Category Archives: Andrew Hales

Science Fiction Comics

Science fiction is, of course, a staple of geek culture and always has been, as has comic books. While these two have had a long and intertwined history, up until recently there had been a rather significant lack in quality science fiction comics. Thankfully in the last two years there has been a considerable resurgence in science fiction comics. Given all of these new choices, I’ve decided to go over a few of my personal favorites and some of the newest additions to my weekly pull.

20131219-232534.jpgSaga – Brian K. Vaughan and Fiona Staples

I’ve decided to start with Saga because every week it comes out, it’s the first book I read. Saga is an amazing space epic, but unlike most epics, it is character driven instead of focused on the events that happen around the characters. It’s a sort of modern Romeo and Juliet, with two star-crossed lovers from opposite sides of a generations long war; only they don’t commit suicide, they kick ass instead. I honestly have absolutely no idea where the book is going, both on the large scale and from issue to issue, and I don’t care. I am along for the ride, no matter where it takes me. Vaughan’s writing is fantastic and when paired with art by Staples it becomes something truly unbelievable.

20131219-232528.jpgManhattan Projects – Johnathan Hickman and Nick Pitarra

Imagine that the super-secret Manhattan Project was itself a cover for an even more super-secret science program. That’s the basic plot of Manhattan Projects, but there is far more to it than that. Anyone who is familiar with the real life Manhattan Project will recognize the cast of characters including Robert Oppenheimer, General Leslie Groves, Richard Feynman, and Enrico Fermi among others. That’s about where the similarities end though and Hickman takes characters and events to ever increasingly insane places. There is a lot of fantastic character work and a wonderful subtlety to the art that gives this book an unexpected depth.

20131219-232523.jpgEast of West – Johnathan Hickman and Nick Dragotta

Where Manhattan Projects is crazy and filled with very weird characters, East of West is much more cerebral, in similar fashion to his current work on Avengers/New Avengers and his previous creator owned work. East of West is set in a near future, alternate reality where the United States has splintered into several different countries with competing ideologies. The political systems only provide a back drop for the larger story, one of the Biblical Four Horseman, Death, has abandoned the other three and now they have begun to hurt him down, to unknown ends. I like this book because it is similar enough to the work Hickman has done in the past, yet the plot remains novel. There have been several interesting plot twists that have made the month between issues seem very long indeed. Dragotta’s art is very clean with some hints of manga influence.

20131219-232512.jpgStar Wars – Brian Wood and Carlos D’Anda

I love Star Wars, especially the original trilogy, and this book hits my Star Wars sweet spot. Set between A New Hope and Empire Strikes Back readers follow all of the familiar heroes as they search for a new home for the Rebel Alliance. Brian Wood has a great sense of who Han, Luke, and Leia are, and it feels like a perfect continuation of the films—only with better dialogue.  D’Anda’s art is perfect for this book. Not only is he capable of clear and exciting action sequences, but he also makes the heroes look just enough like their actors that you know precisely who is whom, but not so much that it looks like he just traced pictures of them.

20131219-232518.jpgThe Star Wars – Johnathan Rinzler and Mike Mayhew

Yes, this is a different book than Star Wars. This book is based on George Lucas’ original draft of Star Wars and it has been quite a treat. The Star Wars is full of familiar names and places, but they all apply to different things. It’s like the entire Star Wars universe has been turned on its head and shaken around a bit. Now to be honest, I don’t want this book to last forever and I’m looking forward to seeing the conclusion to the story (though I sense it is still a ways off). What makes this book great is that I never know what part of the Star Wars I know and love is going to show up somewhere unexpected. It’s also pretty crazy to think that this is where Star Wars started.

20131219-232538.jpgBlack Science – Rick Remender and Matteo Scalera

This is the newest addition to my pull list and truth be told I’m not 100% sold on it yet. Only being on issue two however, I’m not rushing to judgment just yet.  I am huge fan of Fear Agent, so I’m willing to give Remender the benefit of the doubt and stick this out at least through the first story arc. Black Science follows a group of scientists who have broken through reality into the chaos that lies beyond. Of course what they find there isn’t very nice, and just like black magic in fantasy, this black science makes things go awry. The art is strong with the exception that at times it was difficult to tell female characters apart, though once I get to know them better I suspect that problem will fade. Stay tuned for the inevitable update.

So these are the sci-fi books that I’m currently reading. They are not all the books I read with sci-fi elements and it is certainly not every book that exists (I just don’t have the money…/sad face), but they are the ones I consider pure science fiction. But enough about me, we want to hear about you. What books are you reading? Tell us about your favorites and maybe those that you’re not so fond of and of course, why.

