REVIEW: End of Month Reviews #96 - December 2011 [spoilers]
Saxon Brenton
saxonbrenton at hotmail.com
Mon Jan 23 16:16:47 PST 2012
[REVIEW] End of Month Reviews #96 - December 2011 [spoilers]
Reviewed This Issue:
June:
Shadow Shift #1 [MISC]
November:
Tales From The Tesla Institute #1 [StarFall]
LNH20 Comics Presents #1-5 [LNH20]
SW10: Powernaut 1941 #1-8 [SW10] {HCC25}
SW10: Worse Than Useless? 24 Minute Challenge [SW10/HCC] {HCC26}
Also posted:
Academy of Super-Heroes #115 [ASH]
Clueless Lad Team-Up #1 [LNH20]
Coming To Grief 24 Minute Challenge [LNH20/HCC] {HCC26}
Generation 2.0 #1-5 [LNH20]
Godling #23 & 24 [MISC]
Going Solo #6 [StarFall/HCC] {HCC26}
The Great Catastrophe #1 [LNH20]
Journey into Procrastination #1 [MISC/HCC/JE] {HCC25}
La Femme Fantastique [MISC] {HCC25}
Legion of Net.Heroes: The Web Comic! #48
http://www.webcomicsnation.com/arspitzer/lnhwebcomic/series.php
One Day at a Time: The Chronicles of Mike Kittyman #22 [MISC]
Spellbinder #4 [Starfall]
The Super Wizard From Space #25-26 [MV]
SW10: Adventures Of Lady Sherlock #1: The Report [SW10]
Hello. Anal-Retentive Archive Kid here. Now, although Saxon is
too cowardly to confirm it explicitly, in the last issue of the EoMR he
tried to imply that the absence of this series for almost a year was
the fault of the Apathy Beast. As a personality archetype that's lived
in his headspace for over a decade now, I can tell you that this is
bulldust. There's only Limp-Asparagus Lad and myself in here, and any
delays were due to his own laziness. Trying to offload blame onto the
intervention of an NTB villain just doesn't hold water.
Okay, with that out of the way, let's deal with the consequences
of aforementioned hiatus. There were two new writers appearing on RACC
in 2011 who haven't had an introductory review yet: Ryunosuke in June
with _Shadow Shift_ #1 and Leto in November with _Tales From The Tesla
Institute_ #1. This is not acceptable, and therefore this issue will
begin with belated coverage of those two issues before moving on to a
small selection of stories from December 2011.
On matters of administrivia, the 26th High Concept Challenge came
out right at the end of the month, and requires a 24 minute story
beginning with the phrase 'I knew things were going wrong when...'
Also, back issues of _Godling_ are being posted with some quite nifty
artwork on the blog http://godling.blogspot.com/ and the _Academy of
Super-Heroes_ issue posted in October 2011 was #114 rather than #113,
Also _Captain Sestina_ was left out of my Looniverse eligibles listing.
[ARAK looks up at the audience, who are bewildered by the last reference]
What!? Look, unlike the lazy writer, I actually clean up my own messes!
Spoilers below:
=====
Shadow Shift #1
A Miscellaneous [MISC] series
by Ryunosuke
This opening issue sets up an uncomplicated premise. Well,
uncomplicated for one of the genres of fantastic fiction, at any rate.
Ordinary high school student Josh is dragged into an alternate dimension
by monstrous creatures called reavers that want to eat him or just
plain kill him. With a bit of assistance he manages to escape back to
his own world, however when he tries to get an explanation for what has
happened his contact informs him that he is still in danger from the
reavers. We can clearly expect more conflict as either the reavers
attack, or Josh acts to defend himself, or both.
The story premise may be unambiguous, but there are still plenty
of areas in the background that have unanswered questions to keep the
reader interested. At least some of them should be answered by when
Josh meets Raijin - although we should never underestimate the capacity
of mysteries to be drawn out when a character begins to explain some-
thing to the protagonist and then gets interrupted when the villains
attack. After all, that's basically what happens with Abaddon this
issue. In any case, apart from the obvious questions of 'who are these
people, and what are they up to?' one question that springs to my nit-
picky mind is: is the alternate dimension, populated with beings named
Abaddon and Raum, a literal hell or merely a vicious alien ecology?
