Website Update

The unique URLs for posts have been changed to a date and name format. This may disrupt any links made to specific posts. However, no posts have been deleted, and should be easy to find by way of the archives and tags.

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Comics – Birds of Prey

Birds of Prey #11 (DC Comics)

Writer: Gail Simone; Art: Pere Perez; Colors: Nei Ruffino; Letters: Carlos M. Mangual; Editor: Janelle Asselin

scribblerworks-birdsofprey-11-simoneThis issue gives us another done-in-one story between arcs. In “Which Reason Knows Not Of,” Simone picks up the thread of the attraction between Catman and Huntress. Catman is in Gotham again and his path crosses Helena’s as she pursues a team of thieves who heisted the transport of some Egyptian antiquities and took a woman curator hostage. The differences between Huntress and Catman get highlighted, pointing out that there is a subtle but important dividing line between them. This gets played out all the way to an intriguing twist.

Pere Perez’ artwork in this issue moves smoothly through all the action in the tale. There are nice human details that are charming. There is also a lack of gratuitous cheesecake which is even more appealing. (Please note: If you want moments of sexual tension between the characters to work, you can’t have the rest of the art presenting the female character to be overtly sexualized. There are some artists I wish would realize this fact. Perez shows he “gets it.”)

It’s a fine issue, well worth picking up

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Comics – Green Arrow

Green Arrow #8 (DC Comics)

Writer: J.T. Krul; Pencils: Diogenes Neves; Inks: Oclair Albert & Vicente Cifuentes; Colors: Ulises Arreola; Letters: Rob Leigh; Editor: Adam Schlagman

scribblerworks-greenarrow-8-krulThe magical forest of Star City is indeed an interesting addition to the DCU. However, the Green Arrow title seems to be becoming a showcase for other characters of the DCU with Oliver Queen merely playing host.

In Issue #8, our principal guest stars are Jason Blood and Etrigan the Demon experiencing a bit of separation anxiety. That is, they’re anxious that the separation the forest has worked on them might not be permanent.

On the periphery of this challenge, Lois Lane has come to town – although so far as we can tell, it is only for exposition purposes, as a local reporter reminds her and the readers of what has happened to the city. Also on the outskirts of the forest, Doctor Mid-Nite and Mr. Terrific are trying to nibble scientific bits of information about the uncanny woodland.

The ongoing mystery of the Is-He-Or-Isn’t-He-Galahad does not progress much at all. Galahad pursues some of Mid-Nite & Terrific’s henchlings out of the forestand experiences a painful (flashback, apparently) vision of terrible sorrow and loss. But Ollie quickly recovers him and draws him back into the soothing balm fo the forest.

And that’s about it.

Ollie doesn’t drive the story here. The main conflict (between Jason Blood and Etrigan) isn’t even really affected by him. Other than keeping varioiius characters from doing excess damage to each other, he doesn’t even really serve a purpose in this plot.

Why is this a Green Arrow story?

Neves’ artwork does a good job of staying clear int he midst of action. Other than his apparent assumption that an archer can pull a bow to full draw while holding it diagonally across the body, witht he archer’s torso facing the direction he is aiming … he’s not doing too badly. Someone does need to take him to an archery range and give him a few lessons, though.

As a story, it’s an interesting entry in the ongoing saga of the conflict between Etrigan and Jason Blood. As a story about Green Arrow? It’s a blank. There’s nothing “there” there.

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Fiction – Looking For The King

by David C. Downing

Sometimes you run across a work that sits in a limbo spot: it is neither so bad that you give it a “thumbs down,” nor so good that you feel comfortable recommending it. For me, Downing’s Looking for the King has landed in that place.

David C. Downing

David C. Downing

The premise has an American scholar visiting 1940s England, to research sites connected to Arthurian legend. His researches throw him into the company of a young woman whose visionary dreams also seem connected to legend. They are given information by the Inklings. It’s not a bad idea and could provide quite an exciting story.

Instead, Downing’s tale is rather bland. Tom McCord, the American scholar, gets tossed into a quest for the Sword of Longinus, and although his journey begins with a sinister encounter with suspicious characters and unusual incidents continue to occur, he remains oblivious to both the worldly danger and the spiritual implications of the quest.

