Mindless Ones

Look Ma! I want brains….!

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‘thing is, i know we at mindless ones don’t really feel the need to justify these things or to bother kicking the argument about the way they might at, say, funnybook babylon, but i think the answer to the question ‘does bruce wayne work in cosmic scenarios? – in this PARTICULAR cosmic scenario?’ and the conversation one could have around it is probably an interesting one.

for geeks.’

But that’s okay, we know a few. And this is their home

I’m not going to talk much about zombies, I’m afraid. Zombies aren’t the problem.

Post credits Walking Dead opens on Andrew Lincoln’s Sheriff’s Deputy chomping on hamburgers with his partner, Shane, played by Jon Bernthal, and shooting the shit about their marriages. Both men badmouth their wives, Shane makes some huge and rather unpleasant generalisations about women, and Lincoln goes on to describe his wife as cruel and a bad mother. What Darabont seems to be going for is Tarantino, what he comes up with is charmless dialogue peppered with misogyny. Unfortunately the show goes on like that.

All the female characters are either shit-talked, absent, evil zombies/bad mothers, and/or reckless. Men? They’re gun wielding, authoritarian, tough and very much in charge. There’s a scene late on where Shane tells off his wife for wanting to help other people, accuses her of jeopardizing the life of their child, and not only does she come round to his way of thinking, she also decides that this is in fact a very sexy moment*.

Whether the show continues in this vein or not remains to be seen. There’s a lot of room for it to paint a picture of women as human beings. It’s also worth bearing in mind that while Lincoln describes his wife as a bad mother, the possibility that he will be plagued by guilt for being absent when the zombies came leaves the door open for a more thorough examination of masculinity and the male role. So at this very early stage I’m willing to give Walking Dead the benefit of the doubt, but the fact that there is precisely one scene where the show demonstrates what could be construed as a positive view of women doesn’t bode well.

There’s no doubt that Darabont can direct, the plot is strong, and the show does understand what’s nasty about zombies, but we’ve come to expect compelling dialogue and a nuanced approach to gender politics from our quality US dramas. So far Walking Dead exhibits little of either.

*ADDENDUM: It’s been noted in the comments that I have mistaken Rick’s family for Shane’s (thanks, Basque). While I’m embarrassed by my lack of perceptiveness I have to say that adding infidelity to the list of sins committed by women doesn’t exactly weaken my case.

A weekly strip by Fraser Geesin

Andrew and Steven in

KNIGHTS OF THE REALM

Part 10

Ever wondered about the creative process behind The Amusing Brothers?  Check out the commentary track to this chapter!

[audio:https://mindlessones.com/wp-content/uploads/2010/10/paulmcartneystory.mp3]

OR: Riding The Bulletproof Coffin With Shaky Kane & David Hine!

When it comes to comics, The Bulletproof Coffin has annihilated the competition in 2010. This is fitting, because The Bulletproof Coffin is all about the creepy, destructive power of your (my?) favourite medium.  Like the vehicle of the book’s title, comics are a fun thing to bury yourself in, but whatever way you look at it you’re still getting buried, right?

For those who came in late… well, if you’re allergic to plot synopses (which is to say: if you’re a reasonably functional human being!), go read the first issue for free then come back.  If overexposure to the Internet has left you with a high tolerance for such nonsense, then the book’s about Steve Neuman, a “void contractor” who stumbles onto an idiot’s bounty of comics, toys and collectible crap in a dead man’s house.  As per an arrangement he has with his boss, he takes this stuff home, and the ever porous borders between real life and fantasy start to let stuff filter through just like you’d expect they would.

All of this seems a little simplistic when described, but this is a far more precise and specific piece of work than I’ve made it sound. It’s all about points of impact – between the gnarled, blocky shapes Kane sets up on the page, between one unsavoury colour and another and between pulp fantasy and pulped reality. Like so:

You want more of that, dontcha punk? Well, go ahead & get clicking, cos there’s more Golden Nugget goodness if you’re willing to dig for it!

What follows is probably incredibly obvious to anyone who’s been reading Morrison’s recent Batman and DC stuff and is familiar with Morrison’s obsessions generally, but I think someone needs to get this down and explain everything already. Here goes.

