November 4th, 2015
October 24th, 2015
Otherwise life is just a bunch of screaming meat
MoN: I think I have solved the mystery of the 15 moves in Multiversity #2, and I am so psyched about it
BB: Me too -
- The cube is the missing weapon from Earth-15
- 15 is 51 inverted, the last world
I kept meaning to say, what do you reckon it is?
MoN: Damn, I keep forgetting about the Earth-numbers…
Ok here goes: in Final Crisis (2008), Metron solves the Rubik’s Cube in 17 moves to save/restore Nix Uotan.
BB: Allllsssooooo, 15 can correspond to Alpha as in A and 5 looks like S, so All-Star, so the cube is Universe-Q from All-Star Superman (aka ASSMAN)??
October 12th, 2015
Botswana Beast: Hello readers, in my ongoing efforts to to trick other people into writing entire or the majority of my pieces for Mindless Ones, I have enlisted another vict… expert, silver Hawaiian Kelly Kanayama, who you may be familiar with from the excellent Women Write About Comics and More than Four Colours, amongst other things; she is also presently writing a Ph.D. on Judge Dredd, Preacher and transatlanticism, which is a thing you can do nowadays, even if you are a lady. I was surprised too, but she is totally brilliant, and yes of course has a Mindless name, see; this is her head:-
Maid of Nails: The Multiversity is one of those series that burrows into your brain — like the cordyceps fungus, not uncoincidentally. Sometimes you need a friend and collaborator to help you exorcise it. (It was this or make my girlfriends listen to me going mad about Grant Morrison, and quite frankly they’ve suffered enough.)
Isn’t that what academia is for?
Ha ha. There’s no room for YOUR MOM jokes in academia, nor for unbridled written enthusiasm. Besides, if this were academia, I’d have to include shitloads of footnotes and wouldn’t be allowed to say the word “shitloads”, and no one wants that.
Instead I subjected ya boy Botswana Beast to numerous Internet communications in an attempt to figure out what the hell was going on in this comic and, more importantly, why it had been lodged so firmly in my mind for so long.
As is often the case with GMo, we thought this was going Nix Uotan-ward at first but it ended up mostly focusing on Pax Americana: the black hole within the black hole pulling all thoughts and analysis inexorably towards its centre, and the infinite recursion of Algorithm 8 leaving us no clear point at which to get off.
What follows is — I hesitate to say “the process”, because dwelling too much on the process by which critique occurs is the sign of a total wang. “The correspondence”? No, that sounds worse. Maybe just the parts of an extended analysis, in the sense of the parts that make up Allen Adam’s dog, nerves and organs and eyes laid bare; not quite a dog themselves, but at least showing a little of what makes the dog work.
BB: (we also deigned to suffer some latter interjections from yer man Illogical Volume)
Worlds on the balance of chance
recent photo of Pluto’s moon, Nix
BB: I’m just thinking of riffing on the 0-51 conceit, but like so ’0′ is the Earth Nix is on, the main DCU one; I think he will probably be the major topic of discussion, issues 1 & 2 under that… rubric, is that the word.
MoN: Re: the possible future use of Multiversity’s developments, is there awareness of potential squandering/futility the whole way through? GMo did get burned after New X-Men (hence Seaguy), and what with having to tie Batman Inc into the New 52…if I had to choose, I’d say this is what the Empty Hand is about. You can try and achieve closure – in the sense of reaching the end of the story arc, etc – but since it can all be undone, the hand remains empty, if that makes sense.
BB: so, but not sequentially, and I guess the worlds is probably gonna be the thing…? But I think Pax/4, also the fourth issue in the series – I’m just interested in numbers, numerology, all this, I obsess over primes and prime products sometimes mechanically and so it’s interesting to me how two score and a dozen numbers have correspondant Justice Leagues now or whatever… but anyway, four is a unique number in that it is both the product and sum of its component prime, 2, (this fact seems to be a major agitating factor behind Iron Man 1 actor Terrence Howard’s rebel mathematical system Terryology) and the whole thing is about bifurcations and shit… four is an uncanny and discomfiting number
June 1st, 2015
As part of the London Graphic Novel Network’s roundtable on All Star Superman, Ilia put forward the following suggestions about the book’s ultimate meaning:
My sense is that there’s a religion to science move in the final issue – Lois believes that one day Superman will return, while Leo Quintum goes off to try and solve the problems of the universe on his own. Maybe Quintum isn’t just Luthor (first time I’ve seen that theory and like it a lot!), but the Superman of the future. That is to say: the representation of our collective 21st century aspirations.