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Review: The Hobbit: The Desolation of Smaug

***** SPOILER ALERT *****

This review will be discussing plot points which may be considered spoilers. Consider yourselves warned.

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As I write this review I am in the middle of a Lord of the Rings marathon. I have to admit that going to see The Hobbit: The Desolation of Smaug has put me in the mood for as much of Middle Earth as I can get my hands on. Unfortunately the reason I’m in this mood is because I’m longing for a good story from Middle Earth. As excited as I was for this movie, I afraid that it leaves much to be desired.

After an enjoyable introductory scene, much like those in Lord of the Rings, The Desolation of Smaug picks up just as Bilbo and the dwarves begin their passage into Mirkwood. I was pretty pleased with this portion of the film, but I just felt that it was over far too quickly. Several chapters of the book were dedicated to Mirkwood, and only around twenty or thirty minutes of the film were spent there. While the film portrays the confusion that the company feels admirably, it sets in far too quickly and then is resolved rather abruptly. This demonstrates the major flaw in the movie:  timing.  When these films were first announced, there were only supposed to be two films, but a third was added later. Regularly throughout The Desolation of Smaug some scenes which are canon from the books are compacted in order to make room from extra stuff, often to the movie’s detriment.

Now it’s pretty well known that I am a fanboy and that Lord of the Rings falls into the long list of things I love. Despite this love I am not a purist, which is to say I understand when changes must be made in order to actually make the film.  Some of this extra material I enjoyed—especially the parts which come from appendixes or other material from J.R.R. Tolkien. Watching Gandalf investigate and then confront the necromancer in Dol Guldur was great. This provides some great moments that really place The Hobbit in context. While the story is primarily about the dwarves’ return to Erebor, it is also the build up to Lord of the Rings, and there are scenes that allow us to see all the pieces moving into place.  My issue is that these changes come at the expense of the real story. Scenes from the book were compressed in order to make room for this extra material.

Shortly Bilbo will realize that there is a hole in his plan.

Shortly Bilbo will realize that there is a hole in his plan.

In other places, scenes were extended considerably. The prime example of this was the dwarves’ escape by barrel. There was a good long chase scene down the river that involved the dwarves getting away first from the wood elves and then from the same orc band that has been chasing them through most of the movie. Although an important scene in the book, and one that I have always felt was among Tolkien’s most clever, it was a relatively short part. Not only was this scene extended in the movie, parts of it became more than a little ridiculous. At one point the barrel carrying Bombur managed to get tossed out of the river and rolled down the river bank, taking out dozens of orcs in the process.  Then Bombur proceeds to pop his arms out of the barrel and take on several more orcs before jumping back into the river. Further on, Legolas rides down the river standing on the heads of two dwarves, all the while, shooting down orcs. This whole sequence becomes rather disappointing because of this outrageousness.

Still other portions are purely fictitious. The inclusion of the female elf Tauriel has no basis in the books. Her character was included almost exclusively to include additional female cast members, which is a questionable reason at best. I honestly didn’t mind her character, aside from the fact that she was obviously not part of the original book and therefore all her scenes seemed like someone trying to mimic Tolkien’s style. Tauriel also plays a part in the most egregious portion of the movie. During the barrel escape, Kili is shot in the leg by an orc and is eventually left behind in Laketown, along with three other dwarves, when the company proceeds on to Erebor. This whole plot point was completely unnecessary and only underscores the fact that the third movie should never have been added. If there were only two movies, filler material like this wouldn’t be needed and they would have been able to stick to the fantastic story that already existed.

One of many great Erebor interior shots.

One of many great Erebor interior shots.

After all of that, it probably sounds like I hated the movie, and that just isn’t the case. For one, the movie looked absolutely amazing. From the halls of the Thranduil to the Lonely Mountain, the entire movie was a visual treat. I’m especially fond of the dwarven style. It all looks very angular but refined and elegant in its own way. Unlike the orcs who are angular in a jagged and chaotic way, dwarf creations show considerable thought and skill. Beyond the look of the dwarves is of course their grand nemesis, Smaug. I could not be more pleased with the way Smaug turned out. It’s obvious that the Peter Jackson drew upon available sources and previous artist renditions of Smaug when creating the visual for the character. Especially when compared to Bilbo, Smaug appears as more a force of nature than a fellow cast member. The dragon is absolutely enormous and terrifying. Jackson must be a firm believer in “Go big or go home” because the movie makers went all out on Smaug.

This is the image of Smaug I always think of, and it was pretty spot on, aside from relative size.

