Thursday, February 18, 2010

Genres & Judgements: TRENCHES

It's been a bit of a rough week. Dollhouse is over, Lost has been underwhelming thus far this season, Fringe is on a mini-hiatus and Caprica took last week off, so I've been jonesin' for a good sci-fi fix. Fortunately, I stumbled upon Trenches [2010], another interesting web series from Crackle.
Trenches is about a small group of soldiers stranded behind enemy lines on an alien planet in the wake of a disastrous battle. By the end of the fourth episode, the strained collection of survivors are trying to get themselves rescued just as they are spotted by someone, or perhaps something, else.
This series was directed by Shane Felux, who made a name for himself by directing the fan-made film Star Wars: Revelations in 2005. I never got around to watching Revelations, but I recall it was quite the internet sensation when it came out, some saying they preferred it to the prequels. Clearly he's a rarity -- a sci-fi savant in the indie film community.
Back to the series. Felux displays quick clips of intergalactic space battles and fast-paced, warfare sequences in (you guessed it) trenches very effectively. Considering this series probably didn't have a huge budget, they're pretty decent. Much like The Bannen Way and Angel of Death, the camerawork is sharp and professional when on the actors. The special effects jar you out of the moment a bit, but they're not what I'm watching Trenches for. The costumes and sets seem pretty top notch. There's an unmistakable BSG influence evident here, and I don't see that as a bad thing.
Meanwhile, there hasn't been a lot to judge the actors by after four eps. The focus has largely been on the action, of which there's been quite a bit in the four- to six-minute webisodes. Aaron Mathias, who has kind of a Nathan Fillion/Aaron Eckhart vibe about him, plays Lt. Andrews. The second primary character is Cpt. Racine, as played by the very cute Mercy Malik, who is being held hostage by Andrews and his uneasy cohorts. She's had even fewer lines at this point than Mathias, but I like what I've seen thus far.
I only have one quibble with Trenches. Obviously, only 40% of the webisodes have been released, so this issue could be moot in a few weeks, but I wasn't quite sure why the audience should care about our main character until part three, which I thought was too long at first. But it was really only about 10-15 minutes into the story, and I realized I needed to give it more time. There are some other plot elements that I wish were expanded upon -- who are these races/enemies, why are they at war, etc. Evaluating this shorter form of film takes a bit of an adjustment because the pieces of the story seem to be all there, they're just so short that it feels like you're not getting a whole lot.
I wonder if companies are underestimating people's attention spans with viewing videos on the internet. Not everyone on the net is burdened with ADD. Sure, viewers can always click away to another webpage, but that same problem exists with standard television and the remote control. Produce a quality story, and I guarantee people will devour it. I'd happily sit in front of my computer and watch an engaging clip for 20 minutes with no problem.
Anyway, it's nice to see that Crackle has found a little collection of interesting and well-made shows for their site. Hopefully other viewers are finding this stuff, because I want to see more of it.
The fourth part of Trenches was released today, with each improving on the previous one. New episodes are being released on Tuesdays and Thursdays each week. It'll wrap up on March 10th after 10 installments, so you have plenty of time to catch up.I'll probably check back in with the series after it has wrapped up and see how it turned out.

Monday, February 15, 2010

TV Tweets: Feb. 8 - 14

As always, you can follow me at LowBrowJon to get my latest asinine allegations, as well as other LBM updates.
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Feb. 8th [LOST, Fringe]
I may regret saying this, but I'm enjoying the execution of the alternate realities on #Fringe way more than on #Lost right now.
There's plenty of time for LOST to correct this, but I am not enjoying these flash-sideways. If it turns out that they are the final "reality," I'll feel incredibly cheated. Those showrunners best not negate the first five seasons with this bull. Meanwhile, Fringe is hinting at not just two realities, but a full-blown multiverse and handling it well. However, just as LOST could remedy their parallel-universe conundrum, Fringe still has plenty of time to ruin theirs.


Feb. 11th [Chuck]
#CHUCK fans, I know you're angry, but don't you see not watching your low-rated show on purpose will only kill it? http://bit.ly/bopR7O
After the few times I've watched Chuck, I've determined it's not for me. But I can identify with its small, rabid following wanting its two main characters to hook up, especially considering the very real possibility that it fails to get a renewal for a third season. The comments section for a post at What's Alan Watching? (linked in the tweet) started a firestorm in Chuck fandom this past week, calling for those dissatisfied with Chuck and Sarah each pursuing other people romantically to watch the show via Hulu or DVR rather than the normal airtime on NBC (sucks to be you, Lana Lang). The rather obvious flaw in this plan is that the Chuck ratings will drop, and I feel a network suit is more likely to cut its loses with the show rather and cancel it than merely bring it back just in the hopes that it strikes gold by pandering to its tiny, furious audience. Back to the drawing board, kiddos.


