04 September 2019

Joe Casey's Adventures of Superman #590-92: "Don't Cry for Me, Bialya" / "Strange Behavior"

"Don't Cry for Me, Bialya" / "Strange Behavior"


The Adventures of Superman vol. 1 #590 & 592 (May & July 2001)

Writer: Joe Casey
Pencils: Derec Aucoin and Mike Wieringo
Inks: Jose Marzan, Jr.

Letters: Bill Oakley
Assistant Ed.: Tom Palmer, Jr.
Editor: Eddie Berganza 


In the lull before the next big Super titles crossover event (Our Worlds at War, coming to you here next week!), we finally get Joe Casey doing his own thing, with two issues where he's not wrapping up someone else's ongoing story, or tying into a crossover. So maybe here we can get a glimpse of what makes Joe Casey's Adventures of Superman Joe Casey's. (I skipped issue #591 because it wasn't by Joe Casey; in June 2001, there was a crossover between all four Super titles called Infestation, but most of its issues were by Marv Wolfman instead of those titles' regular writers.)

from The Adventures of Superman vol. 1 #590
(art by Derec Aucoin & Jose Marzan, Jr.)
The two issues are very different, so I'll tackle them separately. The first issue, "Don't Cry for Me, Bialya" (#590), deals with some of the fall-out from Lex Luthor's election to the presidency, which happened shortly before Joe Casey came along. Luthor asks Superman to go into Bialya (one of the DC universe's all-purpose fictional Mideastern countries) and liberate a captive American journalist. I'm not particularly into stories that try to insert Superman into realistic geopolitics, because I think they reveal some unavoidable problems with the conceit of Superman as a character. Here, Superman justifies his actions as not being political and not at Luthor's whim; he tells Luthor, "Finch is in Bialya as a journalist, correct? [...] His gifts are meant to benefit the world... as are mine," and he tells the dictator of Bialya, "I am not here representing any nation or political ideology. Regardless of your issues with the U.S., I am taking back an individual whose human rights are clearly being violated..."

But if Superman cares about the human rights of people in Bialya, why does he spend most of his time flying around Metropolis, beating up street thieves? Why isn't he liberating all the unjustly held prisoners of Bialya, not just the American one? If you follow this chain of reasoning to its logical endpoint, of course, you'd end up with a very different Superman comic, and one that wouldn't be tenable as an ongoing adventure series. (Miracleman, The Authority, and Red Son all explore these kind of issues.) But that's why I think Superman comics are better off avoiding these issues altogether, rather than raising ones they can't really ever resolve.

from The Adventures of Superman vol. 1 #590
(art by Derec Aucoin & Jose Marzan, Jr.)
But perhaps all that is beside the point, because "Don't Cry for Me, Bialya" is a really well done comic book. It opens with Superman going to talk to Luthor, and after three pages, transitions to Superman's mission to Bialya. But while this mission unfolds, the left margin of the comic continues to depict Superman's conversation with Luthor through color-coded image-less dialogue. It's one of those neat things that it's hard for me to imagine another medium doing as well (film/tv can overlay a conversation, but it would be confusing for there to also be a conversation beneath the overlay), and the two sides of the story give each other weight. We know how important Superman's actions in Bialya are because we read his deliberations over it, and we know that those deliberations matter because we see what actions he takes as a result. It also lets the comic pack more information/events in than it would be able to if it handled these events in chronological order.

The end of the story clearly has Superman rethinking his relationship with President Luthor, and the kind of violence he carried out on Luthor's behalf. I assume (I hope) that this will continue to be an issue Casey explore going forward, and that it plays into the transformation that I know the comic will eventually undergo.

from The Adventures of Superman vol. 1 #592
(art by Mike Wieringo & Jose Marzan, Jr.)
The second issue, "Strange Behavior" (#592), is kind of weird. There's a storm in Metropolis on a night where Jimmy Olsen is playing a new RPG with his buddies on a Brainiac 13-enhanced gaming console. Jimmy get sucked into the game, but then Superman shows up and resets the console and Jimmy is fine. I don't like people-trapped-in-computer-game stories because the tension always feels forced, but this one didn't even try to create tension; there was a lot of set-up, and the problem was resolved almost as quickly as it was created. Meanwhile, Superman briefly encounters "Strange Visitor," a superhero with electrical powers I guess he met sometime before, but then she vanishes. This is clearly set-up for something to come, but not interesting on its own.

I hope that going forward, this comic is more like #590 than 592. I prefer an interesting standalone drawing on the ongoing background story than a flimsy tale that only seems to exist to foreshadow the ongoing background story.

Incidentally, #592 is the first issue where the lettercol discusses an issue I have actually read. All four letters about #588 reprinted here focus on the use of the triangle numbering system; there are no letters about the issue's actual content!