Additionally, although the book is subtitled “An Inklings Novel,” the presence of the Inklings is not made sufficiently integral to the story. I was left feeling that they were present so the author could write conversations he wished he could have had with the Inklings. Downing does make a slight attempt at weaving Charles Williams’ handling of supernatural and spiritual matters into his story, but he doesn’t really commit to it.

Supermatural influences are only hinted at. The sinister characters are connected to Nazi Germany, but they don’t actually come across as dangerous. And almost everything the Inklings tell the American questers could as easily be put into the mouths of any encyclopediac source.

Downing has expended a scholar’s care, for the most part, in trying to convey the Inklings’ words from actual texts. This is commendable. But the one occasion when he ventures away from actual text is to reference Tolkien’s theory of non-Christian myths as reflections of the True Myth. Where Tolkien used the phrase “splintered light” of myths, Downing conveys it  (in paraphrase) as “dappled light.” By this one change, Downing undercuts the forcefulness of Tolkien’s description: splintered light has not lost any of its brilliance, it is sharp and clear, and merely incomplete; dappled light is diluted, shadowed and darkened. This one change is consistant with the lack of boldness in the whole story.

Some readers have responded quite favorably to Downing’s book. The adventure is adequate. I just feel it could be better, stronger.

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Theatre – King Lear

Actors Co-op King Lear

(photo by the Actors Co-op Theatre Company)

King Lear, by William Shakespeare

Directed by Marianne Savell; Produced by Rebecca Hayes

Any company chosing to tackle Shakespeare’s King Lear does so with ambition. Paring down the play to fit a small performance space also provides a challenge, in that you want to give scope to Lear’s madness, allowing for epic scenery chewing. The Actors Co-op and director Savell take on the masterpiece and deliver a fresh rendering of the well-known work.

The setting has been transfered from ancient Britain to the 1850s California, with only minor changes to the play. Cornwall, albany, France remain designations and titles, but they are treated as personal names and titles rather than geographic names. The one important geographic “setting” comes when blind Gloucester (well-played by Steve Gustafson) asks to be taken to the clifss that he may kill himself. In the original, the location is Dover, but in this version he asks to be taken to “Marin.” Happily, this trans-location works.

Gustafson brings a blustering worldliness to Gloucester that plays to his gullibility about the relative worthiness of his sons. By contrast, Richard Soto’s Kent (given a touch of Native American/Hispanic flavor) shines with earnest loyalty (and a humorous bluntness in dealing with treachery and folly). Conniving Edmund (Gloucester’s ambitious but bastard son) gets a “charming baby-face” representation from Nathan Bell, while Edmund’s legitimate half-brother Edgar, well-played by Joseph Barone, goes from amiable party-boy to determined survivor with credible humanity.

The dynamics of Lear’s daughters are important to the play, since they are the ones shuffling the pawns about. Heather Chesley gives Goneril all the presence an eldest child carries, particularly one who thought she had every reason to inherit all as eldest. Her bitterness lies buried deep, but once it rises she cannot stop. By contrast, Teresa Bisson’s Regan, is as sharp and imperious as one could expect from a middle child who has had to fight for attention. The part of Cordelia often gets the “sweet, delicate flower” treatment, but not in this production. Tawny Mertes’ Cordelia is straight-forward and unpretentious, but she radiates intense, committed loyalty. When Lear casts her off, we know exactly why France is pleased to claim her as his bride.

But of course, any proudction of this play rises or falls on the performance of its Lear. Happily, this production has Bruce Ladd at its heart. He throws himself into this role, giving Lear a light, comedic fussiness that barely covers his tragic blind assumptions and pitiable confusion. While Gloucester gets blinded in fact (well and shockingly staged here), Lear’s blithe and blind misunderstanding of what he has done is fully embodied in Ladd’s performance.

Savell’s direction lets every passing glint of humor flash like a tiny nugget of gold in a rocky Old West stream. The Fool, played by Leticia Moore, gets to milk all the comedy of being the wise one near the king, but each of the others have their moments. Savell has gotten her actors to have fun with Shakespeare’s word-play, which gives the audience a needed safety net of humor for the play’s plunge down the mine-shaft of tragedy.