Feb. 12th [Friday Night Lights]
It's amazing that #FridayNightLights can still keep me in suspense with those end-of-the-season games on the fourth go-round.
Season 4 ended quite well, with plenty of issues lingering for the next football season in Dillon, Texas. There's a lot I want to say about the season and show as a whole, so keep an eye out for a special post on FNL, hopefully later in the week.


Feb. 14th [Breaking Bad]
Heard too many good things, so I finally started up #BreakingBad last night. More drama than I was expecting, but some good crime scenarios.
I finished the seven-episode first season of last night, and violence, hilarious and gut-wrenching all come to mind. Bryan Cranston (Malcolm in the Middle) is a high school chemistry teacher who resorts to making crystal meth with a former student in order to provide for his family amid a laundry list of impending life complications. This show alternates between laugh-out-loud comedy to touching poignancy with bursts of gunplay and fisticuffs inbetween. Cranston's Walt White utilizes his knowledge of the periodic table for acts of crime and dubious heroism simultaneously. Another fine piece of AMC programming. You'll probably see more of my thoughts on the show when season 3 starts up next month.

Sunday, February 14, 2010

The Longbox

After a week of being mostly snowed-in in the aftermath of the Snowpocalypse of 2010, I’ve finally managed to dig myself out and get back to drinking coffee and writing subpar blogs about comic books whilst being hopped up on cafiene.  Fortunately for you all, there were no new “Siege” books to come out this week so there will be no “Under Siege” this week.  Unfortunately for you, this week's Longbox is in the format of a love letter for Valentine's Day...
The Unwritten
issue: 10

writer: Mike Carey
artist: Peter Gross
publisher: Vertigo
Dear Mr. Carey,
Will you be my Valentine?  To me you are one of the hardest working, most consistently good cross-genre writers in comic books today.  I’ve been reading something by you ever since Sandman Presents: Lucifer: The Morningstar Option and probably even before that.  You also somehow find time to write your excellent noir/detective/horror books that follow the adventures of exorcist Felix Castor.
I’ve been following your run on X-Men: Legacy over at Marvel but today it’s your original series, The Unwritten, that I want to talk about.  You’ve masterfully taken the world surrounding children’s fantasy literature and crafted a certainly adult and surreal story out of it.
For nine issues, Tommy Taylor has been evading forces connected to his late father’s popular children’s books, forces he doesn’t quite understand.  Having escaped death by means of a magic doorknob, he finds himself and his companions lost in a ghost of Nazi, Germany where the mystery of just what Tommy might be deepens.  Meanwhile in the real world, the forces working against Tommy begin to put together a new strategy to find and make an end of him.
Your words together with the amazing art of Peter Gross bring to life Tommy’s unwilling journey of discovery about his origins and his destiny.  You two are a powerhouse team on par with the likes of Ennis and Dillon or Morrison and Quitely.  Give my best to Mr. Gross, it was very hard to choose between the two of you for a comic book Valentine.  This issue builds to the kind of cliffhanger I’ve come to expect and appreciate from you.
In any case, I hope this finds you well and I look forward to next month’s installment as well as well your X-Men stuff.  Also, I really should check out your The Torch mini-series as well.  You do so much, it gets hard to follow.
Your Valentine,
~M

Monday, February 08, 2010

TV Tweets: Feb. 1 - 7

As always, you can follow me at LowBrowJon to get my latest brainiac blips, as well as other LBM updates.
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Feb. 3rd [LOST]
My hope for this season is that they finally explain why Sawyer's hair was short in the pilot and long in all other flashbacks/forwards, etc
Yes, out of all the things I could want to be addressed in the final season of LOST, this is the issue that I want explained most. Yes, I am an idiot.

But, hey! They used a Lazarus Pit on prime-time television! How cool was that? Okay, just me.


