-Ass was (among this group) least well-received by former Beckett Magic: The Gathering and Star City Games Premium author Mark Young, who keeps the general Movie Klub blog. You can read Mark’s significantly less enthusiastic review (and learn more about different movies shown) here.
My Four Perspectives Kick-Ass Review:
What was great about Kick-Ass?
So much!
The movie is beautifully filmed. The colors are alive in shot after shot. You can really tell that the people who made this movie, from Big Daddy Nic Cage to original story writer Mark Millar absolutely love the material. There are little winks, like Brian Vaughan’s Runaways being read in a local comics shop to the kinds of banter about whether or not Bruce Wayne is a bona fide superhero or just crazy rich dude that really ring true to IRL comics fans.
Cage’s performance as Big Daddy was visually evocative of Tim Burton’s Batman, but played like Adam West’s Batman. The con-fusion is something that anyone watching the movie might notice, but that longtime fans of comics-to-film and such can appreciate as a kind of micro-Easter Egg.
More than anything else, the character of Hit-Girl, so solitary in all of fiction, is something to behold. She is hilarious and tragic, and simply fun to watch. We debated after the film what Kick-Ass might have been like with a twenty-five-year-old actress in a Hit-Girl-like role… and while some Movie Klubbers might have appreciate Angelina Jolie in such a role, the general consensus is that every action movie since The Matrix has had some kind of Trinity, and it just wouldn’t have been that special.
I might be a little bit biased though… like I said, Kick-Ass is one of my favorite movies.
What about Kick-Ass gave me pause?
The biggest barrier to my potentially showing Kick-Ass was that I had already shown a Matthew Vaughn movie at a previous Movie Klub, and I didn’t want to typecast my own choices; so I suppose that “self-consciousness” would be the biggest thing that gave me pause.
This is a little bit of quibbling, but Kick-Ass takes place in New York (and there are some unmistakably “New York” shots), but it is pretty clearly not actually filmed in New York for the most part (someone at Movie Klub suggested Toronto). I mean NYC just don’t look like that.
That said, if you are one who is sensitive to harsh language — especially coming out of the pie ice cream hole of a murderous eleven-year-old girl — you probably won’t be able to distance yourself from the raw in-your-face-ness of this film to actually enjoy what is good about it.
Why would someone want to buy (or in this case, rent) Kick-Ass?
Besides the fact that it is really, really good, I am pretty sure it streams gratis on Netflix. So if you have a Netflix membership, it’s a free roll!
On Amazon streaming you can catch two of the best hours of filmdom of your life for… let’s see… $7.99:
Concerning:Smoke and Guns by Kirsten Baldock and Fabio Moon
Smoke and Guns is like no other graphic novel.
It is almost like a Wes Anderson film. Wes Anderson and Owen Wilson say that when they make their movies, they try to describe a world that follows the rules they like, rather than the rules of the real world.
Smoke and Guns — without ever really coming out and saying so — kind of imagines a prohibition-esque world where beautiful girls sell cigarettes on the street… and lethally guard their street corners and local bar real estate with… you know… guns.
Kirsten Baldock was herself a real-life cigarette girl before writing this graphic novel… Though I assume the more conventional type rather than one of the heat-packing adventurettes depicted in this story; you get this sense of sisterhood and hidden knowledge and almost pride from reading the book that you might not expect given the plot.
Smoke and Guns follows the story of ambitious cigarette girl Scarlett who gets into trouble picking a fight with another merry (and murderous) band of cigarette girls, ends up hostess-ing the wrong party after she is disciplined by her madame-esque cigarette-hawking boss-lady, and ultimately excites a gang war. She is not so much the hero as the protagonist for no other reason than the story mostly follows her. I mean she has a really big chip on her shoulder and I think you want to cheer for her in the same way that you want to cheer for Tony Soprano versus any of the other dirtbags and murderers who happen to share screen-time with him. Beautiful? Yes. Nice? Not so much. You get the feeling that Scarlett has everything coming to her, but she has enough Indiana Jones to her that you don’t care.
If it sounds like a thoroughly superficial story… It is.
Yet it’s freaking great!