This is the image of Smaug I always think of, and it was pretty spot on, aside from relative size.

In no way, shape, or form do I regret seeing The Hobbit: The Desolation of Smaug, but I do think that there was plenty of room for improvement. The film suffered from being stretched too thin when it came to source material (like butter over too much bread), though when they stuck to the original content the movie was at its strongest. While not the movie I was hoping for, I am still excited to see the ending of the trilogy next year. Three out of five Death Stars.

3 Death Stars

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Filed under Andrew Hales, Movie Reviews, Movies

Stan and Jack

Aside from those of its beloved characters, Marvel itself has an amazing origin story.  In November of 1961 Stan Lee and Jack Kirby released the first issue of Fantastic Four. Soon the two had several more titles under their belts such as Iron Man, The Incredible Hulk, The Avengers and The X-Men.  All the while the two men worked together using the Marvel method of writing comics, which was born more out of necessity than anything else. The Marvel method consists of a writer giving a brief outline of the issue to the artist, the artist plotting out the story, and the writer coming back and adding in all the dialogue to match both the art and plot summary.  In the 50’s Stan was Editor-in-Chief and writing nearly all of Marvel’s comics, which required him to cut corners, hence the plot summaries—some of which were only a paragraph or two long. This has unfortunately lead to a rather ugly fight between Stan and Jack (and now Jack’s estate).

The underlying problem is that the Marvel method leaves quite a bit of room when it comes to determining who really gave these characters their shape. On one hand it is possible that Stan provided Jack with fairly clear details and descriptions for these characters in his summaries and that while Jack certainly added something to them, it was mostly based on what Stan had provided him.  It is also just as likely that Stan was somewhat vague on the details, as was often the case, and that it was Jack that filled in the missing parts in order to really flesh out the characters. With the exact details of events lost to history, it’s pure speculation at this point as to what actually happened.

Stan 68 bw

Over the last few decades the tension between the two has led to a growing schism among fans of classic Marvel comics, with fans picking sides between Jack and Stan (Teams Edward and Jacob can suck it!). For a very long time there was a general public consensus that Stan was responsible for most of Marvel’s characters in large part because Stan was both the public face of Marvel and was much more personable than Jack. Newspaper interviews would go on and on about how wonderful Stan was while dedicating only a paragraph or so to Jack, often describing him in unflattering and sometimes insulting terms. It’s much easier to give credit to someone who is amiable and intentionally doesn’t correct people when credit is given erroneously. I can’t imagine that in the beginning Stan went out of his way to discredit Jack, though it is apparent that he made little, if no attempt to correct people.

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Of course Jack is not wholly without blame in this circumstance. There is some evidence that makes me believe that Jack was never a big fan of Stan’s. This stems from years earlier when Jack was fired from Timely Comics (the predecessor of Marvel) because he and Joe Simon were going to a hotel during their lunch breaks to do work for DC. The publisher of Timely (Stan’s cousin) found out about their deal shortly after a very young Stan began tagging along for their lunch time sessions, and Jack and Joe both blamed Stan for this discovery. Years later, both Joe and Jack would be working for Stan, a position, I’m sure, in which neither was thrilled to be.  Towards the end of his life Jack also made grandiose claims that he was solely responsible for the creation most of the Marvel characters created during the 60’s.

When it comes to actual ownership rights, I must admit I fall into the crowd that says Marvel has the rights.  Certainly I am no legal expert, but given the circumstances under which the work was done, it seems that Jack was hired to do specific work for Marvel and that at the time Marvel had expectations that they would own the work. No one ever expected comics to become the industry they are today, with multi-million dollar blockbuster movies and these characters plastered on thousands of products. Even though they are masterfully crafted, these were still just stories for kids. It seems more than a little revisionist to look back from today and say that these men should have known better and that contacts should have been made clearer with rights explicitly delineated.  There was just no way of knowing.

Although I believe Marvel owns the rights, there is still the matter of doing the right thing. There is no excuse for the way Marvel, as a corporation, treated Jack; and as the head of Marvel, Stan had an ethical responsibility to put a stop to it, and he didn’t.  From the rejection of requests to return old original pages, to the blatant refusal to grant any credit to Kirby, Marvel did the wrong thing every chance they got.

This is too often the case when it comes to older creators who never expected their work to amount to anything other than an immediate paycheck.  Both Marvel and DC have made considerable sums off the characters and have shown very little compassion and respect to the men who created them.  The whole situation is made worse by the fact that Jack Kirby is not alone in this situation.