Feb. 4th [Big Love]
How could you throw that perfectly crafted flat-top under the bus like that, Bill Henrickson?
This episode drove me mad. Bill has got to be the most unsympathetic lead character I can think of on a tv show. This isn't like Don Draper seducing you into liking him despite your better judgment. No, Bill Henrickson is that Jerry Falwell kind of evil, which I find much more dangerous. In any event,
I'm openly rooting against him on all cylinders now after the bullshit he pulled.


Sunday, February 07, 2010

Longbox Special: Under Siege

I managed to survive the Blizzard of 2010 here in Pittsburgh mostly intact.  We lost power Friday night and didn’t get it back until Saturday night.  This put me somewhat behind on putting together this week’s installment of Under Siege, not that I’m sure many will notice.  Anyway, this week’s releases brought major installments as things get ratcheted up.
Siege #2
Ares engages Balder as the siege of Asgard continues.  It is then, thanks to Heimdall, that Ares finally sees that he’s on the wrong side of the fight.  It just seems like it’s taken him way too long to finally figure this little detail out.
Meanwhile, Osborn and some of his higher powered flunkies have downed Thor and are attempting to take him into custody when Maria Hill shows up on the scene.  Did I mention she’s in a pick-up truck with a hick and a rocket launcher?  With a little help from a badly beaten Thor, she’s able to get him off of the field and into town.
Back at Avengers Hideout in New York, Captain America makes a stirring speech to a group I’m pretty sure don’t need convincing that it’s time to take Osborn down.  He’s assembled a team made up of New Avengers, Young Avengers, Classic Avengers, and Nick Fury leading his Secret Warriors.
Back at Asgard, Osborn takes another hit as Ares makes his move and calls Osborn out.  Before Ares can put an end to it all, Sentry comes in and removes Ares from the battle with extreme prejudice.  It is certainly the most graphic scene in the issue.
Cap and his team load up to head out, except for Phobos.  For whatever reason, Fury is keeping the kid out of this fight and we learn that the god of fear really has nothing on Fury.  This is followed up by a big old gift giving scene when Bucky gives Cap the shield back and Jarvis gives Cap a briefcase that belongs to a friend in need near the battle (Hint: Tony Stark used to cary the Iron Man suit around in a briefcase).
Finally, Osborn sends Daken out to find Thor only to find that Thor isn’t really one for hiding and has cooked Daken but good.  Osborn then gets one more incoming alert, something round and shield-like that’s going to clang him in the noggin.
Bendis has kept the writing and pacing tight on this issue and the art is still peak.  This issue though is all build up setting issue #3 up to possibly be the tipping point.  Either that or the next issue will just be a lot of Cap and Osborn hitting each other and spouting dialogue as the big three get ready to come back together again.  The Jonathan Hickman-esque text bit at the end of the issue was a nice way to fill in the gaps that people who haven’t been reading Secret Warriors might be experiencing.
Siege: Embedded #2
One could say that this book is mainly a road trip story with an overweight Scandinavian  but that would simplify things a bit too much.  Embedded’s battlefield is not Asgard nor is it wherever Volstagg decides to hit people.  Embedded works its battlefield as that of the press and it works it very well.
Ben Urich and Will Sturn are escorting Volstaag back to Oklahoma where he plans to turn himself into the proper authorities because of what happened at Soldier Field.  Urich uses the trip to talk with the people they run into to see how the nation is reacting.
On the other side of this field is Todd Keller, a loosely-veiled caricature of Glenn Beck if ever I saw one.  He has sold his journalistic integrity to get inside the biggest story and to make buddies with Norman Osborn.  Now, I don’t mind me some overt satire of high profile media personalities, but it would have been nice if they had made Keller look not so much like Beck.  Seriously, you don’t have to hit us over the head with a hammer.
As Keller finds out that the real Osborn doesn’t have the time to actually speak with him on the air, Urich, Sturn, and Volstaag have a run-in on the road with H.A.M.M.E.R forces.  Volstaag winds up acquiring one of the agent’s flying sleds and proceeds to deliver some justice on them.  All the while, Urich and Sturn are arrested and taken to Tinker Air Force Base where they make a Scooby-Doo-like escape from custody.
The humor and humanity of this book is what makes it a great addition to the bigger event.  The story is less about Volstaag and more about the everyman and their existence in the larger Marvel Universe.  Brian Reed has a real knack for this dialogue and brings these people to life, even when they’re being portrayed as types.

That's this week's Siege installments.  Hopefully next weekend I'll be able to dig myself out and get to the coffee shop where I normally write these things...