Smoke and Guns moves with a rare velocity in modern comics. Fabio Moon’s visual storytelling can flow from frame-by-frame, panel-by-panel description of a single cigarette being lit, to ice cold ultra-violence, gun-play, and grenades lobbed between nubile cancer-peddlers. The story tries very hard to be crass — cigarette girls dressing up as everything from sexy nurses to Chun-Li from Street Fighter — but it manages to be demeaning… never. Really never. The book is so overloaded with girl power, the fact that the violent participants are also sexy kind of never comes up.
In that sense, it is a storytelling triumph.
Of course I found this indie book because of Fabio Moon, previously mentioned in my Ursula review. Smoke and Guns was Moon’s first work without his brother Gabriel Ba; and it is well worth the look.
While no one is going to mistake this quick read for Watchmen, Smoke and Guns really does have something unique going for it. It is one of my favorite graphic novels, I read it several times a year, and love almost every page (the Chun-Li stuff is sadly more cheddar than cheesecake).
I don’t know if you understand what “so much” is, exactly. Almost all of it is hardcore Magic stuff (which is why I have been updating this blog a bit less, and a bit less about Magic, of recent). But “so much” is as much as 12,000 words in a day. Do you know how much 12,000 words is? It’s between six and eight Premium Magic articles. In a day.
Big brags, I know.
The weird thing is that so much of it is blending together. Today when I was polishing off Flores Friday, and then transitioning back into my larger project, I was getting confused where “Ten Rules of Reaction” ended and “One Rule: What Makes a Deck?” began, versus my longer project, versus my next project, which I am planning with BDM.
The amazing thing? I can’t believe how some of it is pretty good! 🙂
Okay, enough big brags.
Today I was watching DC Showcase: Superman/Shazam!: The Return of Black Adam on Netflix streaming. I don’t know if I’ve said a lot about Netflix streaming, but it is about the best five bucks you can spend per month. Anyway, I found this stream-able video, which actually includes four shorter animated films, all directed by the excellent Joaquim Dos Santos.
The Superman/Shazam! section is the longest of the four at 22 minutes.
I was a bit puzzled by this one. Its visual style is very reminiscent of Joshua Middleton. Middleton was the artist on a Superman/Shazam! limited series a few years back. If memory serves, production on “NYX” was so slow, Middleton’s Marvel exclusive ran out and he signed an exclusive with DC.
In case you don’t know who Joshua Middleton is, he is maybe the best artist in comics. I mean there are a lot of great artists in comics, but there is only one that my wife (who is not a comics fan, but who has to put up with my thousands of comics and graphic novels, and also has a fine eye for aesthetics) says is the best, and that is Middleton. Also, traditionally writers get top billing in comics credits, but when Middleton collaborated on “NYX” with Joe Quesada (the writer of the project, one of the biggest names in the game as the Editor-in-Chief of Marvel, and himself an accomplished illustrator), it was Middleton who got top billing. This is a pretty famous spread from “NYX”, colored and not:
Anyway, I found the visual style reminiscent of Middleton, which seemed appropriate based on the existence of the aforementioned limited series… which was a completely different story. This “makes sense” in that earlier DC direct-to-DVD releases aped the styles of the original comics artists (Ed McGuinness on Superman/Batman: Public Enemies, Darwyn Cooke on New Frontier, and so on).
I have very little so say about this longest of the four other than that. It was only pretty good.
The next up was DC Showcase: The Spectre, which was stone awesome.
I was pretty surprised because the Spectre is not exactly one of my favorite characters, but the visual style was unbelievably cool. Despite being an animated short film, this chapter used a dramatic 1970s-esque noir visual style… It could have been Grindhouse or shot on a super 8.
The Spectre is a bit different than in the comic books, often animating stuff — from special effects dummies to flying cars — to take out villains. In the (spoilers!) final scene, Spectre kills Alyssa Milano’s (!) character in a tornado of paper cuts, animating hundreds of hundred dollar bills in a gruesome finale.
Awesome segment, up to and including the blacksploitation-esque music running during the closing credits.
DC Showcase: Green Arrow was also pretty fun. Another 12 minute, action-oriented short film, this time starring — you guessed it — Green Arrow.