The play runs Friday, Saturday and Sundays through April 3, 2011, in the Crossley Theatre on the campus of First Presbyterian Church of Hollywood. I highly recommend it to anyone who loves good theatre. You won’t be disappointed by this show.

Check out the company’s website at www.actorsco-op.org. Or you can find them on Facebook at www.facebook.com/ActorsCo.OpTheatreCompany.

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Comics – Birds of Prey

Birds of Prey #9 (DC Comics)

Writer: Gail Simone; Artist: Inaki Miranda; Colorist: Nei Ruffino; Letterer: Dave Sharpe; Editor: Janelle Siegel

scribblerworks-birdsofprey-9-simoneIn this issue, we hit part 3 (of 4) of Simone’s “The Death of Oracle” arc. Not that I really expect it to be Oracle’s death at all. It is (yet again) a “stop bothering me” move to get the Calculator off Oracle’s bandwidth. I could rant a lot about the over-use of Calculator as an opponent for Oracle and the Birds, but I’ll try and go no further than that statement.

When last seen, Mortis had touched Black Canary and left her trapped in a mental loop of “regret.” It bugged me as a read for a number of reasons. Regret is generally a very mild emotion. Even when it is bitter regret, it is by nature a more objective and detached consideration of past events. It is not fear, it is not passion. And of all people in the DC Universe, Black Canary is one who has dealt with her regrets head on. So when she was made victim again (why is Canary always the one put through the wringer, disproportionally to the other Birds?) by this particular villain, I was not pleased. But … Simone turns it around, having Dinah start to throw off Mortis’ effect for just the reasons I cited.

I should point out here that there’s a slight lapse in what we are told about Mortis’ power. Up to this point we have been told that no one has ever gotten out of the brain-lock that Mortis puts them in. But when Dinah resists, Mortis goes into convulsions, and Calculator says it is because sometimes someone is strong enough to resist the state. Well, which is it?

While Dinah fights off Mortis in a mental landscape, Calculator has captured the other off-duty Birds. He intends to kill them off in order to draw Oracle out of her hiding spot. When a helicopter shows up and Oracle’s voice orders him to stand down, Calculator orders his henchling Current to zap the copter’s defensive field.

But the helicopter blows up.

And Calculator assumes that is the end of Oracle.

Oh, really? Tune in next issue.

(Is that a critique? The art is adequate, the story turns well on its points, and yeah, the part ends with a hook that makes me want to know what comes next. It’ll do.)

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Comics – Wonder Woman

Wonder Woman #607  (DC Comics)

Writers: J. Michael Straczynski & Phil Hester; Pencillers: Dan Kramer & Eduardo Pansica; Inkers: Andy Owens, Sean Parsons & Ebar Ferreira; Colorist: Alex Sinclair; Letterer: Travis Lanham; Editor: Brian Cunningham

scribblerworks-wonder-woman-607-jmsRight from page 1 of this particular issue, I was reminded again of the impractical “design” of Jim Lee’s new WW costume. I had never seen the purpose of the straps on the upper arms, and apparently neither can the pencillers and inkers. The straps are missing on page 1 on one arm, back on page 2, missing page 3, on page 4, both off and on in panels on page 5. The guideline of “form follows function” was lost in this costume design with the result that the artists can’t remember to include them. Why do they exist? Bah.

Anyway, onward with the story. This rather bloody story. There’s been a lot of killing in this story arc. But at last in this issue Diana finally gets a reason why: the Morrigan, a composite triune diety, at present consisting only of two, want to drive Diana so far into rage that she can be absorbed into the Morrigan.

Okay, at last a reason for warping Diana out of “regular” continuity into a place where she has to re-prove her real nature. And not a bad one. But it has sure taken a long time t get to this point, with a lot of violence thrown in along the way.

I could question the suitability of having so much violence in Wonder Woman, but I’ve discussed my thoughts on the nature of the characer elsewhere.

I’ve mentioned the inconsistency of the costume, but the rest of the art works fine. I might think that Artemis’ bust balloons a bit much, but I’ll trade that off for the wonderfully rendered Minotaur. Too bad he committed suicide.

This is not a story arc I would hand to younger girls. All the violence is directed at women, almost all of it up to this point perpetrated by males. I don’t think sexual politics was intentionally a matter here, since the Morrigan are female, after all. But it does feel lopsided.

 

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Comics – Batgirl

Batgirl #18  (DC Comics)

Writer: Bryan Q. Miller; Penciller: Dustin Nguyen; Inker: Derek Fridolfs; Colorist: Guy Major; Letterer: John J. Hill; Editors: Sean Ryan & Janelle Siegel

scribblerworks-batgirl-18In Issue #18, Bryan Miller gives us a stand-alone story where Batgirl gets her first encoutner with Klarion the Witch Boy. Teekl, Klarion’s cat familiar, is having a “heated” Valentine’s night. When Klarion stops Teekl from coupling with an ordinary cat, the familiar is transformed to his humanoid were-cat form and sets out ripping hearts out of humans.

Batgirl and Klarion team up to find a way to relieve Teekl, which involves a visit to Klarion’s magic dimension. Teekl needs a were-cat mate. Of course, Stephanie, as a non-magic visitor, has to tread carefully since mortals such as herself are not welcome in this realm.

But… it wouldn’t be a story if Stephanie was able to “tread carefully” there. Still, the unlikely team successfully finds Teekl a companion and avoids having Stephanie being burned as an intruder. All in all, a fun read.

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Comics – Batman and Robin

Batman & Robin #2  (DC Comics)

Writer: Peter Tomasi; Penciller: Patrick Gleason; Inker: Mick Gray; Colorist: Alex Sinclair; Letterer: Patrick Brosseau; Editor: Michael Marts

scribblerworks-batman-robin-2-nu52There used to be a time when you would get quite a lot of story in the 22 to 24 pages of a comic book issue. These days, with stories spread over multiple issues (in this case a three issue arc), a particular issue won’t necessarily have a sense of completeness.

What just happened here?

Tomasi gives us three pages of the Wayne family at home before launching us into Dick as Imitation Bruce mode, both as socialite eye-candy and Batman 2.3 (come on, like we haven’t seen Dick-as-Batman before Grant Morrison inflicted it upon us?).In any case, a guy comes crashing down on the red carpet for a Martha Wayne Arts Foundation event, with huge wings attached to him. (We will skip over the implication that Bruce cannot be bothered to attend a function of a foundation named for his own mother. Well, actually we won’t skip it, because I would like to point out that this is one of the displeasing warpings that the current Bat-setup creates for the handling of the character of Bruce.)

The investigation begins, and we have to endure Damian-as-Robin being disrespectful toward Gordon and the victim. Of course, Damian across the board is disrespectful – bringing us the Unpleasant-And-Unamusing-Quips-Robin (why do we have to put up with this brat?). The brat observes that the inner structures of the wings has “glowing blood” inside them. “Blood” that is glowing? Is it blood? I’m never sure with Damian because he is careless about so many things.

Our Heroes then investigate the point where the faux-angel launched himself. And Dick-as-Batman finds an apparent suicide note taped to a highly unlikely spot of the building’s gargoyle.

But before we can proceed further and get a better clue about the faux fallen angel, Batman is seemingly-attacked by Man-Bat, with Langstrom carrying off Batman 2.3.

Damian-as-Robin plunges after them, attacking Man-Bat (or trying to), for all the world displaying his unworthiness as Robin since he does not seem to know the first thing about Man-Bat. All this time he’s been Robin and he has not familiaraized himself with Batman’s Rogues Gallery and tangential associates, of whom Langstrom would be high on the list?

Man-Bat pretty much literally throws Batman into the midst of the glowing fluid, while warning the duo – or rather Batman, because he ignores Robin (wish I could) – to stay away from “the light.”

And there the issue ends. Lots of questions from totally disconnected directions. I’m not sure why we are to care, other than it being a “problem for Batman to solve” but there it is, part one.

This story arc is titled “Dark Knight vs. White Knight,” part 1 of 3, the chapter being “Tree of Blood.” I think. It might be reversed and the arc might be “Tree of Blood.” Unfortunately, I can’t tell. In this chapter, there’s no “White Knight” obviously in opposition to Batman. But then, there also isn’t a “tree” that I can see, particularly not one “of blood.” So … I have no idea what’s up with this.

Generally, I like Tomasi’s writing, but this installment is all over the palce. Hopefully it will come into focus in the next installment (but half-way into a story is a long time to wait for focus).

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Television Series Sets – Sherlock


Starring Benedict Cumberbatch, Martin Freeman

When I first heard of this “modern update of Sherlock Holmes,” I shrugged. I like my Holmes set in his original period (I was never keen on the Rathbone Holmes-versus-Nazis type versions). It seemed to me that so many of the details of the stories were tied to the Victorian/Edwardian period.

When I finally did watch Sherlock, I was more than pleasantly surprised. The masterminds behind the series, Mark Gatiss and Steven Moffat, set themselves to figure out what in modern life would most correlate with key aspects of Doyle’s stories, and they did a brilliant job.

From "The Blind Banker", Season 1 of Sherlock

From “The Blind Banker”, Season 1 of Sherlock

Of primary importance to me, is their coneptualizing and understanding of Dr. Watson. They’ve done a brilliant job of bringing to life what I think Doyle really wanted us to see. Gone is the “ordinary,” almost bumbling and muddled Watson and in his place we have an adrenaline junkie war doctor, brilliant in his own right but not used to thinking the way Sherlock does. Rather than be offended and perplexed by Sherlock’s abilities, he is instead intrigued and even amused by them. And in this characterization we finally have an explanation of why Sherlock keeps Watson around – and even needs him. (Okay, so the Guy Ritchie film also captures this aspect as well — yay for Watson!)

Benedict Cumberbatch at first glance seems almost too beautiful for the ascetic Holmes, and yet once in motion, he embodies the manic energy of the brilliant Sherlock.

One touch the series has added are fleeting visual effects that highlight the clues that Sherlock picks up, clues he sees that others miss. This brings the viewers up to his speed and points out that even in our high tech modern age, Doyle’s comments about the powers of observation have not been made obsolete.

The series is a viewing gem and wonderfully respectful toward Doyle’s creation. A truly worthy entry to things Sherlockian.

Season One

“The Study in Pink,” “The Blind Banker,” “The Great Game”

We are brought into this world through John Watson, as he meets and connects with Sherlock. Much more present in the series than in the original stories is Sherlock’s older brother Mycroft. The tension between the siblings works brilliantly here, as both brothers are convinced that Mycroft is the smarter one. Mrs. Hudson has become more than an usher for clients, and she brings a delightful counterpoint to “the boys.” The shadow of Moriarty falls across the episodes, but a direct confrontation between Sherlock and his nemesis does not come until the cliffhanger at the end of the Season.

Season Two

“A Scandal in Belgravia,” “The Hounds of Baskerville,” “The Reichenbach Fall”

Season Two gives us Irene Adler, a worthy match or opponent (depending on your appreciation of “romance”) for Sherlock. She plays to Sherlock’s denied emotions, but when it comes to the matter of crime, he does not let her win. The second episode has fun with perhaps the most famous of Holmes stories, while also making it clear that being Sherlock’s friend is not an easy task for John. In the final episode, Sherlock and Moriarty are engaged in a deadly serious clash, where Moriarty sets out to “burn you to the core,” to the point of requiring Sherlock to die in order to save his friends (few though they be) from assassins.

Season Three

“The Empty Hearse,” “The Sign of Three,” “His Last Vow”

Season Three centers on a much discussed matter of Sherlockian canon – the marriage of Dr. Watson to Mary Morstan.  Of course, the first episode must address of Sherlock’s apparent death. I have to make note of Martin Freeman’s wonderful performance of Watson in this season: John has been grieving deeply for two years over the loss of his best friend, and in that time has found a true love. His fury at finding that not only has Sherlock been alive all this time, but that Sherlock purposefully kept him in the dark about it, rings resoundingly true. The delightful addition of Mary is that the series writers have made her as sharp as “the boys,” with an understanding of their dynamic. We are also given a further glimpse into the Holmes Family with the appearance of Sherlock and Mycroft’s parents (delightfully played by Cumberbatch’s own parents).

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