...till the next...

~M

Friday, February 05, 2010

Genres & Judgments: Best Films of 2009 Addendum

In my Best of 2009 article from last month, I listed nine movies I had wanted to see, but for whatever reason, did not before 2009 wrapped up. Aside from Sherlock Holmes, which I probably won't see for a while, I have watched all the items on that list. Here are my thoughts on each.

Moon
Every bit as good as you've heard. I won't bother placing the rest of these movies in my Top 10, but Moon would fit comfortably at #3. Duncan Jones gave us a Twilight Zone-flavored tale mixed with the stylings of Stanley Kubrick. I guessed a big plot twist early, but instead of it being the big M. Night secret saved for last, there was still another 45 minutes of film left to watch after it was revealed. Superb.


The Road
I was so friggin' mad at myself that I missed this one on its first pass through theaters, especially after I'd talked about it ad nauseum on the site since the summer. Fortunately, one brought it back locally this week, otherwise I'd still be waiting for the bluray release. It is a mesmerizing film. I cannot separate it in my mind from the book, so I apologize to those of you who have not read it as I continue on. Out of all the horrific occurrences in the novel, John Hillcoat only failed to include one of them. It is hinted at, so maybe it'll surface as a deleted scene, but it would probably be too extreme a notion for the common patron. I can only imagine how I might have been freaking out during a few of the sequences if I didn't know how they were supposed to turn out. Even knowing the plot points wasn't much comfort at times. Considering the amount of material that wasn't used and that quite a bit was added (primarily the Charleze Theron stuff), the spirit of the Cormac McCarthy's book is amazingly 100 percent there. What was added gave needed depth to Viggo's character, which was necessary for the film.
Just like the novel, The Road is not easy to watch. You'll definitely have to be in the mood for it, because it is an incredibly bleak peak at a post-apocalyptic world.


Sugar
A phenomenal baseball movie, easily catapulted into my favorites (and I really like baseball movies). That said, this shouldn't be written off as a mere sports movie and, really, it isn't a sports movie at all. Miguel "Sugar" Santos is young pitcher from the Dominican Republic trying to make his way through the rigorous levels of the minor league baseball system. We see the difficulties of American life for a non-English speaker who ultimately has no one but himself to get through the rollercoaster of successes and failures in his path. This movie does not go where you think it will. It may start out as a baseball movie, but his ambitions aren't limited to the old ball game. A fascinating drama.


(500) Days of Summer
This movie is just plain good. But I warn you, although Summer seems like a romantic comedy, it's not. At all. This would be an awful date movie. Awkward doesn't accurately encompass the inevitable looks the two of you would share afterward.
I'm happy Zooey Deschanel reminded me what I'd forgotten after trudging through The Happening and Yes Man -- she's spectacularly adorable. Meanwhile, I'm waiting for Joseph Gordon-Levitt to be in something that sucks, and maybe he has, but I haven't seen it yet. The next Spider-Man looks to be in excellent hands with Marc Webb, at least with the Peter/Mary Jane stuff. Oh, and I'm pretty sure this movie has the best Star Wars gag ever (in the middle of a montage, no less!).


The Hurt Locker
Like The Road, this is another bleak masterpiece from 2009. Perhaps why this film has garnered so much widespread acclaim in comparison to the former might be the high intensity displayed in it's bomb squad scenarios and bursts of paranoia and violence. Those elements tend to grab moviegoers a little bit easier. That said, it has a deeply buried hopelessness and delivers a clarity of war via these three very different squad members, none of which are particularly heroic. After watching it, it's hard to argue with the title card at the film's forefront that reads, "war is a drug."


Public Enemies
A typical Michael Mann movie, meaning there's a strong script, good performances and excellent direction adding up to very good film that only severe nit-picking could diminish. Nothing really award worthy overall, but Depp is particularly good as John Dillinger. The thing that stood out the most was the sound -- I have never heard gunfire that loud before in a movie. But that's what you get when crooks and G-men duke it out with Tommy guns, and some of those scenes are gloriously brutal. If you like gun battles, car chases, bank robberies and prison breaks, this is a movie for you.


Fantastic Mr. Fox
From my review earlier in the month:
Fantastic Mr. Fox is a delight of a film. Completely satisfying in every way... A must-see at the earliest opportunity.


