August 24th, 2014
Secret Avengers #7, by Ales Kot, Michael Walsh, Matthew Wilson and Clayton Cowles
They’re re-writing the TV show again, remaking their little models fit to play the parts occupied by [REDACTED] and [REDACTED] on the screen, picking up tips and characters from [REDACTED], letting the characters get all cute cute cute on the black ops beat, all limber on the page, unbothered by caption chatter, the disconcerting mix of [REDACTED] and [REDACTED], the whole functioning in defiance of the fact that it’s been divined like Frankenstein, realizing Borgesian phantoms. Is the whole thing ectoplasmic, even the brand management, even the [REDACTED] approved implication that we secretly (Secret Avengers) need/crave dangerous spooks like these? This is subversion but the question of who or what is being subverted is as hard to grasp as the figures on the page, sleek in the shadows, smooth like cartoons – is the mechanism being made more likeable here, or more ridiculous? Are these positions necessarily opposed? Or are we on the third path, Dark Starring the bomb to light another day? You will of course interject that here be monsters, but is that not always the case when one is pre-writing history?
Regardless, this is the most effective use of an affected guest star in a [REDACTED] comic since [REDACTED], a triumph of affect over the constant cries of “THIS IS AFFECT!” There are too few contemporary comics that make intrigue feel this easy.
August 30th, 2011
Being: the second of three posts on Carla Speed McNeil’s “aboriginal science fiction” comic Finder…
He did not want to compose another Quixote —which is easy— but the Quixote itself. Needless to say, he never contemplated a mechanical transcription of the original; he did not propose to copy it. His admirable intention was to produce a few pages which would coincide—word for word and line for line—with those of Miguel de Cervantes.
“My intent is no more than astonishing,” he wrote me the 30th of September, 1934, from Bayonne. “The final term in a theological or metaphysical demonstration—the objective world, God, causality, the forms of the universe—is no less previous and common than my famed novel. The only difference is that the philosophers publish the intermediary stages of their labor in pleasant volumes and I have resolved to do away with those stages.” In truth, not one worksheet remains to bear witness to his years of effort.
You find yourself bored and lost in your local comics shop on a crisp Thursday afternoon. You’ve exhausted all your usual favourites, or at least, you’re pretty sure that you’re not paying that amount for that hardcover collection today. Thankfully whoever does the ordering for your local shop has anticipated your boredom, and has made sure that one of Carla Speed McNeil’s Finder comics is waiting there on the shelf for you.
You’ve read a lot about Finder and — your friend Cat’s admonition that you “like music that’s fun to read about instead of music that’s fun to listen to” still fresh in your ears — you have to admit that this counts for a lot for you.
The specific Finder comic that’s in front of you is Talisman:
You seem to remember that this is a particularly well-regarded volume. What was it Douglas Wolk said about it in his Reading Comics? Ah yes:
McNeil didn’t entirely hit her stride until the fourth Finder volume, Talisman, and it’s not a coincidence that it’s her most tightly focused story: it’s about a girl who falls in love with a book, loses it, and becomes a writer in her attempts to find it again.
Well, imagine that–a storyteller inspired by other people’s stories!