A more metatextual one is: is the genre of this series best
described as superheroes fighting monsters, or a more Nightbreed-like
horror story with superhuman conflict? Okay, those are two extremes for
something that might not be so clear cut, but the distinction remains
useful. Look at it this way. The fact that the mutation that Josh
experiences while trapped on the other side gave him claws impresses
Raijin, prompting Raijin to comment, "Maybe this'll be easier than I
thought." Even Raum's comment, "You weren't supposed to change so
quickly!" points in this direction. To me this hints at the type of
exceptionalism that is stereotypical of the superhero genre: people
having or gaining some advantage in fighting against a threat.
On the other hand the prose style reads like a horror story. The
descriptions of the locations, Josh's confused and panicky reactions...
And then at the end, the brief description of the emotional alienation
between Josh and his father. (Actually, that raises another question:
is this state the result of Josh's shellshock from encountering the
reavers, or is it the normal state of affairs between these two?) None
of which is to say that the _Shadow Shift_ series can't try to combine
the two genre outlooks in some way. Especially if Josh turns out to be
a scrapper who adapts relatively quickly rather than accumulating post
traumatic stress disorder.
So, is there anything wrong with this series? The only thing that
jumped out at me was the way the reaver Raum tended to speak in
exposition-ese when gloating or ranting at Josh. Since the dialogue of
the other characters seems to flow more naturally in context, that could
either be a deliberate facet of Raum's character, or merely an artefact
of the need to include a bit more information at that point in the story.
Tales From The Tesla Institute #1
'The Assistant'
A StarFall [StarFall] series
by Elena Klazinga (Leto)
The next new series has a similarly straightforward series concept,
but with a twist. Nikola Tesla has set up an institute for 'exploratory
sciences and engineering' and is doing cutting edge practical science.
(The promotional posting seems to indicate that for the purposes of this
series, and presumably the StarFall setting, that he's 'back' rather
than 'still around'.) The twist is that the opening story doesn't focus
on him, instead focusing on his assistant, Ms Genavieve Ciernik.
This is a small but intriguing point that my attention keeps
returning to. Why introduce a story setting with Nikola Tesla in such a
prominent position and not use him as the protagonist, or at least one of
the viewpoint characters?
I find it unlikely that Elena wanted a setting where an exotic
accident such as the one that takes place at the climax of the story,
and then merely picked Tesla as a storytelling shorthand method of
justifying the presence of the exotic high technology the plot needed.
This is, after all, a lengthy post with a lot of detail being put into
the characterisation. If the author had needed a generic mad scientist
for plot (or even plot device) purposes then she could have created one
of her own and easily invested enough detail into him, her or it to
create a rounded character. So, no, unless other information is forth-
coming I think I'll stick with the premise that it's the specific
character of Tesla who is one of the important people in the series.
In the meantime, 'The Assistant' is essentially a character piece
about Gena. I liked the line "Gena wasn't a dull looking girl, but one
watching could get the impression that she was doing her best to become
one." Effectively, making herself look like the stereotypical female
scientist. There are several potential readings in that, ranging from
Gena being a drab personality, to Gena dressing to deliberately downplay
her femininity for some reason. Given that historically Tesla was shy
around women and was reputed to be able to make better emotional
attachment with pigeons, plus the fact that Gena seems to look upon
Tesla as a mentor figure, I get the impression that she's deliberately
dressing to fit in. Given that the Tesla presented here is not quite
the eccentric personality that he was and continued to become towards
the end of his career in the 1940s, I'm not sure that that is actually
necessary on her part, however. I guess we'll have to wait and see.
Does that given the impression that Gena is deliberately moulding
her professional character in order to advance her career? Well,
possibly, and to be fair she wouldn't be the first person, male or
female, to do so. However, I don't think that's quite the case. My
gut feeling is that she's deliberately moulding her professional
character in order to advance her prospects of working personally with
her hero Tesla, rather than as another researcher at the Tesla
Institute. Her speech to Bert that ends with, "...the lab's still
surprising me. For that kind of experience, I don't mind sacrificing
some of my time for him" could be counted as an overt argument for the
former, but her self-sacrificing actions at the end of the issue are
an even stronger argument for the latter.
(And in either case, I also get the impression that it's not that
big an example of self-recreation for Gena. Bert's concerns about her
working late are only barely reflected by one moment of tired and
snappy behaviour, whereas most of the time the point-of-view narration
indicates she really has got a calm and profession demeanour. If she's
putting on an act, it doesn't seem to be a particularly difficult one
for her to maintain. Moreover, she's enough on the ball even after the
demands of with both her own work and her assisting Tesla that she was
able to notice the advance warnings of something strange going on with
the 'force field' testing, as well as both her and Bert having identical
simultaneous reactions in dealing with the crisis when it unfolds.)
Ah yes, the crisis. The climax of the story introduces a bit of
action into what had up until that point been primarily character
driven. The shield experiment goes out of control... Not so much 'goes
wrong' as ramps itself up to a level where the people who set it in
motion no longer have much control over it. All of the Institute's
power is being used by the experiment, Gena pushes Tesla out of the way
to keep him being fried by the electrical surges. She gets zapped
instead, and has either gained superpowers (if we're working in a
four-colour superhero paradigm) or has been pushed to posthuman status
(if we're working in a general science fiction paradigm).
LNH20 Comics Presents #1-5 'The Spoon of Destiny Saga' Parts 1-5
by various (Adrian J. McClure, Lalo Martins, Andrew Perron, Dave Van
Domelen, Martin Phipps)
This was the last entry to be written for this month's EoMR. All
the other entries were written up by the first half of the first week
of January, but I've been holding off while trying to think of an
angle that would be suitably impressive for something like the event
marking the Legion of Net.Heroes' 20th anniversary. No such luck. So,
instead of gravitas you'll just have to put up with semi-random babbling.
The twentieth anniversary of the Legion of Net.Heroes will be in
April 2012. For those of you who were here, you'll recall that the
fifteenth anniversary was marked by the 'Infinite Leadership Crisis'
Event, where the LNH writers got together to publish a story a day with
the theme of a different LNH character holding the leadership position.
After much discussion in late last year it was decided that the Event
for 2012 would be to reboot the imprint / spin off an updated version
of the imprint under the LNH20 label (The original LNH imprint
continues on unaffected). The obvious comparison is to the reboot that
DC Comics gave their shared universe last year with their 'The New 52',
and the LNH reboot likewise includes starting a new continuity such
that it's easier for new readers to grasp what's going on.
(As an aside, I have been wondering to what extent the LNH20
reboot might suffer from 'classic storyline repeat-itis': the observed
tendency of particularly DC (with its various reboots, particularly of
the Legion of Super-Heroes, since the original Crisis On Infinite Earths
in the mid 1980s) to retell - with or without major variations - the
origins of its protagonists and the major villains as well as to retread
the major storylines of the past. And by the time they've done that
they've chewed up at least a year of publishing before they can get to,
you know, actual original stories, thereby effectively trapping them-
selves in loop of perpetual long-form recap mode. I'm suspecting the
LNH20 aren't likely to suffer from that. After all, the major comic book
publishers have also had policies to recap their protagonists' origin
stories regularly, on the grounds that "each comic is someone's first".
The LNH, or any of the net.fiction imprints published on RACC for that
matter, don't have that problem both because the easy accessibility of
back issues in the archives as well as the fact that this writing is a
non-paying hobby rather than a business model that can't afford to risk
alienating potential readers due to obscurity. The LNH in particular
would simply throw out a gratuitous footnote or editorial note and then
proceed with the story.)
The other significant design factor explicit in the reboot is the
availability for use of characters. This has long been an issue with
the classic LNH, even though for the most part it has been able to be
dealt with amicably. Nevertheless, over the decades there is an
accumulation of in-practice free-for-use characters that are actually
abandoned writer characters (like Cheesecake-Eater Lad, Occultism Kid,
and Fuzzy), instances of different writers having different interp-
retations of characters and having to come up with contrived explanations
(ie, the duplication of Catalyst Lass into Catalyst Lass and Hell
Catalyst), of reserved characters continuing to be used because of their
links to other characters (such as the way aLLiterative Lass was
romantically linked to Cheesecake-Eater Lad, and rather than make a big
fuss in-story about why they should break up has instead incrementally
ended up with a 'happy ending' of being semi-discretely married off to
him and becoming the mother of his child, so that she can now be referred
but is perpetually off-stage), or characters like Ultimate Ninja who
were given over for general use on the condition that their status quo
isn't altered, but whose popularity or position in the Legion is such
that they get used a lot and thereby accumulate unwanted baggage (such
as the way Ultimate Ninja's real name being revealed as Lenny). And then
there have been the shouting matches that have resulted in people leaving.
This is why the subject of character availability was also factored in
during the creation of the LNHY imprint in 2004. Bottom line: it's an
ongoing topic of debate.
So how's the LNH20 imprint going? Reasonable enough, from the looks
of it. Through its first month (and looking back on its the second
month) it seems to be getting good traffic compared to the LNH2
imprint from the early noughties, and a bit more than the LNHY imprint
in the mid-noughties. The number of participants in the opening cascade
storyline in _LNH20 Comics Presents_ is a good sign, and it's also
brought in repeated story posts from otherwise non-LNH affiliated
writers. And as Andrew Perron has commented, enthusiasm tends to beget
more enthusiasm. On the other hand, net.fiction imprints come and go.
For example, there was once a time when I would not have believed that
the once mighty Superguy imprint would have been reduced solely to the
prolific output of Gary Olson. The Legion of Net.Heroes (in whatever
incarnation) has a powerful and flexible storytelling engine because of
its parodic nature - but that doesn't guarantee publishing immortality.
For my part I've been pondering if there's any storyline I can write
that I feel fits LNH20. For a half week or so in early January I was
overcome by the fevered thought that perhaps I could move the _Limp-
Asparagus Lad_ series from LNH to LNH20. Not duplicate the character
concepts you understand, but move the whole series: the original
characters and their histories, the series' back-story and ongoing
storylines. The whole kit and caboodle. This of course would be a
catastrophic affront to continuity, much like the way the _Legion of
Super Heroes_ was thrown into disarray in the wake of the Crisis On
Infinite Earths when Superboy was deleted from continuity. But instead
of trying desperately to find a continuity patch to fix the problem, the
hypothetical LNH20 _Limp-Asparagus Lad_ series would deal with it by
gratuitously highlighting the problem at every opportunity. I even
worked out that the only thing truly stopping this swap over from
happening was whether or not an obscure point of continuity surrounding
the LNH Sig.Lad is replicated in LNH20 (Dvandom has pointed out that it
doesn't, but further noted that it would be easy to include a piece of
back history that would have the same effect). That single limitation
still holds true, but it has since occurred to me that there are a
number of LNH continuity specific jokes that I would like to include.
(Another aside: I'm on record as saying that I think of
Cheesecake-Eater Lad as the iconic heart of the LNH. Now, LNH classic
will continue on as normal. But in the last half week I realised that
in the hypothetical event that it was shut down, and all those orphaned
writer characters from the early 1990s were placed off limits, I would
feel compelled to write the occasional Cheesecake-Eater Lad fan.fic and
post it on alt.comics.lnh. Just because. It was an odd moment of
introspection and self-revelation.)
Anyway, after all that waffle, let's have a look at the first five
issues of _LNH20 Comics Presents_. As mentioned, the opening story is
a cascade, in a deliberate echo of the original LNH cascade, 'The Cosmic
Plot Device Caper'. The opening issue follows the audition of Nerf Lass
(daughter of the LNH20 Sig.Lad and MechaKat) to the Legion, setting her
up as a reader identification character for much of the weirdness that
follows. And pretty much immediately the plot lines multiply, as the
evil supercomputer Ultravac, head of the terrorist group WHATEVER,
launches a scheme to retrieve to Spoon of Destiny. Nerf Girl is sent
with a group to the Net.ropolis Museum, Professor Penumbra leads a team
to question the inter-dimensional entity Rwtn-T'bol, and the LNH
Espionage Squad is dispatched to Italy. Meanwhile Acton Lord has taken
an interest in his niece Nerf Girl, and in a tie-in that will probably
get included in the collected trade etherback edition is grooming a
nemesis for her. Other tie-ins in parallel titles such as _Generation
2.0_ have also swirled about, complicating matters in the way that all
good chaotic add-on cascades should.
SW10: Powernaut 1941 #1-8
'The Powernaut Smashes Through!' ; 'Un-Occupy Europe!' ;
'Aryan Man!' ; 'Le Resistant!' and 'Who Is Le Resistant?'
A Superhuman World [SW10] series {HCC25}
by Scott Eiler
Two things of note here. Firstly, it's usually the case that the
mosaic narrative that Scott has been building in the Superhuman World
setting consists of various stories that take place sometime around
about the setting's subjective present. But obviously there's no rule
that mandates this, and this miniseries jumps back in time to World
War 2. It tells the story of Powernaut, formerly a sickly young man who
through sheer determination uses physical and mental exercise to raise
himself to the peak of human perfection, and then (in the best tradition
of superhero comics) travels to occupied Europe with the intention of
punching out Hitler. He meets the French hero Le Resistant, who was
inspired by Powernaut's passage through France, and who assists
Powernaut in his battle with Aryan Man.
Powernaut is clearly drawn from the comic book archetype of the
weakling who overcomes his weakness. However the intersection of the
story with the High Concept Challenge #25 ('The French Hero') also gives
him aspects of the inspiring/patriotic character. While it's not the
case that he's one of the flag-suit costumed heroes, the plot point that
his journey across Europe inspires the French can be seen as an extrap-
olation of his by-his-bootsraps origin. It may not be a complete
equivalence, but if Charles Atlas can help inspire 90 lb weaklings to
become heroes of the beach, then Powernaut can help inspire the French
to take back their country.
The other thing to note is that this story is drawn in comic
strip form rather than text only, and available at
http://www.eilertech.com/stories/powernaut/1941.htm
The art is rather cartoony. Which is fine. I mean, let's review
what we learnt from Scott McCloud's _Understanding Comics_ about iconic
versus representational art. Art that isn't fully 'realistic' can
nevertheless still impart meaning by having its shapes and forms
transmit representative, iconic meaning rather than literal, photo-
realistic information content. In other words, instead of just seeing
the things, cartoony art lets us see the things as a combination of what
they are and what they represent, even if this is at the expense of
exact physically identifying characteristics. There's a number of
instances of that in the _Powernaut_ series. Obvious examples are
things like the map shapes of entire countries being symbolically
menaced by the Nazi swastika. There's also the use of 45 degree angle
lines to indicate movement (and of course, arms akimbo superhero
stances are therefore great for suggesting movement even when the
character is standing still).
More subtly, I quite liked the talking head shot of Le Resistant in
issue 7, which by the positioning in a three-quarters pose so that his
jaw line protruded below his collar bone managed to give the impression
of him leaning forward, as if talking in emphasis. By comparison I was
less impressed with the transition of Paul to Powernaut in the first two
panels of issue 1, since there was a radical change to the shape of his
face that I was left wondering if there was some sort of super-soldier
serum involved to not only give him more muscle mass but also change the
bone structure. I felt this took the iconic representation of someone
transforming himself into a 'square jawed hero' too far, and I found it
distracting.
SW10: 'Worse Than Useless?' 24 Minute Challenge
A Superhuman World [SW10] series {HCC26}
by Scott Eiler
Oh, that's cute. Wyatt Ferguson goes on vacation and stumbles
across some of the mad science technology built by Ellipsis, which has
been released for public use under open source agreements. Wyatt has
forebodings about this, but as the Vice-President points out, the
recent climate disasters mean that they're short on options.
Notwithstanding Wyatt's concerns, the fact that up until now
Ellipsis was the only person who could get his technology to work gives
one possible answer to the old question of why inventors of super-
science gadgets use them to rob banks rather than patent them. That
said, there are still many possibilities for complications that this
situation. The one that springs to my mind is why one government or
another hasn't tried to grab a monopoly on the Ellipsis tech as a
strategic resource.
----------
Saxon Brenton University of Technology, city library, Sydney Australia
saxon.brenton at uts.edu.au
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