ACCESS AN INDEX OF ALL POSTS IN THIS SERIES HERE

03 September 2019

Review: Transformers Prime: Rage of the Dinobots by Mike Johnson, Mairghread Scott, and Agustin Padilla

Comic PDF eBook, n. pag.
Published 2013 (contents: 2012-13)
Acquired August 2014

Read April 2019
Transformers Prime: Rage of the Dinobots

Written by Mike Johnson and Mairghread Scott
Art by Agustin Padilla
Colors by Thomas Deer
Coloring Assist by Joana Lafuente
Letters by Shawn Lee and Tom Long

This is it! Back in August 2014, I got eighteen Transformers comics out of a Humble Bundle. But thanks to two further Humble Bundles and comiXology and even buying some in hardcopy, the last one in that original Bundle was actually the fifty-ninth Transformers comic that I've read! But at last I finally made it to the end, five years later.

I do like the Aligned design for Shockwave-- it's unsettling un-human, unlike most Transformers-- but boy am I tired of reading all his schemes after IDW's main continuity.
from Transformers Prime: Rage of the Dinobots #4

Rage of the Dinobots picks up from the last book I read, Fall of Cybertron in the so-called "Aligned" continuity. The newly minted Dinobots are providing cover as the Autobots evacuate Cybertron, but when Ultra Magnus is shot down by Decepticon forces, the Dinobots break into a prison to rescue them, and end up captured once again by their old nemesis Shockwave, this time aided by his new minion, Ser-Ket, and her army of Predacons.

Farwell to you too, Ultra Magnus!
from Transformers Prime: Rage of the Dinobots #4

It's pretty generic Transformers action, to be honest, but Agustin Padilla is one of the better Transformers artists. I just think I'm Dinobotted out, and specifically John-Barber-Dinobotted out. He didn't write this, but Johnson and Scott follow his lead from Fall of Cybertron. Kind of a fizzle for the end of my big marathon, but thankfully there's bigger and better to come in still other continuities...

Next Week: Meanwhile, on Earth... it's Transformers vs. G.I. Joe!

02 September 2019

Reading Roundup Wrapup: August 2019

Pick of the month: The Best Science Fiction of the Year, Volume 4, edited by Neil Clarke. I read a lot of books this month, and a lot of good ones: my top six would also include The Science Fiction Hall of Fame, Volume Three by Arthur Clarke and George Proctor, Double Star by Robert Heinlein, Always Coming Home by Ursula Le Guin, and Guards! Guards! by Terry Pratchett. To be honest, it feels like cheating to pick of a "best of" book: Neil Clarke had hundreds of short sf stories to winnow down to this selection! But I've read enough best ofs to know there are bad ones, and this is a great one, really capturing the genre as it currently exists in a wide variety of quality manifestations.

All books read:
1. The Science Fiction Hall of Fame, Volume Three: Nebula Winners, 1965-1969 edited by Arthur C. Clarke and George W. Proctor
2. Star Trek: Discovery: The Enterprise War by John Jackson Miller
3. Superman: Our Worlds at War (part 1/part 2/part 3) by Jeph Loeb, Joe Casey, Mark Schultz, and Joe Kelly, with Peter David, Phil Jimenez, and Todd Dezago
4. Always Coming Home: Author’s Expanded Edition by Ursula K. Le Guin
5. The Craft of Writing Science Fiction That Sells by Ben Bova
6. Catching Fire by Suzanne Collins
7. Double Star by Robert A. Heinlein
8. Guards! Guards!: A Novel of Discworld by Terry Pratchett
9. The Fated Sky by Mary Robinette Kowal
10. The Best Science Fiction of the Year, Volume 4 edited by Neil Clarke
11. Superman: Return to Krypton (part 1/part 2) by Joe Casey, Geoff Johns, Joe Kelly, Jeph Loeb, and Mark Schultz
12. Superboy and the Legion of Super-Heroes, Volume One by Gerry Conway and Paul Levitz, with Jack C. Harris, Paul Kupperberg, and Jim Starlin
13. Men at Arms: A Novel of Discworld by Terry Pratchett
14. The Churn: An Expanse Novella by James S.A. Corey
15. The Lady Astronaut of Mars by Mary Robinette Kowal

All books acquired:
1. The Fantasy Hall of Fame: Chosen by the Members of the Science Fiction and Fantasy Writers of America edited by Robert Silverberg
2. Double Star by Robert A. Heinlein
3. The Fated Sky by Mary Robinette Kowal
4. The Wave in the Mind: Talks and Essays on the Writer, the Reader, and the Imagination by Ursula K. Le Guin

Books remaining on "to be read" list: 652 (up 1)
Books remaining on "to review" list: 9 (up 6)

Having actually got down to zero books needing reviews during August, the school year then started and the list shot right back up to 9. Ouch!