State of Play
This was a really excellent political thriller from the perspective of reporters working the story. Some very nicely veiled twists are mixed in with both the politics in the newspaper room as well as on Capitol Hill. It also contains some of the best examples of actual reporting I think I've ever seen filmed. While it doesn't ignore technology as it pertains to journalism, it may be the the last film set in modern times to forgo the utilization of the internet because I can't see how you could make a movie featuring a reporter and not have them use Google in the years to come. State is a love letter of sorts to the "golden age" of reporting, if such a concept is truly dead or ever even existed.

The Longbox


Ultimate%2BX%2B001%2B%28Four%2BCovers%29%2B%282010%29%2B%28Steam-DCP%29.cbr%2B-%2BPage%2B1.NFs6dH7b2iqA.jpgUltimate X
issue: 1
writer: Jeph Loeb
artist: Arthur Adams
publisher: Marvel


I’ve had a love/hate relationship with Jeph Loeb and his work on the Ultimate Marvel Universe since Ultimates 3.  Then, he turned around and delivered some pretty fantastic annuals for Ultimate Hulk and Ultimate Captain America.  Then, Ultimatum happened and I wondered what had happened between those annuals and the mini-series.

Well, Loeb has won me back with this amazing restart to the mutant narrative of Marvel’s Ultimate Comics line.  Like a phoenix from the ashes, Ultimate X looks set to rise above and move beyond what Ultimate X-Men accomplished.

Following the events of Ultimatum, mutants are once again hunted as criminals.  In Florida, a young Jimmy Hudson survives a flaming car crash thanks to a previously unknown healing ability.  His adopted father and town sheriff James Hudson takes him home not really knowing how to address this with his wife Heather.  The next day, Kitty Pryde shows up with a box for Jimmy from his real father.

Without giving too much more away, Loeb builds a strong start with this book.  His pacing and dialogue move the story and really brings the characters to life.  This is also the first time in a long time I’ve seen Arthur Adams’s work and his art has advanced in an incredible way.  I was sad that Ultimate X-Men met its end at a time when I felt it was just getting its second wind, but with Ultimate X I feel like the book has been given a whole new set of lungs.

The only problem I could find was one of the nit picky observations about just how Kitty seems to get around between Florida and New York and the recent developments in the Ultimate Spider-Man title.  However, there is no time frame set up for this story so there’s no telling where it fits into the new continuity.  Even the rather odd evolution of Jimmy’s powers is handled so deftly that it doesn’t have a chance to be considered tacked on or out of place.

You’ve won this reader back Loeb and I’m looking forward to revisiting this book here in the coming months.