The Quintum/Luthor angle has been played to death round my way, but the idea that the last issue represents a move from the religious to the scientific is genuinely intriguing. For me, the question is how we square that with Lex Luthor’s pantomime performance of smug, materialist arrogance, as captured perfectly by Marc Singer here:
The second half of the series highlights Superman’s capacity to inspire people, even (especially) as a purely fictional character. It’s the only power he has in our benighted world, and Morrison believes it’s the most important one he’s got. In fact, he says that if Superman did not exist, we would have to invent him (simply returning a favor, since Superman thoughtfully created us back in issue #10, March 2008; mark your calendars). That’s why the finale pits him against an antagonist who disputes the very idea that fictions and abstractions can hold real power, as seen in this exchange from issue #12:
WHITE: The truth sent you to the chair, Luthor!
LUTHOR: Is that right, Mister White? Funny, I don’t see the truth anywhere around, do you? I mean, what color is it? Can I touch it?
Luthor mocks White’s dedication to abstract principle, confronting him with the truth’s immateriality, because he’s a materialist to the extreme. He says the priest at his execution “stinks of the irrational” and his niece proclaims “This is Science Year Zero!”–next I suppose they’ll be rewriting the calendar. This scorn for idealism confirms Luthor’s stature as the series archvillain, especially since a hallucinatory Jor-El (himself part of “the field of living, fluid consciousness”) has just told his son he has given us humans ”an ideal to aspire to, embodied [our] highest aspirations.
Thankfully, I think Ilia has already suggested the answer to this question by noting that Quintum is both Superman and Luthor – a figure capable of aspiring to ideals and in working in the world to attain them.
As sneering, Kryptonian hard cases Lila and Bar-El note in issue #9, Superman is a scientist’s son, a curator of wonders who thinks his way around a problem as often as he smashes his way through it, leaving his many stand-ins (be they brawny, like Hercules and Sampson, or brainy like Lex) in the dust. Hell, for all his self-aggrandisement, Luthor spectacularly fails to see what’s right in front of his face when he gives Clark Kent a tour through his prison, and it’s hard to imagine his nemesis making the same mistake.
What to make, then, of Quintum as a replacement Superman?
What’s his purpose?
May 20th, 2015
A few thoughts about working for Marvel/DC, as stolen from a Canadian friend who was trying to add a bit of clarity to my rant about Chip Zdarsky’s inability to say the name of Howard the Duck‘s “original creator”:
(1) In corporate comic, everyone is a scab because there is no union.
(2) In corporate comics, no one can be a scab because there is no union.
(3) Join the union.
What to make, then, of Grant Morrison’s dedication to superheroes, his attempts to imbue them with some sort of positivist power of their own, to try and find transcendent meaning in a series of commercially dictated genre tropes and characters that were sacrificed to them? When presented straight, in Supergods, this stuff feels as silly and desperate as it is, like an attempt to put a fresh golden frame around a thrice-stolen turd in the hope of selling it on eBay again. But in All Star Superman? Not so much. The sales pitch here is a lot more successful.
I’m was being dumb and scatological there, for sure, but the emphasis on framing is appropriate. This is Grant Morrison’s most carefully crafted book, the one he says that he “wrote for the ages”:
It’s the one that comic fans really like. They like that, you know, that architecture… It’s literary, it’s not like a live performance. Like, you read The Invisibles a hundred times and it’s different a hundred times. If you read All Star Superman a hundred times you just understand it more.
