MonkeyBrain Comics is GO!

MONKEYBRAIN AND COMIXOLOGY ANNOUNCE EXCLUSIVE DISTRIBUTION AGGREEMENT FOR

MONKEYBRAIN’S NEW LINE OF INDEPENDENT CREATOR-OWNED COMICS

CELEBRATE INDEPENDENTS DAY!

New York Times Bestselling Author Chris Roberson to Head Up New Comic Book Publishing Imprint with Co-Publisher Allison Baker

July 2nd, 2012 – Portland, OR / New York, NY — New York Times bestselling comic book creator Chris Roberson is celebrating “Independents Day” a little differently than others this year as he and co-publisher Allison Baker launch MonkeyBrain Comics, with a slate of creator-owned titles from some of the top names in the field.  MonkeyBrain Comics will debut digitally first on comiXology — the revolutionary digital comics platform with over 75 million comic and graphic novel downloads to date —through a exclusive distribution agreement between the two companies.

Joining New York Times bestselling author Chris Roberson (iZombie, Memorial, Cinderella) under the Monkeybrain Comics umbrella with their own independent titles will be a who’s who line up of creators, including; Grace Allison, Nick Brokenshire, J. Bone, Chad Bowers, Wook-Jin Clark, Colleen Coover, Kevin Church, Dennis Culver, Matt Digges, Ming Doyle, Curt O. Franklin, Ken Garing, Chris Haley, David Hahn, Phil Hester, Joe Keatinge, D.J. Kirkbride, Adam Knave, Axel Medellin, Jennifer L. Meyer, Michael Montenat, Ananth Panagariya, Thomas Perkins, Adam Rosenlund, Chris Schweitzer, Brandon Seifert, Chris Sims, Matthew Dow Smith, Paul Tobin, J. Torres, Josh Williamson and Bill Willingham, among others.

More creative teams with new titles will be announced next week at Comic-Con International during the Monkeybrain Comics panel on Friday, July 13^th at 7PM.

“MonkeyBrain Comics was born out of a desire to directly explore what opportunities there were in the newly expanding digital marketplace for creator owned material,” said Chris Roberson, co-publisher of Monkeybrain Comics. “We knew from the get go that we’d want to work exclusively with comiXology, who have become the undisputed leader in the digital comics field with their platforms’ unparalleled reading and shopping experience. And we’re pleased to have so many of our close creator friends along for the ride. I can’t wait to see what fans around the world think about our first batch of releases!”

“We’re excited to be the exclusive digital home of MonkeyBrain Comics,” says co-founder and CEO David Steinberger. “ComiXology’s mission is to get comics into the hands of people everywhere and we look forward to doing just that with Chris and Allison’s stellar line of creator owned comics!”

Available exclusively worldwide via comiXology’s digital platform across the iPhone, iPad, Android, Kindle Fire and the Web starting July 4^th, the initial Monkey Brain Launch titles are:

Aesop’s Ark by J. Torres and Jennifer L. Meyer

Amelia Cole and the Unknown World by Adam P. Knave, DJ Kirkbride and Nick Brokenshire

Bandette by Paul Tobin and Colleen Coover

Edison Rex by Chris Roberson and Dennis Culver

October Girl by Matthew Dow Smith

MonkeyBrain Comics is a new comics imprint of Roberson and Baker’s long-running publishing company MonkeyBrain Books. Over the past decade, MonkeyBrain Books has published a line of prose novels by authors such as Phillip Jose Farmer, Michael Moorcock, Rudy Rucker, Paul Cornell and genre collections edited by such notables as Joe R. Lansdale, Lou Anders and others.

Launching their first titles on July 4^th with the slogan “Independents Day” exclusively on the comiXology digital platform, Monkeybrain Comics are currently exploring following up their digital releases with trade paperback collections.

About Monkeybrain Books and Comics

Owned and operated by Chris Roberson and Allison Baker since 2001, Monkeybrain Books was originally founded as an independent press specializing in science fiction & fantasy and nonfiction genre studies. Print titles from Monkeybrain Books are distributed to the book trade by National Book Network, and are available from wholesalers like Diamond Comic Distributors, Baker & Taylor, and Ingram, and from finer booksellers everywhere. In 2012, Monkeybrain launched a new creator-owned digital comics line, Monkeybrain Comics, which is distributed exclusively digitally by comiXology.

About Chris Roberson and Allison Baker

New York Times bestselling writer Chris Roberson is best known for his Eisner-nominated ongoing comic book series iZombie (co-created with artist Mike Allred), his modern fantasy series Memorial (co-created with artist Rich Ellis), the Fables spinoff Cinderella mini-series, and his work onSuperman, Star Trek/Legion of Super-Heroes, and Elric: The Balance Lost, all of which are available for digital download at http://cmxl.gy/CRoberson. His favorite food is meat, he’s allergic to wheat, and his favorite cocktail is a caipirinha, the national drink of Brazil.

Allison Baker has worked in feature film and political media production for over 13 years, while also managing the day-to-day operations of Chris Roberson and Monkeybrain Books. She likes the color pink, enjoys a challenge, fixing things, and is allergic to being bored.

Chris and Allison met at a Ben Folds Five show in 1997, got married in 2000, started their own business in 2001 and had a baby girl in 2004. All three currently live in Portland, Oregon with a lot of books and their two cats, Bubbles and Blue.

About comiXology

Founded in 2007 with the mission of bringing comics to people everywhere, comiXology — in just five short years — has revolutionized the comic book and graphic novel world.  From creating the industry leading platform for digital comics to tools and services for brick and mortar retailers, comiXology has lead the charge in exposing new audiences to the rich history and culture of comic books. With the development of the Comics by comiXology digital comics platform — available across  iPhone, iPad, Android, Kindle Fire and the Web — comiXology provides the easiest way worldwide for people to enjoy comics at just the click of a button! Regularly ranking as the top grossing iPad app in the entire iTunes App Store, Comics by comiXology was recently selected as a preloaded app on Amazon’s Kindle Fire. Providing digital comics across multiple platforms, comiXology will not stop until everyone on the face of the earth has been turned into a comic book fan.

More Monkey Countdown

Countdown to Info on MonkeyBrain Comics

MonkeyBrain Comics - The Time in Nigh

Coming soon (July 2, 2012) from the fine minds behind MonkeyBrain Books.

A Chronologically Amiss Discussion of Mark Waid's "Irredeemable" and "Incorruptible"

Hey, have I mentioned my enthusiasm for Mark Waid's Irredeemable and Incorruptible?  I have?  Ad nauseum?

Oh, well.

Both series have drawn to a close in the monthly installment format, but that's not how I've read either comic.  Sure, I started with monthlies on Irredeemable, but Boom! met me where I lived and began releasing trades immediately after the conclusion of arcs, something DC and Marvel grew keen to about the same time, but it seemed part of the Boom! DNA from the start of the series.

However, as the series have each drawn to a close, I am still behind.  I finally was able to catch up on the narratively driven Irredeemable/ Incorruptible cross-over I saw appearing on the stands for a couple of months, and which I've finally been able to enjoy for myself.

And I do mean "enjoy".  The series manage to do something which seems to obvious from even a quick glance, and that's allow Waid's voice to be the only voice guiding the single world shared by both books, and plot out the two books as counter-measures to one another, with one book following a Superman-like hero gone not so much comic book evil as omnicidal, and a stone cold, amoral villain gone so straight he's now the alien walking the earth.

It says much that the world seems more confused by the transformation of villain Max Damage to hero than the impotent inevitability of humanity's destruction at the hands of a hero who turned.

Waid could have told the story of just the Plutonian and that would have been more than enough, but the addition of the story of Max Damage, unbending hero from just a god-awful, horrendous villain (a guy bad enough that his sidekick was an underage girl he flaunted by naming her "Jailbait".  I mean, yikes), gives both stories resonance, not just about the lead characters - which it does - but about how we really feel about someone trying to do good, and our expectations of those people.  And, frankly, how alien a concept it is to see someone perform acts of selflessness.

Even the power set granted Max Damage (super strength and invulnerability that becomes stronger the longer he stays awake) has a heroic bent to it that just seemed like a minor liability as a criminal.  Max has to intentionally remain sleep-deprived for days to operate on a serious scale, staggering around with the power of a god at his fingertips, but almost out of his mind, just looking for a place to lay down, and all the craziness any of us get when we haven't gotten our forty winks.  Brilliant stuff.

There's one more collection left for each series.  I'll miss it, but I'm glad Waid has had an opportunity to tell a story with a beginning, middle and end that commented and meta-commented, and in the tradition of novelistic storytelling, it's fine if we don't get a second installment or more of the same.  I wouldn't say no to more (from Waid), but if we don't return to these characters... thanks for the series.

TL; DR: Comics, Superheroes, Watchmen, and Authorship

Fine.  Let's talk about this.

This is going to be, I believe, my final word on the topic.  The topic of Before Watchmen.

I've raised my hand a few times over the last two or three years and tried to make various points about how I have felt that the current crop of 20-somethings approach comics fandom differently than how I came up as a reader and fan.  Most certainly, there's the internet and social media aspect that has become (I'd argue) more important than the comics themselves in many quarters.  And, of course, the level of fandom that seems to stem ultimately a whole lot more from being able to dress up as a character and wander around a Con for many of these "fans".  If I can be blunt, I can't shake the suspicion that they're not the same kind of fan that's sought out every appearance of a character.  And, given sales, I have to wonder if they're paying for comics at all.

There's also plenty of folks on Etsy making their own products featuring non-DC approved licensed characters, people making webcomics, etc...  In short, fan fiction is as much a part of the culture to the current target demo as the "legitimate" product.

In a way, that sort of sense of entitlement/ fan ownership could be seen as a mutant offshoot of the Big 2's insistence that the characters supersede the creators in importance.  If we aren't immediately associating Bill Finger with Batman, but some nebulous corporate entity that also owns TV, the news, the internet lines, AOL, Jerry Seinfeld, Bugs Bunny, and Six Flags...  it may be that Time Warner is simply big too see the contours.

Ray Bradbury Merges with The Infinite

Like many of us English-speaking Westerners, one of the great moments of my youth was having a Ray Bradbury book put in my hand.  Oddly, it was Fahrenheit 451 and I was in fifth grade.  Most certainly I had an ambitious teacher, one who did not mind much if she shattered our cozy suburban world with a picture of dissolute marriage in an ossifying culture that was just our culture carrying on from our current trajectory.

It'd difficult to say how much of an impact the book had on me, and continues to have on me, as I've returned to it a half-dozen times, seen the movie a handful of times, and even consumed it in comic form (one of the few forms of print Bradbury would suggest would survive the end of books.  The end of ideas.*).

Just a year before Fahrenheit 451, my parents, knowing I had a thing for that red dot in the sky, took me to see a play of The Martian Chronicles, and the honesty of what it had to say about us shook my ten year old little self.  

Throw in Something Wicked This Way Comes and re-reading the Martian Chronicles two or three times and you've got the literature that left an indelible impression on a worldview.  It's completely fair to say that these books had a huge hand in shaping my perceptions, and absolutely they posed the questions that helped to lay the rail for the long haul of developing a moral perspective.  And that's the value of fiction, I think, when you're coming of age.

And, really, how many millions of us are there who understood where Mr. Bradbury was going with all this?  How many of us clenched paperbacks on the school bus or leaning up against the wall while we sat on our twin -sized beds and learned something about us that sounded perhaps deadly accurate even when wrapped up in spacesuits or demon carnivals or watching old women die in a pyre of novels?

Westward, Ho! Allison B and Chris Roberson flee Austin

In a day or two Allison B and Chris Roberson pack up and depart Austin for the untamed wilderness that is Portland, Oregon, where they will most certainly be eaten by a bear.

I shall miss their hospitality, and Austin in poorer for their departure.  It is an odd thing to find oneself in the company of a writer you truly enjoy and respect first, and then get to make their acquaintance as a family unit living in the same town.

Here's to a great family as they set off on an all new adventure.

Portland, be nice to these folks.   They're all right.   And please find them decent tacos.

Signal Watch reads: Mark Waid's "Insufferable"

You guys know I'm in the bag for everything Mark Waid has done for the last...  I dunno.  Ever?

Somehow I completely misunderstood that his new online comic, Insufferable, was completely free online.

No, I have no idea what model Mark Waid is using to turn a profit on this, or if there is a profit to be turned.  But at the moment that's not my issue, nor should it be yours, because more great Mark Waid comics are online, and they're free at his new site, Thrillbent.

Waid has re-teamed with Irredeemable artist Peter Krause to tell the story in Insufferable, his second work in his new format, one that uses the native landscape (16x9ish) format we've become familiar with as computer users, and the fact that he can set pacing to some extent with a mouseclick to manage the storytelling.  Its far less intrusive than the limited animation of prior webbish comics experiments I've seen, and manages to use the page pretty well,  I think.

But I'd rather talk up the actual comic than the experiment, because at the end of the day, its about the content.

Waid turns to the urban vigilante brand of superhero after sort of blowing up the heat-vision-bearing version of superheroes in Irredeemable and Incorruptible, and in just four week's worth of the online book, he's done an astounding job of bringing a story to life that works right out of the gate.

Its a broken up version of Batman and Robin with their own issues that surpass those of Bruce and Dick (or Jason or Tim or Stephanie or Damian or Carrie), and its the kind of thing that I think sort of sucks you in from that last panel of the first installment and makes you click "Next".

And, of course, Krause's illustrative-style of art works terrifically well with the world he and Waid are creating, giving a believable view to the character-driven story and capturing the beats and expressions exceedingly well.

Anyhow, give it a shot and be there as it unfolds!

Signal Watch Reads - Further: Beyond the Threshold

Exploration.

I don't read a tremendous number of science-fiction novels, and I never have.  I know what that looks like, and I appreciate the fandom, but its never been me.  Sure, I went through my Bradbury phase and I glanced off the Robot Novels of Asimov, but even in middle-school I'd pick up paperbacks, read the product description on the back, and only rarely walk out the door with one I felt was worth the while.

I also don't read book series.  Its not that I haven't read, say, books by William Kennedy that share a set of characters and circumstances, but its not episodic in quite the same nature.  When I think about a series of books that numbers more than four, I can't get my head around it.

As you may have heard, I've been enjoying the writing stylings of Chris Roberson for a bit now, so when I heard he had a book coming out, I pulled some strings (asked politely) and got a copy.*

I just finished Further: Beyond the Threshold, a book I assume is intended to start a new series.

This is no-@#$%ing-around science fiction, and I quite enjoyed it.

Captain RJ Stone awakens from hypersleep which he entered aboard a star-faring vessel in the 23rd Century.  He finds himself alive and deeply aged 12,000 years later in a world which has changed over the millenia.  The era of seeking new planets has been conquered and mankind has spread itself out far over the cosmos.  With so much time passed, some of those civilizations have been lost, and the challenges of passing from one world to the next have been solved by way of instantaneous transportation via "thresholds".

Avengers Assemble! Saluting Jack Kirby and dealing with the complications as a fan

Your Pal, Jack "King" Kirby!

It's hard to underestimate the cultural impact of comics creator Jack Kirby.  He may not carry the cultural cache of a JD Salinger, but he's probably as widely read, and inspired an army of imitators and worshippers.  And, hey, you can't find action figures nor bedsheets of Holden Caulfield.

still a little peeved the movie will have neither Giant Man nor Wasp (nor Subby)

Kirby didn't create Superman or Batman, but he was part of the creation of (an incomplete list to be sure):

• The Incredible Hulk
• Captain America
• The Mighty Thor
• The Avengers
• The X-Men
• The Fantastic Four
• The Silver Surfer
• Sgt. Fury and His Howling Commandos
• The Black Panther
• Devil Dinosaur and Moonboy
• Mr. Miracle & Big Barda andthe pantheon of The New Gods
• The Newsboy Legion
• Kamandi
• The Demon
• OMAC
• Challengers of the Unknown
• Silver Star
• Captain Victory

and there are some versions of Kirby's bio that suggest he was the guy who originally pitched a "Spider-Man" to Marvel and didn't do the series as he was too busy (not hard to believe).

No matter what you think, you are not ready for this comic

He also did books that he didn't create (Jimmy Olsen, his mind-bending 2001 work), created romance comics, westerns, and a hundred other things that are somewhat forgotten.

The State of DC, Their Business and the Public Adios from Chris Roberson to The Man

Not that long ago someone looked around my living room and, not without good reason, said, "Oh, so you're a DC guy?"

For a moment I hemmed and hawed, made some noises about how I didn't like being pigeonholed, that, yes, I had indeed dedicated two full rooms of my house to be shrines of sorts to DC Comics, but that...  ha, I read Marvel and other stuff, too.

What I didn't have the heart to say (nor did I think they really wanted the full explanation, they were seeking confirmation, like saying "the sky is really blue today, isn't it?") was that I am now buying exactly two DC Comics per month, Action Comics and Superman, and I'm enjoying one a great deal and am reading the other with a raised eyebrow and mixed feelings.  But, otherwise, I'm not buying DC Comics.*

The weird, ugly transformation of DC the past two years finally broke me.  I can't unsee the gears and mechanisms of DC Comics, Corporate Entity, sticking out like rebar through a construction site accident victim.  Its all so bare and obvious and exposed, and it dwarfs every half-assed line of dialog and every broke-back Harley Quinn pose on every page.  Even the inconsequential, predictable, half-baked writing is a function of "what's happening at DC".

General Update: SXSW, Books, This week's Comics, Pop Art

Howdy!

While I'm still not firing on all cylinders, I'm so much better than this time last week.  Basically, I think I'll have a cough and sinus issues for a while, and I don't want to risk 30 minutes on the elliptical til this weekend, but I'm basically back up to firing speed.

SXSW

As we say in Austin, "South By" is on.  Tomorrow begins the musical portion, and I will not get to see Bruce Springsteen.

We missed Nathan this year as we were a sick house, and in no condition to get the house prepped, even had I not worried about hacking a lung all over him.  From watching him on Facebook, it looks like he had another great few days of coverage of the Film portion.

Some other friends from Seattle (if you knew me back in The Day, you might know them) showed up.  The My, Bryan M and their two bandmates.  We grabbed a meal with them and then they came to my office this week at work just to see me and see what I'm up to, which cracked me up.  Unfortunately I still haven't felt well enough to go out to any of their showcase shows.

Books

I just re-read A Princess of Mars and am starting Gods of Mars, the second John Carter book by Edgar Rice Burroughs.  I'd like to read at least the first three novels (especially as they came in a handy, single volume from Simon & Shuster for a really reasonable price).  Meanwhile, I decided to countermeasure that by giving 2001: A Space Odyssey by Arthur C. Clarke a listen as an audio book during my commute.

Yes, I've seen the movie a half-dozen times, but I'd always heard such good things about the book, and I wasn't ready to jump right into Rendevous with Rama.  If I like 2001, I will add that one to my bucket list.

Signal Watch Reads: Fantastic Four - Season One

Before I'd read the names associated with the books, I generally liked the concept behind Marvel's Season One initiative.  The books would retell the origins of Marvel's top characters and get something in bookstores and online that a new reader could pick up and enjoy.  Unlike DC's now baffling Earth One effort, Marvel basically chose to retell the same stories in a fashion that seems ready-for modern audiences.  In a way, this is the same continuity - just a wee bit cleaned up and with modern backdrops.

I believe this Fantastic Four Season One is the first Season One release, and its a promising start if the goal is to create a comfortable entry point to the Marvel Universe for someone vaguely aware of the brand and characters.

As a veteran comics read, I've tried to become more aware of the Fantastic Four in recent years, but I find my FF fandom extends only as far as the person working on the book.  Kirby?  Yes!  Mark Waid?  Absolutely.  But when Mark Millar took on the book a few years ago, I dropped it and never came back.  And that was after some bumpy readership between Waid and Millar during which my reading was never steady.

On the topic of Watchmen Prequels

Today DC Comics formally announced that they are developing a series of Watchmen prequels.

there is a reason all the comics geeks over the age of 30 are posting this picture today

Gerry wrote a compelling piece over at his site, and I encourage you to read what he has to say on the topic of Watchmen prequels.

No doubt one look at DC's books by the new leadership up at the very top saw that Watchmen isn't just successful in comics, its a transformative publishing success story for comics.  Its more or less been DC's way of printing money every quarter since I was in high school.  DCE President Diane Nelson is an entertainment executive, and it is not the job of an executive to think of the product as anything but product.  We readers and collectors have the luxury of thinking of our comics as art or works of literature, but the first thing that happens when a book or movie does well?  The publisher or studio starts looking to either produce a sequel or re-assemble the components that made that first hit such a hit.

If the President of a drinking glass making company sees that pint glasses are moving more than tumblers, they need to make more pint glasses, and probably a variety of pint glasses.  ECONOMICS!

That, I get.

But I don't think I'll be picking up any of the series.*

I have a few questions for Mark Waid on "Irredeemable"

edit:  I have recently been informed that my comics conversations have gone way "inside baseball".  I suspect this is one of those.  I apologize in advance.


Also, this thing was riddled with type-o's.  Thanks for not pointing that out.

I just finished Irredeemable Volume 8.

Some thoughts:

As much as Kingdom Come was a commentary on the state of superhero comics in the mad, mad 90's, I have to look at Irredeemable in whole, if not in individual parts, as another bit of Waid's commentary, but (for me) its a bit like trying to hold mercury.  The Plutonian is not exactly a Superman analog, even when he clearly is.  There are hints of Squadron Supreme here and there, which was exactly a commentary on the Justice League, but maybe less so when JMS rebooted the Squadron a decade ago.  Hints of Wildstorm, bits of reflections of reflections of the JLA and DC line of books in Authority or a few dozen other replicas that mistook gloss for edge and grim violence for "realism".  But maybe this book is a reflection of that dark reflection.

In this issue, Irredeemable fights the ghost robot from space!*

It may be time for creators to push back a bit against the bosses at the Big 2

Before the new year, I had been pondering a bit upon the power the internet has placed in the hands of comics creators.

Since the 90's, creators have had the forum of the internet to reach and build small communities around themselves.  And, also since the 1990's, the creator has become arguably as important in the day-to-day world of superhero comics than the characters themselves, and outside of superheroes, creator is king.  Its a massive shift from the Silver Age during which most stories didn't receive an attribution of artist or writer.

I am not certain all creators have used the web terribly well.  Its pretty clear some creators just didn't and don't get how far their comments can spread, or understand that what they say is semi-permanent, once its out there.  And, of course, some have chosen to hole up and build an online cult of personality, and that's just weird, John Byrne.

The comics industry is a very, very small world, especially once you're working for the Big 2.  And, of course, once you're at the Big 2, there really aren't a lot of places to go where sales will be as high based solely upon who is publishing your book.

I'm thinking today, specifically, of an article posted at Comics Alliance (but something I'd heard from Jordan Gibson via Twitter), about how Static Shock, a book I was thrilled to see coming, arrived with such a lead thud and how writer John Rozum seemed to blame until he decided to go ahead and clear the air and tell the public what had occurred behind the scenes.

Rozum's post is a good read, if you've the time.

I hadn't liked the issue of Static Shock I read with the New 52 relaunch, and I can see now how a lot of what I found lacking occurred.

This is the second event of this sort this year that I can think of wherein a writer did not follow the script we usually see.  The script is usually either silence or a statement about bad luck, unfortunate circumstances, etc... but few will flat out say what has gone wrong.

Noir City Special: We Crash Dashiell Hammett's Apartment

So, more than once I mentioned that Jenifer had lined up something highly unusual for my visit to San Francisco that was going to be a real topper for the trip out.

She told me ahead of time that she'd gotten this set up, but it didn't make any sense at the time.  After having spent a few days with Jenifer, I now get that she's just one of those people who has the near-magical ability to make things work.

Its also worth mentioning that Jenifer figured out from looking at pictures that she lives across the street from the recently renovated former apartment of pulp hero, Dashiell Hammett.

The story around the apartment itself is kind of amazing, and involves sleuthing on the part of his truest fans.  Its true Hammett lived in multiple buildings, but by looking at return addresses on envelopes from letters, descriptions of Sam Spade's apartment in The Maltese Falcon and a few other contextual clues, they've narrowed it down and figured out that this was the apartment Hammett resided at for a few years in San Francisco, and when he wrote The Maltese Falcon.

I'm still not entirely clear on how Jenifer made the contact, but this morning we met up with one of the organizers of Noir City, who had been one of those investigators and who had lived in the apartment himself and did a lot of renovations.  I won't go into specifics, but basically the apartment is now a very weird spot.  Nobody lives there, and its a residential building, so there are no tours.  Essentially its supported by a philanthropist who pays the rent and maintenance and the place sits empty most days except for an occasional tour like ours or a walking tour.

Jenifer models next to the plaque talking about Hammett outside the security door.

The building is down the street from my hotel, as well.  And one thing I've learned in my short stay is that behind a lot of these facades, there's something going on or some crazy history in a lot of these buildings you wouldn't guess walking by, be it a famous author's former residence, or a secret stash of vintage cars or swimming pools by big doors.

Just inside the doorway

It doesn't seem that anybody was really aware of the building's history until the last 20 years, and so the apartment had to be basically re-done to match the original decor.  The building went up in 1917, and so Hammett would have lived there about 10 years after it opened.  Since that time, landlords had removed doors, painted over glass, added a hundred layers of paint, etc...

Dedicated folks pieced together the apartment from fixtures in apartments from the building that were original, found items that matched the book, etc...

Its a fairly small place.  A bedroom/ living room with a murphy bed, a small bath (with the original clawfoot tub and toilet, so you can stand where Hammett stood as he showered, I suppose), a small kitchen, etc..   So this was not from a period in Hammett's life where the money was just rolling in.  Its a modest living space in a part of town with a lot of character now and then.

I did take more pictures, and when I upload them to Google, I'll post a link.

Oh, the Falcon on the desk?  I'm not sure what that's about.

No, this was not Hammett's chair, but its a nice chair, right?

Of a very special, very noir weekend, this was an unbelievable bit of history that put a near surreal spin on things.

Thanks to Jenifer for arranging the tour (and so much more during my stay), to Bill who was more host that tour guide, and Doug, who was... there, I guess.

More pics when I get home and get them off my phone.

Some good reads: Memorial #1 and Daredevil #7

If you haven't been past your comic shop yet, or you might be heading back soon, I wanted to pitch two comics to you.  One is a brand new series, the other one of Marvel's oldest mainstay characters, and so it gives me two very different things to discuss and recommend for different reasons.

Memorial #1 
written by Chris Roberson, art by Rick Ellis and colors by Grace Allison

I have a feeling that if issue #2 continues on from where issue #1 started, and this thing expands the way I think it could, we're going to be looking at one of the "next big things" for comics fans.

In TV and comics, there are ways to lay groundwork while laying out tantalizing bits of "what's really happening" or setting up a mythology, and its difficult to pinpoint how a series on TV like Lost can do this so well, and then the reboot of V comes along, and it has all the fun of solving a big book of word problems.

It has to do, of course, with clearly defined (and new but readily understood) characters, buy-able circumstances for characters that set an internal logic from the beginning, what was presented as hints about what's happening without being unnecessarily oblique.

If this were a TV series, I think we just saw the first half-hour of the 90 minute pilot, and it was very promising. We get a lovely tabula rasa set up for our start, that we know we'll populate with backstory, despotic fairytale queens, and plenty of hints about who our villains are, and the circumstances that led them to villainy.  Its a compelling soup of familiar and unfamiliar, and I am very curious to see where it heads.

Mostly, unlike so many #1's I've read in the DCU relaunch, this didn't have me wanting to know more to guess how they would do this, or fix it, or how this compared to my expectations.  This was starting fresh, and it felt fresh and absolutely necessary against the backdrop of the state of the industry.

Give it a shot.  You can find Memorial #1 from IDW out as of Wednesday, Dec. 21 at your local shop, and online at comixology.

Recommended for fans of Sandman, Fables, Unwritten and Books of Magic.

Daredevil #7
by Mark Waid, Paulo Rivera and Joe Rivera with colorist Javier Rodriguez


The constant push to write for the trade and the industry's devotion to the 6 issue storyline has meant that we've all but lost a vestige of the 80's on most of superherodom in comics.  When writers like Claremont were on books like X-Men, as powerful as a multi-issue story-arc could be (and how that was handled differently them plotting out over years sometimes), often it was the stand-alone story between stories that worked as a short story, and revealed character in the way day-in-the-life or short-form stories can.

Waid has always been talented, but of late, the man has been firing on all cylinders on all of his projects.  On Daredevil, he's rescued the character from a whirlpool of negativity that started in the 1980's with Miller's work, was used to excellent effect in some of Bendis's run on the character, built upon by Brubaker, but essentially left Matt Murdock with nowhere to go.

Waid continues to play off this problem in this issue, as the mission of this run has been to make Matt Murdock a character whose stories people might want to read for enjoyment, not endure out of duty.  Matt Murdock, the character, has reclaimed life, and as readers, we get to enjoy that, too.

This issue follows Murdock in a set of unfortunate circumstances leading kids to safety through a snowstorm.  the subject material shouldn't feel like an 80's throwback, but I simply can't point to enough periods in the past 20 years when a writer was offered the opportunity to tell this kind of revealing story in a mainstream book, or saw the potential in such "ordinary" circumstances.

Its a straight up amazing read, and shows not just why Daredevil works as a character, but why Waid's understanding of character and what real drama can look like in a comic about men in tights, keeps the whole thing engaging and reminds readers how this medium and this genre can work on a very good day.

 

Garth Ennis's "Battlefields"

A comic that's gotten sadly too little conversation, in my opinion, has been Garth Ennis' war comic, Battlefields.

Ennis is famous for Preacher, Hitman, Punisher: Welcome Back Frank, The Boys, Adventures in the Rifle Brigade and other over-the-top comics adventure stories aimed squarely at the 17-and-up crowd.  Yes, he knows how to a work a good de-nosing, be-facing, entrail gouge and other such entertaining topics into his work.  And, I admit, when I'm in the mood, I absolutely love that stuff.

But a number of years back now, Ennis did a two-issue, prestige format Enemy Ace story that more or less set up my current fascination with the character (especially after learning Pratt's work on War Idyll and the original Kanigher and Kubert work was so astoundingly good), and I'd highly recommend it as a good "here's a comic without superheroes" comic.

He went on to write some great stuff in his War Stories comics at DC, and, again, I'd recommend.

But a couple years back he started a new banner at Dynamite where he could tell short, 3 issue stories, called Battlefields.

Truthfully, I'm not sure if I've discussed his work on Battlefields here before or not.  But it bears discussion.

Unlike most of comic-dom that plays with facts, refuses to do so much as a Google search on even the historical figures or events they're talking about, or grossly misrepresents facts in order to "tell the story", Ennis clearly does his research.  He clearly knows his topics, from New Zealand army bombers to British tank commands during WWII.  And on top of that, he tells brilliant, human stories in the grinder that is war.  Sometimes sentimental, sometimes less so, but never with the varnish of a John Wayne war movie, nor the melodramatic flair of Platoon, Ennis actually carves out a pretty straightforward way of relating his stories, and that makes the tragedy surrounding the characters all the more grim.

If you get a chance, at least pick up that first collection.  Its of 9 issues, 3 separate stories on 3 separate fronts, and all chillingly well told.  I'm pretty sure it'll mean you go ahead and pick up Volume 2.

While Ennis most definitely gets a nod of respect, there's so much more internet ink spilled (and I suspect sales are much higher on) his books like The Boys.  And that's great, but its missing what a tremendously talented and versatile (and damned smart) writer Ennis really can be.