Thursday, February 04, 2010

Reel Low: Four Capers & I'm Only Out Two Bucks

A dollar theater has taken root in one of the run-down movie houses in my little town, which I love because its sparsely attended and a boon to my wallet. Only recently have I made a point to place it on my radar and see a couple of picture shows.
Last night I sought out the unabashed B-movie Armored [2009] at the dollar theater. The heist flick was in and out of regular theaters this fall and I never got around to see it despite wanting to. The trailer oversold the overall quality of the movie, as its supposed to, but it's still an above-average crime thriller, only not for the reasons I was initially hoping for.
In any heist story, I crave an excellent breakdown of the robbery itself. The more hands on it is, the better. I hate the involvement of the weaselly tech guy who has to hack into a computer system to open the vault. Give me James Caan in Michael Mann's Thief any day over that bullshit.
Regardless, technological advancements have advanced security to the point where the idea of the tech guy on the heist team is plausible. In fact, technology is why this group of thieves acts on their plan in the first place.
Armored is the story of a cabal of armored truck guards at a private security firm. The company is about to equip all their trucks with GPS enhancements. The five veteran guards convince the newly hired Ty Hackett, played by Columbus Short, to join them in their plan. The normally noble Gulf War vet is not initially seduced by their offer because of his predictable money problems, but does succumb once complications with his family situation escalate.This pedestrian background takes up a little too much time, and is an especially noticeable drag during the first 30 minutes or so because there is little particularly likable, humorous or otherwise interesting about the other five guards shown to us. That's kinda odd because unlike Short, who I had never seen before, the others have all been in things that I really enjoy: Jean Reno (The Professional), Skeet Ulrich (Jericho), Amaury Nolasco (Prison Break -- before it became unwatchable), Laurence Fishburne and Matt Dillon as the de facto leader. There are some attempts at humor amongst the group, and while those sequences may have been really funny in a real-world setting, they don't translate to the screen.
Unfortunately for me, the heist itself is undeniably dull. Fortunately the aftermath is anything but. I'll stop short of any spoilers, but once the action gets going, it's downright impressive. Director Nimrod Antal, along with the help of cinematographer Andrzej Sekula who has worked on Reservoir Dogs, Pulp Fiction and American Psycho among other films, shows some serious film-making chops here. The angles and tracking of the shots aren't your standard fare. It doesn't go as far as, say, the Matrix movies did to rewrite the rulebook on action-movie expectations, but these guys didn't shortchange you on anything visually, which is all too common in movies of this sort. I have to admit I said "oh, shit!" a few times aloud.
The sad thing about Armored is that it wraps up a bit too quickly, but at least concludes completely. Since you've probably missed this bad boy in the theater, no worries; it's much better served for a lazy, mindless viewing as a rental anyhow. But it is unapologetic in what it is, and I respect it for that.
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The other three capers took place on another dollar-theater adventure of mine from a few weeks ago, each of which was marvelously presented in Wes Anderson's Fantastic Mr. Fox [2009].
Mark previously hailed this as one of the best films of the year, and I wholeheartedly agree.
Mr. Fox, as voiced by George Clooney, is the charismatic thief who can't stay retired despite promises he made to his wife. He moves his family into a home he can't really afford that just happens to be located nearby three farmers who have poultry and other unique goods that Mr. Fox can't restrain himself from plotting to steal.
The story is filled with colorful characters and sophisticated humor that would likely go over the head of most kids. This is a children's movie for adults.
As opposed to Armored, Fox allows each riveting heist to unfold before you on screen. You see Mr. Fox and his cohorts sidestep security and evade capture at every turn.
But this is a fully developed world and feels entirely real despite the intentionally herky-jerkiness of some of the animation. And it's the emotional dynamics between the Fox family and their furry friends that ultimately drive the film forward.
Other than Rushmore, I can't say I've really enjoyed any of Anderson's films (of the ones that I've even bothered to see), so I was quite surprised at how much I liked it. Easily his best work to date.
Fantastic Mr. Fox is a delight of a film. Completely satisfying in every way, and I'd say it also just happens to be one of the best heist movies to come out in the last few years to boot. Not bad for a stop-motion animation adaption of a classic children's book. A must-see at the earliest opportunity.

