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So. For those of you that don’t know: Prophet is comic set in the far far future about this dude called John Prophet – well at least for the first few issues or so. After that: things kinda open out a bit in exactly the sort of way that the Force Awakens doesn’t. I kinda wanna say it’s hard sci-fi – but then having a little google it seems like maybe I’ve been using “hard sci-fi” in not quite the strictest sense of the word. I dunno.
April 5th, 2016
Following Part 1 – in which Joel began discussing Brandon Graham’s Prophet, only to be ambushed by Ewoks – he brings in fellow Kraken Mazin (or to give him his Mindless name, maybemazin), for Part 2 of our guest blog, to discuss all things The Force Awakens, before it comes out on DVD/Blu-Ray next week.
But what’s that got to do with Prophet? you ask with increasing exasperation. And who the hell is Mazin? Well, when he’s not splashing around with the rest of his pod(cast), he is a writer of fiction and non-fiction, including short stories about teeth and islands, and articles on the sins of Jurassic World and what Lost has in common with The Tree of Life; he is also a contributor at the London Graphic Novel Network and various S.M.A.S.H. comics panels.
We last left Joel and Mazin in a sealed box about to duke it out over Star Wars. Let’s hope we remembered to punch in some air-holes…
So Mazin: the subversiveness of Ewoks, and the problems with the old films. What do you reckon?
To start with, count me in the pro-Ewok camp too. Hm, that sounded cooler on the inside. I used to think it was a shame that they couldn’t find enough pituitary cases to do the Wookie forest planet in Return of the Jedi as first planned; had they done, it would’ve at least nixed the film’s teddy-bear gooiness problem. But turns out it didn’t really matter.
Because the Ewoks work.
They do. Just. And yeah part of why they do is because they’re unassuming, not unlike the critters that inspired them in Ursula Le Guin’s ‘The World For Word is Forest’, also furry aliens that no one takes seriously, though in that book they have a complex culture and a talent for bloodletting. But then, ROTJ was U-certificate and stormtrooper-helmet bongos were as far as they could take it. It might have been a bit more interesting though if the Ewoks in the film did have a bit more of the book or the Ewok cartoon, i.e. characters with personalities and a culture. Instead, we’re just left wondering what’s the whole deal with George Lucas and small aliens…
Your idea about the theme of technology versus nature in ROTJ, I don’t totally agree it’s a subversion of the films that came before: you could trace it to The Empire Strikes Back, the cutting between hi-tech spaceship chases, then a little green man in a jungle world teaching our hero White Magic. Or, for that matter, to Luke switching off his targeting computer in A New Hope.
As for A New Hope, you’re right, the first 20 minutes are great: just how much mystery there is, the weirdness. But the last 20 minutes are great too! For me, the film’s problem was always the sag in the middle. And after rewatching, I thought of the simple reason why: the trash-compactor sequence should’ve come after when Obi Wan turns off the tractor beam. That way the action would have kept escalating nicely, right up until Yavin IV. But I still think the final Death Star battle is so pacey, just really well edited and scored. Compare it to how paceless and undramatic the final battle is in The Force Awakens, how the baddie planet in that bursts like a Gü pudding, somehow both more complex a special effect and more boring a one than when JJ Abrams popped Vulcan.
But I thought you loved the new film?
Ahaha. I’ll at least try to think of some of the things in SWFA that I thought were good. (‘SWFA’ sure sounds like a right-wing paramilitary group- dammit! See, it’s hard.)
The characters! They were cool, no?
April 3rd, 2016
Back in February, I appeared on a panel at the London Graphic Novel Network’s S.M.A.S.H. event. There were a lot of great speakers at those events (including our own Maid of Nails, friend of the website Kieron Gillen, America’s next top comics critic J.A. Micheline, Mazin off the Kraken podcast, and Jam Trap poet Chrissy Williams), staggered across three panels focusing on MEANING, ART and REPRESENTATION in comics.
The plan was to write series of posts inspired by these talks, but then this happened.
Trying to appear big and clever on the internet has never felt less important to me than it did in the aftermath.
Anyway, I spoke on the art panel at S.M.A.S.H. and as a comics critic in the company of artists/editors, I figured I would be the least qualified person to talk about the subject so I did what I always do: I overcompensated. Only Mister Attack will ever see the first draft of my introductory talk, the charmingly titled “COMICS ARTISTS ARE WASTING THEIR LIVES”. In the end, I settled for a slightly less arsey approach that focused on different modes of reading, and how we might want to develop our understanding of our own biases so we can better make them fight to prove which opinions are best.
You can listen to what I actually said and the subsequent panel debate here (headphones recommended, audio’s a but quiet!), read the version of this pitch I submitted here, or if you fancy getting the right mix of depth and brevity you can now read the text I brought with me on the day below.
None of these versions are quite the same. None of them quite get across what I thought I was trying to say. I wouldn’t have it any other way.