In the end, I think Stan began to believe his own hype and Jack became overly bitter.  During a radio interview on his birthday, Jack Kirby received a phone call from Stan, calling to wish him a happy 70th birthday on the air.  To me this shows that somewhere inside, Stan had an affection and respect for Jack and the work they did together and that maybe if Stan had stopped with the birthday greeting, it might have been the first step towards mending fences. But Stan, always the self-promoter, couldn’t stop there, and once again had to throw some barbs at Jack. It is a great shame that even by the time that Kirby died, these two men couldn’t come close to seeing eye to eye.

I believe that Stan and Jack are both right and both wrong. Given the unique method in which the Marvel method works, it had to have taken a collaborative effort to make these wonderful comics. Stan provided some great ideas which Jack improved upon with some of his own ideas and both men shaped the final product. While both men have had some level of success separately, neither has come close to the magic they achieved together.

 

Links:

Interview with Jack Kirdy on his 70th birthday – Stan enters the conversation at minute 19, and throws barbs at minute 33:30.

Marvel Comics: The Untold Story – Provides even more details about how Marvel worked behind the scenes. Highest possible recommendation.

Jack Kirby Museum – Working to create a permanent museum dedicated to the work of Jack Kirby.

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Filed under Andrew Hales, Comics, Comics History

Geeks You Should Know: Brian K. Vaughan

Like all people, we here at Therefore I Geek have heroes, but because we’re geeks many of those heroes are also geeks. With this in mind, we’re kicking off a new, reoccurring series featuring people in geek culture that we think you should know about, or at least know better and we’ve decided to start with Brian K. Vaughan.

1923505-brian_k_vaughan_imageBrian K. Vaughan got involved in comics as student at NYU in the late 90’s through a program at Marvel called the Stan-hattan Project, which gave students in NYU’s Dramatic Writing department a chance for practical experience.  Vaughan started off with a few fill issues for several series, which included Cable and Wolverine, before moving over to DC where he helped re-launch Swamp Thing. Swamp Thing of course is known as a legacy title through which many of comic’s biggest names—such as Alan Moore, Grant Morrison, and Mark Millar—have come. When this particular Swamp Thing series didn’t last very long, Vaughan made his way back to Marvel for a Cyclops mini-series.

When Marvel decided to launch a new imprint, Vaughan wrote two series, one featuring Mystique and a second called Runaways which starred a new team of heroes who were the children of Marvel’s supervillains.  Following a successful run, Vaughan left Runaways and was succeeded by none other than Joss Whedon.

Prior to the release of Runaways, Vaughan started a creator-owned series at Vertigo called Y: The Last Man. This is hailed as Vaughan’s best work and with good reason.  It is the story of Yorick Brown and his monkey trying to survive in a world in which a mysterious event has left them the only two living males on the planet.  It is a masterpiece of comics, lasting sixty issues before coming to a wonderful conclusion.  Frequently Y: The Last Man is recommended to new comic readers as it exemplifies the art form.

A man and his monkey.

A man and his monkey.

In 2004, around the middle of Y: The Last Man, Vaughan started a second major, creator-owned series:  Ex Machina. Where Y focused on a near future sci-fi story, Ex Machina mixed superheroes and politics, with the main character being a former superhero who has been elected mayor of New York City.  If there was any doubt that Vaughan was a master of comics, Ex Machina removed it by the end of issue one.  Only three years after Sept. 11, Vaughan left us breathless (with what?) and set the tone for the Ex Machina in one page.

This gives me chills every time I see it.

This gives me chills every time I see it.

Writing as good as Vaughan’s doesn’t go unnoticed outside comics for long.  Toward the end of Ex Machina, Vaughan began to write for the TV show Lost.  Many comic fans sadly believed he would never return once he’d seen the bright lights of Hollywood. Thankfully those doubters were wrong, and in 2012 Vaughan made a triumphant return to comics with Saga. The best thing I can say about Saga is that if you aren’t reading it, you should be and if you are, read it again.  It’s that good. While Vaughan has made his comeback to comics, he hasn’t left Hollywood completely as he is also performing writing and executive producer duties for Under the Dome, based on the Stephen King novel of the same name.

If you still have questions, it might be Brian K. Vaughan's fault.

If you still have questions, it might be Brian K. Vaughan’s fault.

Vaughan is a masterful storyteller in both comics and television and has worked on some of the most defining series of the last decade in both mediums. It’s this kind of contribution that makes Brian K. Vaughan a Geek to Know. Stay tuned to see who our next Geek to Know will be.

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Filed under Andrew Hales, Geek Life, Geeks You Should Know