This ep is just Green Arrow at an airport, stumbling onto an assassination attempt of a ten-year-old princess. It is dominated by tongue-in-cheek puns, so like LSV would like it.
(Stuck in traffic) “Come on! The arrow’s green!”
(Later) “Green light!”
In the final scene, an embattled Green Arrow is about to be defeated by a final enemy after taking down the ostensible End Boss, but is saved by longtime love, Black Canary. He proposes to her on the spot, and his new friend, the princess encourages Black Canary to say yes, because “Every queen needs a consort.”
“Yes,” concludes Green Arrow. “Every Queen does.”
I told you it was pun-ny! Green Arrow’s civilian name is Oliver Queen.
Finally is DC Showcase: Jonah Hex. I was pretty surprised they ended with this one. Obviously Superman is the most popular and starting with him makes sense. I would think that Green Arrow and Black Canary would be the second most popular; whereas I don’t give a hang about Spectre (which ended up stone awesome!) or Jonah Hex, who is a disfigured gunfighter. Why end with Jonah Hex?
Well, they pulled out all the stops on this 12-minute segment. The Jonah Hex ep included Thomas Jane (“Hung”) as Jonah Hex; Linda Hamilton (Terminator series) as a sexy, villainous, madam; and Michelle Trachtenberg (“Buffy: The Vampire Slayer” and “Gossip Girl”) as a barmaid / snitch. Basically, an unreal cast for such a seemingly small — 12-minute — project.
I loved the Jonah Hex segment as well, which is a combination of Old West prostitution and vicious fighting. In one particularly gruesome exchange, Hex hurls a thug face-first into scalding metal, scarring his face (a mirror of Jonah’s own disfigured visage). I physically winced at how horrible that would be for the character… But then realized there was no way he was getting out of this fight.
As a whole, the four were outstanding, and I am going to re-watch them again this week, probably.
Before we continue, I updated the recent post RE: Consecrated Sphinx. Nico Boshoff from ye olde Unstoppable Twitter Army threw me a great idea combining the [+2} ability on Jace Beleren with the mise-tacular misings of Consecrated Sphinx, which I think upgrades the 4/6 quite a bit.
But enough about Magic: The Gathering.
Sunday “Big Love” is back. However I did not realize that until this AM, taking Bella to her first grownup karate class. Ergo I have to catch up on that one before tomorrow night’s ep.
“Episodes” has been entertaining so far. There are multiple layers of “fish out of water” (sophisticated British writing couple in cutthroat LA, dopey Joey from “Friends” in sophisticated British boarding school comedy) going on that play together well. Not my favorite show or anything, but fun to watch and I don’t plan on missing any.
Last season was the best so far for “Californication” … This season hasn’t really maintained the quality so far. It is still event tv for me, but — I almost can’t believe I am saying this — it’s semi-tiresome that Hank just mono-nails whatever hot woman happens to walk by, regardless of age or circumstance.
Monday I don’t remember what happened on “How I Met Your Mother” and the only thing I can remember from the return of “House” is that the guy who played Shaggy was the guest star.
Tuesday “V” is sitting on DVR. I don’t remember what I was doing on Tuesday but probably there was a tv conflict with Nintendo Wii usage. Basically we figured out how to set up our Wii to run Netflix streaming, which is not actually an upgrade relative to the iMac (or for that matter the Air I am typing this blog post on), but there is just something symmetrical about watching television on your actual television. In terms of Netflix streaming, Katherine has been burning through seasons of “Bones” and I have been spending my late nights writing to the battle cries of blood-soaked “Spartacus: Blood and Sand”.
“Spartacus: Blood and Sand” is quite simply like nothing else on television. It is like “Rome” to the nth power. All the stuff that was over the top about “Rome” … the idea that someone might be crucified — motherloving crucified — for slighting his commanding officer is amplified to someone actually getting crucified (after other nasty stuff has already happened to him). It is bloody like nothing I have ever seen on the small screen (basically nonstop dismemberments), and the show boasts more nudity — male and female both — than “Californication” does. I can’t stop watching it.