In other words, as I think he’s said elsewhere, it’s his Alan Moore comic: twelve issues, immaculately constructed as a hall of mirrors instead of Watchmen’s inkblot test, with Superman wrestling with other versions himself issue after issue as he works hard to deal with the aftermath of his own murder.
December 10th, 2014
Frank Quitely, Grant Morrison and Nathan Fairbairn – Multiversity: Pax Americana #1
It’s here that our story begins: in pieces. Many, many authors have shot at this target and missed, preferring not to recognize that in truth this is what we really know, and what we really believe, about the forces that create and shape our lives — preferring not to see that what science and philosophy describe is the branch from which our lives’ dramas depend, and not just convenient intellectual set-dressing for them.
We should remember that murder mysteries are always just local expressions, of a grander philosophical struggle — someone is killing capes, and who’s next? Well, after the scientists the answer is, we are: as the stunning profusion of interlinked symbols that fills Pax Americana’s pages ceaselessly intimates to us the unavoidability of that final, bitter realization of entropy. War, and death, and chaos…
…Or, what is perhaps worse: not chaos, at all, but order.
An implacable order, that we can’t resist. A pattern we’re trapped in, that we can’t see.
July 29th, 2014
A brief thought on Grant Morrison’s work that I might disown in the morning…
While hyping his upcoming Multiversity mini series for DC (at least half a decade in the making, and from the sound of it pages are still being done), Morrison has made reference to the Stan Lee method, in which the comic makes the reader an accomplice in the story.
Here’s the man himself, making some typically bold claims for his adoption of this technique in Multiversity #7, Ultra Comics:
I’ve used a lot of hypnotic induction. There’s an old trick that Stan Lee used to do — it was quite popular at Marvel — of the comic talking to you. I took that and this thing, and I think we’ve actually created the world’s first actual superhuman being, which you’ll see how it works when you read this comic. Then the world’s first super human being on this earth has to fight the most malignant entity. So the bad guys in Multiversity who are attacking the entire multiversal structure are also attacking the real world, and this comic is their only way through right now. So it becomes the reader versus the bad guy on the page. I think it’s actually quite scary, this thing. It scared me!
November 27th, 2013
Jupiter’s Legacy #1-3, by Marky “Mark” Millar, Frank Quitely and Pete Doherty
Forgive me for the somewhat less than timely review, but fuck me – three issues in this is still a startlingly uninteresting book, from pig (Millar) to lipstick (Quitely) and beyond (???).
It should go without saying that this response is merely a product of the reaction between the lines on the page and those etched into my long-suffering brain, but that in no way makes this a good or even halfway entertaining comic. So while it’s true that both Millar and Quitely have thwarted all expectations here by failing to irritate and innovate respectively, the only real problem experience poses for Jupiter’s Chegacy is that a lifetime of reading and watching stories will train you to spot a tired duffer like this miles off.
Familiarity itself isn’t the issue here, per se: the old power/responsibility theme could easily survive yet another regeneration, and there’s no reason why a story about the famous children of rich superheroes couldn’t be made timely and interesting. It’s the old world vs. the new, the people who made the world vs. those who have to limit in it, and surely that’s an easy sell in this post moneygeddon landscape? The problem, at least so far as this cynical critic is concerned, is more that no one involved in this comic seems particularly interested in how they’re saying anything:
Page after page of dialogue mounts up to little effect, with passionate arguments sitting on the page like undeveloped notes from the plot breakdown, lacking either the vanity of realism or the courage of true artifice. This is a comic full of gestures, which would be forgivable if we were dealing with the mangled mitts and marvelous manifestations of Ditko-era Doctor Strange. Instead, Jupiter’s Children nods absently towards a half-busy suburban street in the daylight, hoping that you’ll find something interesting there and mistake dumb luck for careful planning.