Monday, February 01, 2010

Tech-Low-Babble

When Apple unveiled their latest piece of gadgetry, the iPad, there was the usual back and forth between detractors and loyalists.  “The device doesn’t do this!”, “It’s missing that!”, “It has this!”, “It does this other thing really well”... and so on and so forth.  What I thought when I saw it was, “Finally, a decent, portable digital comics reader.”
When the Kindle and other eReaders came out not so long ago, I wanted one.  The idea of being able to carry a bookshelf’s worth of books with me was appealing.  That is, until I took a look at my actual bookshelf.  My books are pretty much split down the middle with regular books making up half of my library and the other half being comic book trades and hardcovers.  I also thought about the number of monthly issues I was getting and realized that none of those devices were versatile enough to be completely useful to me.  Even now, I read more comic books than I do regular books on a regular basis.  With the iPad, I felt that here was something that solved both of those problems, which it would, if it weren’t for one other problem.  There is no decent legit digital comics subscription or purchasing service.
Before the both of you still reading this send me emails saying, “You’re wrong, there’s Marvel’s Digital Comics Unlimited service!” let me point out my biggest issue with that service.  It is a subscription service based on access to a library of issues and not on the sale of individual issues.  Yes, you get access to thousands of titles but when your subscription is up, you have nothing to show for it in the end.  You are also at the mercy of Marvel to choose what content to put up and when.  You’re not getting access to the latest issues and you might not even get access to stuff you specifically want anytime soon.  Before I go on, let me wax nostalgic for a bit...
Back in the day, you could open up most comic books and inside you’d find a page that you could cut out or copy the information from.  On this page there would be a selection of titles that you could subscribe to and you marked off what you wanted.  You then sent this in with your money for the subscription and once a month you would receive those books in the mail.  When I think of comic book subscriptions, that’s what I think of.  Well, that and having my local comic book store hold the titles I want, but we’ll talk about stores soon enough.
I also realize that Marvel has individual issues available in the PlayStation Digital Comics store.  A nice step in the right direction but purchasing from there requires you to read your books on a PSP.  It’s a nice device but the screen is just not big enough to really do justice to a comic book page.  Also, it suffers from the same problem as Marvel’s subscription service in that the number of current titles is non-existent; I think the most recent stuff on there is from 2008.
What I’m hoping to see now that a device like the iPad exists is a true digital comics subscription service/marketplace.  Imagine, if you will, an iTunes comic book store or something like it.  You go in and select the titles you want to subscribe to, give them your credit card number or load an account with money via prepaid service cards, and then each time a new issue is made available it automatically downloads to be viewed either on your computer, color eReader, or whatever device you have that can view the file.  Since most (I don’t know if I can say all or not) comic books are produced and finished in the computer, it shouldn’t be difficult to output them to a format like .pdf or even a proprietary format.  This store could also make available to readers whole catalogs of issues, hard to find material that commands a hefty price on the secondary market.  Crossovers and miniseries could be packaged and offered in sets.  Also, this makes possible a high quality digital archive of books that might vanish forever due to limited runs or just from being so old they’re turing into dust.  All of this, and probably a few other things, brings up another question.  What about brick and mortar comic book stores?
I love brick and mortar comic book stores and I have a feeling so do a lot of comic publishers and creators.  These are the places where a lot of disenfranchised people came together and formed a community.  These are the places where now mainstream components of mainstream entertainment took root and grew.  Do I think a model like the one I just outlined could spell the end of comic book stores in the same way that iTunes and other digital distribution sites hit record stores?  No.  There will probably always be the collector, that person that wants to have the physical artifact in her hands, that loves the feel of the page, that loves to flip back and forth quickly from front to back to middle to front again.  There will also be the merchandising, the t-shirts, the action figures, the glasses, the statues, none of which can be delivered digitally (USPS, UPS, FedEx, etc. are analog).  And there will probably also always be people like me that love to go into a store and see the faces of the employees and engage in lively conversations about who would beat who in a fight between Iron Man and Batman.
Also, there are ways the digital model can be modified to give an advantage to brick and mortar store.  Stuff like making new books available in digital format a week after the physical book has come out, making prepaid cards available only at comic book stores (each store receiving a cut from the sales), and marketing special digital incentives at stores such as codes that would allow access to certain books.  Just because record stores had to suffer at the hands of the internet doesn’t mean comic book stores have to.  Fortunately, they have a friend in the publishers.
I think that if the publishers wanted to make the quick and easy buck on digital distribution, they would have done so by now.  The only thing stopping them, I feel, has been the love they have for the medium and for the people that helped make it all possible.  Hopefully they can take the reigns before a new generation comes in that doesn’t share their view and changes things for the worse.  What can the publishers do?  They can take control and establish standards for digital distribution, set up their own storefronts, and make a unified front against companies like Apple and Amazon that feel they have control over digital content.
With technology like the iPad and other color eReaders on the way, it feels like it’s only a matter of time before a more dynamic digital comics experience arrives.  I just hope that it doesn’t mark the end of a fantastic cultural experience that’s grown around comic books, the stores, and the readers.

TV Tweets: Jan. 25 - 31

As always, you can follow me at LowBrowJon to get my latest simmering set-ups, as well as other LBM updates.
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Jan. 27th [Mad Men]

Only click on the above link if you are not concerned with spoilers for Mad Men season 4.
I think I've always had an inkling that this was going to happen. Fortunately, Jon Hamm's SNL monologue from this weekend made up for it. Sort of.


Jan. 29th [Human Target]
  • While certainly not the best show out there, #HumanTarget is just plain, over-the-top fun propelled by a very good cast. I like it.

Chi McBride and Jackie Earle Haley are hilarious on this show, and probably kept me around longer than I would've otherwise. Plus, what a friggin' awesome title sequence!
Both the art and song are really impressive. (Just looked it up, and Bear McCreary wrote the song, so no wonder.) The second and third eps were much better than the pilot, so who knows? Maybe it'll actually stop standing on implausible action sequences, even by TV-action-show standards, and find its legs.


Jan. 31st [Caprica]
  • Man, it is SO good to hear "frak" again on tv.

I probably should've re-watched the pilot last week because I was pretty sketchy on what went down in the BSG prequel when I Netflixed it in the spring. Despite that, this new episode took a very bold turn as it wrapped up, so I'm excited to see what comes next.