For those of you who don’t know, the “Spartacus” franchise is in trouble. The star was diagnosed with cancer in between the first season (the one I am watching now) and the second; so the second was replaced by “Spartacus: Gods of the Arena”, a six-episode prequel series focusing on other characters (including my favorite, onetime Xena and Cylon, Lucy Lawless)… that doesn’t actually feature the character Spartacus himself. It is unclear if there will ever be a third season (second season?) at all.
Oh, I have a fair number of girlfriends (no, not that kind of girlfriend) who think — or at least used to think — that the dudes in The 300 were really built like that. The gladiators on “Spartacus: Blood and Sand” are all musclebound and running around half-naked, slashing each other for 42 minutes at a time; I mean, if you’re into that kind of stuff.
Wednesday Wednesday is “Top Chef: All Stars” day, and you know what that means… Update to Top Chef Draft!
Skip ahead if you fear a spoiler.
This space intentionally left blank.
Ditto.
Okay! Warnings over!
This week  was nearly optimal for the home team. A Quickfire win by Filipino Dale was yet another one point boon for Phil Napoli. Good lord Phil’s draft is looking good right now. He has Angelo (probably the 2d most favored chef in the competition), Mike Isabella (meaning just another competitor to help out points-wise), and motherloving Filipino Dale. Filipino Dale went fifteenth pick out of sixteen, and has already solo-crushed multiple Elimination Challenges.
I came off best on the week, with three points over Phil’s two points, because all three of my remaining horses — Tre, Carla, and Fabio — were in the winners’ circle, though overall winner was Richard (probably the most highly favored chef, and a member of Luis’s stable). Megan took a dagger with the loss of Marcel, her first pick (+9 points), but I felt awfully justified in not taking him at that point… despite the fact that my own first pick left the show two weeks ago.
Current standings:
YT – 1
Phil 1
Luis 17
Megan 31
Thursday Lots of stuff on Thursday to talk about, in particular “30 Rock” moving to head-to-head time slot battle against “The Mentalist” (Katherine says she watched “The Mentalist” this week “while eating fiber” if you grok), but the tops has to be the return of “Parks and Recreation” mid-season.
I already liked “Parks and Recreation” but I loved the reference to UCLA coach John Wooden during the basketball rivalry section, specifically the great basketball coach’s Pyramid of Success. Many of you have no idea what I am talking about. I don’t care.
Update!
Osyp Lebedowicz posted The New York Times posting the Swanson Pyramid of Greatness. Not what the great coach Wooden used to command his mastery of basketball, of course, but well worth the LOL.
Click the Swanson Pyramid of Greatness image for full size.
Friday “Young Justice” fell like a stone this week.
Somehow, after the awesome two-part opener, the third episode managed to lapse severely in terms of animation and color quality… The story was only okay… But at least the question I had RE: Speedy / Red Arrow was answered… dude has no interest in joining up.
So… Get it while you still can:
Every time I embed, say, the best ever episode of “Doctor Who” or the entirety of The Hobbit, The Man comes down with the ban-hammer. But until that happens, you can check these out.
“Ursula” was my first exposure to the work of Brazilian twins and artists Fabio Moon and Gabriel Ba.
I still don’t get how they are twin brothers and have different last names, but I don’t particularly care as much as I like their art. Moon and Ba often collaborate on single projects (at least up until “Smoke and Guns” which I intend to review soon); and on Ursula they actually alternate pages, each doing a couple at a time.
While the styles page-to-page aren’t identical (and you can often find an Easter Egg signature by the brother who did a particular page), the art blends together; if not seamlessly, so well that the differences don’t bother you. I know that 1) not only have I read “Ursula” at least a dozen times and I still don’t know who did which page most of the time, but 2) I became so addicted to Moon and Ba after reading “Ursula” that I will basically buy any project that either brother does, almost unconditionally.
It started with “Smoke and Guns” but I have “Casanova” (which I didn’t like as much, honestly), but “The Umbrella Academy” and its sequel by My Chemical Romance’s Gerard Way.
I don’t want to say it’s a “Latin American” sensibility, even though the most obvious comparison to the twins would be Eisner Award winner Eduardo Risso of “100 Bullets” … Risso is Argentine and whereas Moon and Ba are Brazilian. However it is probably accurate to say that they are all cartoonists rather than what we would think of as mainstream “comic book” artists. All of them are superb storytellers that utilize exaggerated expression, heavily stylized figures, and heavy — but slick — ink work.