June 29th, 2013
Jupiter’s Legacy is really a very dull, very poor indeed, comic, F-minus, forced, tired, artificial, very disappointing, get the fuck out of my house. Sapped of all grace and mana by over repetition of zombified tics and gestures: laughably inept in its socioeconomic analysis: not even pathetic in its yearning for the world of five years plus past: idolatrous in its devotion to the never-there assurances of the old American century? Everything you’d expect of its famous author-shyster. These few years, no one with a soul to save or a clue about anything important has stepped across the threshold of number 10, and no honourable man could ever drop his knee before the Queen of Evil.
But don’t take Frank Quitely’s drawings with you, for pity’s pain.
a) Fancy a drink captain, you unprofessional fuck? What drink? The one in your hand! Look really closely. Yeah there, take a sip. You can’t? It hasn’t been set up properly? The continuity and detail of this scene is entirely tossed off? Forget it cap, someone can go back and draw it in your hand later, sfine.
b) Magic sliding towards you wall? Is that? I mean, these are new, fashionable glasses, so maybe I’m, but come on, really? When Quitely was alive he’d nail the 3D modeling and that tricky perspective. It is possible instead nails have been run in to his poor dead hands prior to commencing work on this comic.
c) Sometimes I wonder if the dialogue in this comic could be any more dogshit? As for the pictures, don’t worry about any kind of aesthetic clarity, and for fuck sake make sure you don’t get any rough energy in there either.
PS – no nudery, just prudery. More fucking blood you prick, this is for kids!
Mark Millar’s writing is so bad it makes the art go bad, basically. Here’s hoping by christ for a resurrection of Frank Quitely before he has any more high profile superhero work coming out…
October 29th, 2012
*and Batwomen, obviously!
As anyone unlucky enough to follow me on twitter will know by now, I was at Dundee Comics Day yesterday with Botswanna Beast, Mister Attack, Ben Deep Space Transmissions and Ben Deep Space Transmissions’ mate (who was lovely, but whose name I never managed to remember for >>> 5 minutes because I am a cock) yesterday.
Comics journalist Laura Sneddon was working at the event too, so Team Mindless had a brief but enjoyable chat with her about The Singing Kettle, which… uh, probably isn’t something you know about outside of Scotland, I guess. I also apparently ignored at least one person I’m twitter friends with, so sorry Dan!
Anyway, Dundee Comics Day has been a fixture of the town’s Literary Festival since 2007, and this year’s event was focused on Grant Morrison and some of his collaborators. What this meant was that me and the boyce were treated to a solid day’s worth of comics chat, in a setting that was designed to force Mister Attack and myself and especially the Bottie Beast flashbacks back to our time in higher education.
The conversation with Grant Morrison that kicked off the day was entertaining if short on revelation. There wee a few routines in there that anyone who’s heard Morrison speak more than once in the past decade will probably have heard before (“more space combat!” etc), but the man’s still good company whether he’s discussing why Batman is the only character he keeps coming back to (“because he’s so sexy”) or making my teenage brain melt by mentioning that he’s met with the RZA re: the proposed movie adaptation of Happy! Of course he would have gained extra points if he’d announced this by saying “Me and the RZA connect”, but so it goes.
During the Q&A part of the event, I asked whether Morrison was interested in writing something set closer to home – if not GRANT MORRISON: THE SCOTTISH CONNECTION, then maybe something close. Morrison responded by saying that he’d like to write something set in Glasgow, which he reckons would be a good setting for a horror story. He pointed to Bible John as being the work of his that comes closest to fulfilling this promise, but noted that he probably won’t get around to doing something else set in his hometown until he’s in his dotage. Morrison also added that he’d love to play a computer game set in Glasgow so he could drive a car through Princes Square, to which I can only say “I Want To Go To There!”
There was a definite break between Morrison’s panel and everything that followed, and the line between the two parts of the day was exposed when Morrison was asked a question abut the future of comics. Morrison joked that he’s still hoping that the world is going end in December so there won’t have to be a future of comics, before describing how he reckons that the sort of comics that thrive on the variety of new platforms available to them will almost certainly have evolved to make use of the new dimensions available to them. This idea was presented enthusiastically, but there was a subtext of melancholy that makes perfect sense when you think about how closely entwined Morrison’s personal iconography is with the physical properties of the comics form: