Clearly I left this blog much longer than I meant to. My last post was on the 31st of May and here I am two months later, despite having made clear plans of what I’d be doing once back from holiday. So apologies for that if you’re one of the less-than-ten people who seem to visit this blog irregularly, and apologies in advance for the entries I won’t be writing up as intended, such as a catch-up of the 2000AD issues I missed over my holiday in June.
The funny thing about that is that I actually did start and had very nearly finished it, at over 5000 words, a week after I’d got back before getting distracted by life matters, and it’s a bit of a shame because, now that I’ll probably not bother completing it (that would mean going beyond Prog 1887 that the post was meant to have finished with for another five issues), you’ll miss all the words I had to say about how fucking amazing Indigo Prime was. Did anyone not enjoy that? I hadn’t had the chance to read the two trade paperback collections of the series so far during my time in Greece yet I enjoyed it anyway, no idea what was going on in the background or not.
It also has what is possibly the best meta moment that I’ve ever seen. Weirdly, in the reviews I read for the particular episode that this happens, not one mentioned this, it apparently having gone over people’s heads. Let me state that I don’t really like when anything – books, films or games – tries to be meta because, nine times out of ten, it’s done for laughter’s sake, and not very well, often at the most inappropriate moment. Two examples of doing it right that immediately pop into my head are the TV show, Castle, and video game, Bioshock Infinite.
The former revels in being meta, the titular novelist played by Nathan Fillion – who dons his Firefly costume during a Halloween-set episode and makes several other references to that show – working with the NYPD to solve murders, his help usually coming in the form of ridiculous explanations that he borrows from other’s fiction or his own. It starts off innocently enough, I suppose, but gets progressively stranger to the point that they use their hundredth episode as a homage to Alfred Hitchcock’s Rear Window, and have one episode in the same season use clips from previous seasons for half its duration in which the characters talk about all the fun they’ve had. Fun is the very simple point here, and in a show about a crime novelist working with cops, why not embrace the silliness to such an extent that Star Trek references simply work by the time you get to them in an episode set in a science fiction convention? Why the hell not, it asks?
On the other hand, you could make a more critical point, which is what Bioshock Infinite sets out to do. Well, its time travelling and parallel worlds is also Irrational’s way of tying their two Bioshock games together, but mostly it’s making a point of video games, namely how your individual choice in matters, where possible, don’t actually matter at all, you and many other players ultimately arriving at the same destination, which is the same end of game. What’s infinite, it argues, is your journey there, which will be somewhat unique to you. So there’s that, which works too.
In the case of Indigo Prime, however, neither of these things happen. Its meta moment is not played for laughs nor does it make a point. In fact, one could argue that it’s not a meta moment at all, so hard is it to tell what it could mean for the future of the strip. It arrives suddenly and doesn’t draw attention to itself, perhaps the reason why some people missed it. But it’s genius, so I simply must talk about it briefly. This is it:
In my review of Perfect Day’s first episode I briefly mentioned how I loved that the mysterious villain, here seen literally pulling Mariah’s strings, is called The Nihilist in a strip about an organisation that watches over the multiverse, a world filled with infinite possibilities and life. You simply can’t get a more perfectly named bad guy than that. But here’s the genius of this scene: not only is The Nihilist shown to be the real agent of control as he warns Danny through Mariah for his own purposes (and I might add that this itself is sudden – there were glimpses of him behind the scenes in previous episodes but no outright appearance showing what he’s up to) but we also see that the puppet master of The Nihilist himself is none other than John Smith, the writer of the series, seen here -and note how he’s not transparent like Mariah or The Nihilist but completely whole, the only real being of the scene – looking over his shoulder at the reader, his scripts and the computer he works from in front of him.
It’s so perfect that I’m astonished to have seen no one talk about it, so there you go. Once I get round to reading all the previous stories in the series I’ll probably talk about it once again, but I had to get that off my chest for now. As it’s never mentioned once in either this same episode or the remaining few after, I’m praying that John is hard at work on the next story because there are so many things going on by the finale that you’re left demanding answers, and quickly at that.
Alas, this is all I’ll be repeating here from that never-to-be-published blog entry. The only other strip I really talked about at great length in that partway complete post was Slaine but you can essentially read what I wrote in fewer and better words courtesy of this member of the official forums, who explains what the story was really about and why that ending, though abrupt, was perfection on Mills’ part. Where I’ll pick up on my 2000AD reviews without this entry, if at all, I do not know. That can be worked out another day, although I’m thinking of abandoning the format of reviewing each Prog as a whole and only talking about what interested me about the weekly episodes, even if that’s only one thing. Prog 1893 released today, for example, sees the return of both Walter The Wobot and Mrs Gunderson, neither of whom I’ve seen in Dredd for a long time; and, to respect her passing, sees the old Dredd logo of Jan Shephard used for the first episode of this story, which is nice; but nothing else really grabbed my attention.
So, with the possibility of me abandoning my weekly reviews of 2000AD altogether, that leaves the question of what will become of the blog since that’s been its sole purpose for quite some time now. And well, to be perfectly honest, it’s probably going to become far less review-focused in the strict sense that I talk about the writing and art of this or that as two separate things that must be mentioned, and instead become more of an all-purpose blog which I hope to keep more up to date, even if an entry only details some thoughts I had on this book I was reading or something that happened to me that day. Like more of a diary then, you might say.
That doesn’t mean comics will cease to be a big focus of the blog though. In fact, if anything, they’re going to become a bigger focus now that I’ve began to expand my interests further beyond 2000AD, having built a small collection of American comics that I’m really getting into. Those that I’ll especially have words to say about are several Image series’ that I’ve started collecting. That right there is an incredible publisher. Rarely an ad to be seen (unlike DC / Vertigo who frequently interrupt the story with their fucking adverts); no censorship at all that I can see; and complete creative freedom. Brilliant.
My book interests have also expanded and I’ll maybe have a few things to say about the rarer books I get my grubby mitts on. Indeed, I’ve now a small but good collection of hard-to-get graphic novels – mostly limited printings, but several are signed too, and I’ve a keen eye on for those sort of things on eBay.
In a moment of insanity I also bought my first Artist’s Edition, a signed copy of Hellboy In Hell’s version of that book. It’s not the SDCC Variant Edition that was limited to 100 copies but, for the same price, I’m having the standard book delivered to me signed by Mignola like that one, a shot glass that is limited (to 150, and I presume that’s also how many copies of the book were signed seeing as only this one seller has been selling them and with these glasses each time) and a mixed assortment of goodies, which will include some of the comics themselves. Oddly, the book itself is being published by IDW, who created the Artist’s Edition line, yet Dark Horse have just released the first of their versions of these books, Gallery Editions that are about half the price. This is something I’ll also probably be picking up – it’s Robocop V.S. Terminator by Frank Miller and Walter Simonson – and there a few more coming out this year and next that I simply must get my hands on. Who the fuck wants to miss out on The Dark Knight Returns in its original format before having being put together for release?
So by no means will I have a shortage of things to say about comics – just less frequently as I use the blog for other things (and yes, I mean it this time). Maybe you’ll see one such of these entries tomorrow depending on how my interview with the Job Centre goes. If it goes as I expect – being talked to in a patronising manner and practically ordered to search for jobs that I’d rather die than do – then believe me, I’ll have much moaning to do.
And that is the status of this here blog. Until next time.