Back in June, Cartoon County had a visit from Sarah Lightman of the London based graphic narrative creating and reading group Laydeez Do Comics.  It was ascorching hot day and we had the air conditioning on, creating some audio issues.  Still, worth a listen.

[audio:https://mindlessones.com/wp-content/uploads/2010/10/cartooncountyladeez.mp3]

click to download

A weekly strip by Fraser Geesin

Andrew and Steven in

KNIGHTS OF THE REALM

Part 9

As Sir Tom Jones makes his last stand, let’s remind ourselves of what we’re all losing.  Have fun seeing if you can listen long enough to hear Tom rapping!

[audio:https://mindlessones.com/wp-content/uploads/2010/10/13-if-i-only-knew.mp3]

Paul Cornell and Jimmy Broxton

As a British fan of Morrison’s bat-run I was always going to pick this up, and on the whole I’m glad I did. Much has been made of the over-abundance of British cultural references and idiomatic turns of phrase by my American chums, which comes as no surprise given that Cornell’s attempts to paint DC-UK as exotic even forced me to stop and think about some of the dialogue, and that’s despite the glossary at the back of the book. To some extent I feel for those who struggled, this self-evidently isn’t a comic for everyone. If you’re not an anglophile or a Brit who’s prepared to weather what could reasonably described as Cornell’s heavy handed approach to British cultural representation then this isn’t the comic for you. This first issue also isn’t a book for those who want a lot in the way of plot, and what little there is it at least as concerned with servicing Cornell’s primary aim, introducing a milieu, as it is with moving the Knight and Squire’s story forward.

With the above caveats in mind, it’s as an exercise in world building that the book worked for me. I liked the pub where Britain’s super-community meet, as a concept I think it has the scope to stretch out beyond its soapy roots (the British pub sits at the heart of the UK’s two favourite soaps, EastEnders and Coronation Street), and in this issue it served both as an efficient means of condensing the DC-UK fictional landscape and setting the light-hearted tone. I enjoyed the humorous character introductions even if I thought they lacked the creative electricity that a Moore or a Morrison would have imbued them with. Captain Cornwall made me chuckle (the very idea), and I particularly liked the Milk Man, who as a concept managed to straddle the line between being silly, cosily familiar and a bit weird in a satisfyingly pythonesque way (an adjective which could start to wear thin if we’re still trotting it out in two issues time, I grant you). I was also happy to see that Cornell, like Moore before him, is capable of using the more trainspottery elements to bolster his efforts. To have Jarvis Poker ‘the [Great] British Joker’ speak briefly in Polari brought the character to life in one panel thanks to the strong association between comedy, that opaque language of 50s gay culture and the shade of Kenneth Williams.

Broxton’s art, while failing to clearly communicate the mayhem and action towards the end of the book was articulate enough to convey everything that Cornell needed to get across, and managed to be just cartoony enough to reinforce the book’s general feeling of warmth. It’s tricky to do a bar-room brawl and it’s tricky to design and draw a comic that’s heaving at the gutters with new characters. If that sounds like I’m damning him with faint praise that because to some extent I am, but I’m also prepared to give him the benefit of the doubt at this very early stage. As I’ve noted above, this wasn’t a remotely plot heavy issue, and was mainly built from panels introducing new characters and concepts, as a consequence we’ll see how Broxton fairs when he needs to push the story uphill rather than link up a bunch of largely disparate elements in an anarchic pub.

If I have any big worries for this book they’re around the idea that “moderation” is a concept on which to build a superhero comic. Cornell goes to great pains to set-up this idea: the very notion that supervillains and superheroes would share the same drinking establishment requires it*, as does the woolly subplot where a young turk has to choose which side of the hero/villain divide he will stand, as if he were choosing between apples and oranges. While I think moderation has its virtues, and I can see why someone might want to sell it to an American audience (sorry, Americans), moderation isn’t the bedrock of entertaining popular fiction, quite the opposite, and as a guiding principle it runs the risk of feeling very forced. This first issue could afford to be quite self-aware, in fact it benefitted from it, but the same approach might become more of a problem down the road, especially if the plot is unduly effected by such meta-texual concerns, and particularly if those concerns are antithetical to drama.

*At least it does in so far as Cornell’s vision for the pub goes.

I hereby award this comic three brains out of five