It’s hard to describe just what makes the art by Moon and Ba so addictive, so I thought that I would show it to you; please forgive the image quality… I took the pics with my dumb Palm Pre, and they really don’t do the brothers’ art justice.
One of the things I love about this book is how varied the art is. Here is a “typical” — yet anything but typical, in terms of skill level — page, I think by Ba. Notice how he uses “mere” black ink so many different ways on one page: Loose lines suggesting the weathered face of Miro’s father; slick shadows across Miro’s face or even the stone railing behind the conversing King and Prince; solid, shaped, black space for hair; and more than any of these, incredible brush work telling us so much — using so little — for the pair’s fur coats:
And from Moon:
This page, existing in the dreamscape of Ursula’s magical imagination, is reminiscent of Bill Watterson on a Sunday.
In the context of “Ursula”, it all makes sense, all works together, without a drop of red, green, or blue.
So what is “Ursula” about?
Well, the A+ grade from Variety so proudly boasted on the cover says it is…
A strange and beautiful emotional journey into the heart of love, A+
My translation: Fuck if I know.
“Ursula” is a mix of fairy tale, magical realism, and window into the minds — quite literally — of the creative twins. I don’t know if I “get it” get it, but I have still read the tiny graphic novel three times this week alone. To me it is mostly about the awesome art; which, I have tried to make clear to you, is awesome.
Like I said, after reading this the first time, I became completely addicted to Moon and Ba, buy everything they draw, &c.
The cover price on “Ursula” is $9.95, but Amazon has new copies at less than $6 the last I checked. Per any ads from here to there, I may earn like $.24 if you make a purchase. Honestly I’d rather you support your local comic book store; regardless Moon & Ba receive my highest possible recommendation.
Ironic note: Yes, I know this is actually being published on a Saturday 🙁
Concerning:
Star City Games Questions :: Top Chef Draft :: The Cape
Young Justice, episode 2 :: P!nk’s new video :: … you know, “everything”
ONE – Star City Games Questions
Most of you probably know that I started writing for Star City Premium [again] last week. Now I am going to answer all the questions you asked around this possibly (?) surprising (?) return.
frm yes, i have a question: why did you take so long to come back? 🙂
Unfortunately, I am not sure how to answer this question. I mean, what is “so long” in this context? If you want to submit a follow up question, I will try harder?
Err… I do everything my wife says.
themandotcom Though I understand your motivations, but this marks the end of Michael J Free-ness! 🙁
It absolutely does not mark the end of Michael J Free-ness. I still write Top Decks every week on DailyMTG; and I think I’ve updated this blog more this week than I have in certain months!
MinnesotaMatt
They better have backed up a truck.
Can you give us an idea of how long the contract lasts so that we can know which subscription to sign up for.
I left premium with you and now will sign up as they got you back.
There is no specific termination date to my writing at Star City, so I can’t tell you to only buy such-and-such package if your interest in Premium tracks only to my being there. I can tell you that I have planned about 20 pieces over the next two months, as well as another as-yet unannounced large-scale project (um… oops?) 🙂
Alfrebaut Damn, does this mean I have to start getting SCG Premium again? Also, what does this mean about TCGPlayer? Are you writing 2-3 articles per week plus making videos?
I am doing about 10 total pieces on Star City this month and next (articles and videos), plus Top Decks. I am not currently writing at TCGPlayer. We haven’t plotted out what I will be doing in March yet, but I would expect to still be at SCG then 🙂
Frelance It’s all a trick. Really it’s BELLA under contract to SCG now, not Mike
This isn’t a question. Think “Jeopardy”.
GRat I have a question, when are you sending me Blightning? :p
Um, you have my phone number.
ReeceP [From Twitter] I have a question. Why did you make me spend money again?! Damn yooou! Should @SteveSadin share some blame?
[Separately, here on the blog]I think I have a real question. In your explanation article, you talk about How to mashup. My question is – Why mashup (in the abstract)?
Also (there’s always more <_<) specific to the decks involved with the UW Mashup – What does mashing up the two decks in question gain rather than porting them to current extended? Did you prior/have you since tried extended versions of those decks, and if not do you have any gut feelings as to how they would go?
[Twitter question] – Yes, you have to. It is required. On the check you send, write “Michael J. Flores” on the “memo” line.
[Regular questions] – A couple of reasons… 1) Opponents are more likely to make mistakes when playing against mashups because they don’t anticipate the other awesome thing you are going to do when they put resources towards the first awesome thing, 2) different decks have different matchup advantages in the context of a metagame and mashup decks can often take advantage of multiple predator positions, and 3) the cost is relatively low in many cases, certainly in this one.
TWO – Top Chef Draft
Sick week for the home team on the Top Chef front. For those of you following at home, this is how the draft went:
This week my horse Carla took down the elimination challenge for (-2) points and I got an extra (-1) from Tre’s appearance in the winners’ circle.
It was a double elimination week, so double dagger for Luis (Tiffani) and Megan (Jamie… who was more than due to go).
Current standings:
YT: 2
Phil: 3
Luis: 20
Megan: 23
I am once again in the lead, but the long odds have to be on Phil right now… He has Angelo (one of the two favorites) and Filipino Dale (a surprise monster this season). Many pundits probably have Megan more likely to win than YT (she has Marcel, who can win) when I lost my first pick last week… But for now, I’ll enjoy my lead 🙂
THREE – The Cape
From BDM’s Twitter feed / Facebook:
The Cape was not good.
I don’t think it’s as bad as BDM apparently does, but I think his 140-character analysis is pretty hilarious.
The Cape is full of ludicrous comic book cliches. I would tell you some of them but you would never believe me. Okay, you twisted my arm / pulled my leg. The hero is an ex-cop on the run after being framed for being — you guessed it — a supervillain mastermind… by the actual supervillain mastermind (because, you know… cops are fierce fighters adjacent to hand-to-hand vigilantes on the metagame clock of “what to do on a Saturday night”).
He is recruited by a carnival of crime (btw there is such a thing in the Marvel universe as the Circus of Crime), who taps him (as a former police officer) to pull of some, you know crimes [I didn’t really understand this part, but I was playing MTGO at the time]. Then, inexplicably they turn good, start risking their lives for his quest to redeem himself and unseat the supervillain mastermind, and, you know, train him to be a superhero.
Two paragraphs ago I said The Cape is full of comic book cliches; what I mean was just cliches. The supervillain mastermind is the boss of a security firm that is privatizing the police force. So it is also a diatribe against privatization. Because, you know, companies are bad. Or something.
Did I mention the show isn’t good?
Yeah, I’ll probably watch the show until it gets canceled around ep four or whatever; but don’t expect me to like it.
FOUR – Young Justice, episode 2
I liked it!
The first episode ended with our heroes being decked by a then-enslaved Superboy. Predictably (if only from the promo art), Superboy turns face, frees Robin, Kid Flash, and Aqualad, and the four go on to found the as-yet-unnamed [on-screen] squad of Young Justice.
At the end of the episode they are joined by the uber-cute Miss Martian, shape-shifting “niece” of the Justice League’s Oreo-addicted JJ. So at this point they are  just missing the female archer shown in much of the promo art. I don’t consider any of this spoiler-iffic as the first two eps are just a “gathering of eagles” and that you could imagine into place by watching a commercial.
Dissatisfying plot points:
Speaking of archers… I would have liked to see some on-screen attention to getting Speedy / Red Arrow [back]. What? Does Robin not have his cell phone number?
Annoying – Cadmus has Robin, Aqualad, and Kid Flash tied up. I am not sure Kid Flash even has a secret identity, but Dick Grayson’s real name would be at a premium… But Robin still has his domino mask on while shackled. Not only that, but they leave him his utility belt, lock picks, holographic iPads or whatever… Everything he would need to bust out (which he does).
What I loved: My favorite character is Aqualad. I talked about him in the last post, and I like him even more now. They haven’t explained his water manipulation or electric eel powers on-screen yet, but I like how he uses them in the battles!
Old buddy Marc Aquino pointed out that there is an all-new Aqualad in the DC Universe that was recently introduced in Brightest Day (I obviously wasn’t aware). The Young Justice Aqualad seems to be based on that cat, instead of the original:
The new DC Universe Aqualad character.
Overall, loved Young Justice and plan on watching every ep ever… With Clark and Bella of course.
FIVE – P!nk’s New Video
A lot of you cats know who Bella Flores is. For example you have seen this video:
Now because Bella loves Batman more than some of her own family members, wants to major in “fighting badguys” in school, and has deep interests that include karate, chess, and Sorin Markov, lots of peeps on the outside think that I have exerted some kind of undue influence on her young opinions.
The truth is, this couldn’t be further from the truth.
Bella has a strong affinity with… understanding things. About three years ago, we let her use the computer to look at like Mickey Mouse Club videos on a Disney website. Despite being three and (at least as far as we knew) incapable of reading, Bella successfully navigated to the [more interesting] Batman- and Power Rangers-themed action video games that were also present on Disney properties.
Power Rangers was her gateway drug, but now Bella likes heroes the max.
So in terms of my being an undue influence on her… not true. In fact, she is more of an influence on me than you might expect. P!nk is Bella’s favorite artist (primarily due to hit “So What”), and because she tends to like stuff I like, I decided to try stuff she likes…
… which is how we are concluding with P!nk’s new vid. It is my early pick for video of the year (last year’s nod would have gone to “Telephone” by Lada Gaga + Beyonce). Enjoy!
“Raise Your Glass” by P!nk
This is a video of memorable, somewhat shocking, and generally effed-up visual images; my personal fave (I don’t know if the word “fave” actually applies here) is at about 1:11.
Click this image to buy this graphic novel from Amazon.com and I will make millionsthousandsdollars pennies.
A few years ago Brian Vaughan told me he thought Garth Ennis was the best writer in comics. The reason was that only Ennis could write a tearjerking scene about the loyalty between a boy and his dog, or the connection of true love… and then follow it up with a page of a one-eyed yokel being accidentally peed on just prior to being brutally murdered for witnessing the wrong chickenfucking.
… with essentially no warning.
That’s right: Garth Ennis — at least at his best — at least on Preacher was the Survival of the Fittest of tier one comic book writers. Versatile.
Despite being a fan of Ennis’s work since the first Preacher recommendation I ever got from — admittedly — Vaughan, I have always been an Alan Moore zombie (that is, since being turned on to Watchmen by, um, Vaughan). But like anyone with even an ounce of taste, I have appreciated Ennis at his best.
The problem is, Ennis hasn’t been on Preacher for like ten years.
Where has that utterly versatile / heartwarming / ultra-violent writer been hiding?
I read the first two runs on Punisher. I liked Garth’s Punisher, but Punisher — even with Steve Dillion on the art chores — is no Preacher. I’ve followed most of his work, including the first six editions of The Boys.
But not until this edition have we seen a glimmer of Ennis at his best (at least not on The Boys).
Maybe I should take a step back. What is The Boys?
The Boys is kind of a twisted Dark Mirror of Astro City (did I mention “twisted”?) … Super heroes are real and regular people see and interact with them. But unlike Astro City, for the most part, they only look super heroic. Super heroes in the world of The Boys are mostly corporate puppets who get paid millions of dollars to make appearance fees and sell product.
You know, how the world would probably be if it were ruled by mega corporations (with super heroes).
And for the most part, the super heroes are worthless at actual heroics. They go to Rescue someone, mis-judge the level of their super speed… Tear her arms off. They have all the physical super powers but none of the discipline. They all have vast wealth… Do the math. Most of the so-called super heroes are super hedonists, indulging in a nonstop roller coaster of drug use and sexual acrobatics with essentially no consequences.
Enter The Boys.
The Boys are a group of CIA-backed black jackets who observe — and oppose — the so-called super heroes (and the corporations that back them). Now don’t get me wrong… The Boys can be petty and cruel – and certainly violent — but at least they are not the undisciplined and omni-destructive bastards in the four-color flapping capes.
So what about number seven?
Unbeknownst to everyone, the most innocent and green member of The Boys has been seeing the youngest and (at least previously) most innocent member of essentially the Justice League of Ennis’s The Boys universe. Somehow, neither one of them knows who the other is.
At least until this volume.
The Boys has been entertaining for the entirety of its run. But “entertaining” in this context has mostly been the gratuitous boob shot, laughing at a supernatural level of frat boy-ness, harsh language, and watching the bad guys run in Terror of The Boys.
But volume seven — as much as it has the same Ennis edge — reminds us of the incredible emotional arsenal that this writer can bring to bear if he wants to. Like Jonathan Strange & Mr Norrell *, this book will break your heart.
I’ve probably already said enough. I don’t actually want to spoil it!
By popular demand… The long awaited review of Wolves at the Gate (Buffy the Vampire Slayer Season 8, Volume 3)!
A lot of people have been asking me about “that Buffy the Vampire Slayer graphic novel [I] talked about on the Top 8 Magic Podcast.” Most of them were pretty nice about it (even if I didn’t answer them in anything resembling a timely fashion). Some of them, though, like Tim Gillam…
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Let’s be honest. I had it coming from Tim after that Consuming Vortex slow roll (though to be honest it never registered to me that I was slow rolling him… I just didn’t want to screw up). Well here it is!
Wolves at the Gate is actually the third “Season Eight” tale (the show concluded after seven seasons, but the story continues!); the first arc was written by Buffy creator Joss Whedon, number two focused on Faith and was written by my old pal Brian K. Vaughan, and Wolves at the Gate comes to us from Lost / Alias / Cloverfield / Angel / and of course Buffy writer Drew Goddard.
As I said in the podcast, Wolves at the Gate is one of the ten best graphic novels I have ever read. No, you don’t need to know very much about Buffy’s universe to enjoy this story. All you really need to know is that there is a super powered girl named Buffy who, you know, slays vampires and that she is currently training a stack of other super powered girls to fight the good fight.
The other major character in this story is Dracula, the vampire of legend, who opposed Buffy at one point on her television program but fights on the side of the slayers in Wolves at the Gate thanks to his friendship with Buffy’s lieutenant Xander.
Dracula is scary and capable… and hilariously racist in this volume.
I think that one of the things that I really liked about Wolves at the Gate is how successfully Drew Goddard maintained the witty banter of the television Buffy in his storytelling. Here is an example of racist Dracula meeting up with his “manservant” Xander before the good guys go to war:
<Dracula> You’ve lost weight.
<Xander> Can you tell? I’ve been trying to exercise more.
<Dracula>Â Yes. It suits you.
<Xander>Â Thanks you look good too
<Dracula>Â Oh, you’re just saying that because I complimented you.
<Xander> No — I’m not! I promise.
<Dracula>Â I can’t see myself in mirrors. I fear my best days are behind me.
<Xander>Â No — you’re more handsome than ever.
I can’t see myself in mirrors. Are you kidding me? The writing is great.
One of the principles that I have adopted into my literature analysis algorithm over about the last two or three years (since reading Jonathan Strange & Mr. Norrell) is whether or not a writer breaks your heart at any point. So books like Anathem, Zodiac, and countless others that successfully break your heart (which, remember, requires you to fall in love with one of the characters) all get points under the new system.
Drew crushes your poor heart like an ant underneat a toddler’s filthy sneaker about 4/5 of the way into the story. The moment is perfectly perfect, appropriate, all of it. Just great.
Oh yeah. There is one more thing that makes this book really Really REALLY worth buying, but I am not going to tell you unless you scroll way down.
Trust me you probably want to buy Wolves at the Gate without my telling you this crowd pleasing crowd pleaser. Here let me interrupt you with a cleverly disguised affiliate link so that you don’t spoil it for yourself.
I wasn’t kidding.
…
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…
Okay!
Buffy joins the friends of Sappho and hooks up with a fine young Japanese slayer!
I warned you!
Now are you convinced?
Wolves at the Gate really is one of the ten best graphic stories I’ve ever read. I don’t think you need to be a fan of Miss Vampire Slayer to love this story, just great dialogue, wonderful storytelling, Slayer-on-Slayer shenanigans, and, you know, racist Dracula.
(5/29/2009)
on Amazon
(eBook on Amazon)
 
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