30 August 2019

One Year, One Week, and One Night of Parenting

This may be posting at the end of August, but I wrote it back at the beginning of the month-- one year and one week after my son was born.

One Year

It's been a year, but but the last few months of the summer have been the most exciting in some ways. Hayley and I still both have work to get done (how's that book proposal coming, Steve?) but nowhere near as much as we do when the school year is in session. His daycare is in Hayley's high school, so it's only open when school is in session. The system we ended up working out is that she would be primary caregiver Monday/Wednesday/Friday while I went to campus or elsewhere to get writing or other academic activities done, and I would be on Tuesday/Thursday while she prepped for her school year or ran other tasks.

Even though she was usually home for "my" days, this gave me more time with him on my own than I'd had in the past, and I feel like I now have a much better sense of him as a person. Things like "snack" I'd usually been happy to cede to her on weekends during the school year, for example. It especially meant that I would go places with him and without her more often: library storytime, "learn and play" hosted by the children's museum, Publix, or just to a playground to use the swings.

There's also more to him than there was at the beginning of the summer, physically, mentally, and emotionally. He's a hefty twenty-five pounds; having taken his first few consecutive steps in early June (at the age of ten months), he is now a fearless and accomplished walker. He makes sounds that might be words (he definitely has a sound for the cat, which is something like "da"; Hayley gets him to say "quack" when playing with his rubber ducks, and both his grandmothers think he says "book").

More exciting is that he obviously understands us more and more. He quickly picked up "no," shaking his head back and forth whenever we said it. But he also shakes his head "no" even when you don't say it but do mean it: when you restrain his arm to stop him from grabbing the cat food bowl, or when you say something like, "don't do that" or "be careful." Sometimes he even does it when I just say his name, which I guess indicates how often I say his name in an admonishing tone. He also anticipates it-- he'll reach a hand out for the cat food bowl, look up at you, and then shake his head "no" before you even say something.

He understands other things we say, though. We've been reading to him since month one, but he's really into books now. He'll grab books off a shelf in the living room, walk over to you, and thrust them into your lap; I recently figured out that I could say "go get a book" and he would do it. He can listen to me read five books in a row and not get tired. He clearly has his favorites, some of which I enjoy reading (Monsters Love Colors is always fun) and some of which I dread (Star Trek: Little Redshirt's Book of Doom is inexplicably bad but apparently always appealing). Recently he's been climbing into a doll chair we have in the living room; he tries to stand in it, but if you say, "sit down," he (sometimes) immediately does as he's told.

A personality is emerging. A little shy at first around new places and people, but fearless when he settles in. He loves water. The splashpad at one of the local playgrounds is a never-ending source of delight, as is the "water table" that my thoughtful wife suggested we get him as a first birthday present. He cries if you leave him alone, but often he is happy to just play on his own while you are nearby, periodically interacting with you in some way.

At the beginning of the summer, sleep was becoming an issue. He had basically two ways to go to sleep: being breastfed in our bed, or movement. Movement could be holding him while you walked around (this was getting challenging at 25 pounds, though), a baby swing (weight limit: 25 pounds), the car seat, or a walk in his stroller. This meant that while Hayley's ability to put him to sleep was pretty good, my options were sometimes limited, which meant it was difficult to leave me alone with him for an entire day. There was a period where every day one or the other of us took him on a walk in the stroller for his morning nap. Let me tell you, even at 9:30am, walking outside in Florida in June/July is little fun, but I got a lot of audiobooks and podcasts in.

We embarked on "sleep training" using the "Ferber method"; it had some rough spots, but by the end of the summer, he could go to sleep on his own in his crib in his own room pretty smoothly. For night, we do clean-up as a family (he initially found this fun but is beginning to figure out it means his toys are gone), then Hayley dresses him and nurses, then I brush his teeth and read him Goodnight Moon before placing him in the crib. For naps, we do clean-up, then he nurses, and one of us reads him Sandra Boynton's Going to Bed Book. Usually the nursing is breastfeeding even on days where I am primary, but I can do it with a cup of milk.

One Week

The week of his first birthday represented a new parenting challenge, though. Hayley had to attend a training on how to teach AP classes Monday through Thursday; daycare began on Friday, which meant I would be home with him all day every day by myself, responsible for both naps.

It actually went great. There were some tricky naps, but pink noise always did the trick in a pinch, and we had a lot of fun: the Glazer Children's Museum on Monday (his actual birthday; his party had been the previous Saturday), a trip to Publix on Tuesday, the playground and splashpad on Wednesday, and Campbell's Dairyland (our local ice cream utopia) and the pediatrician on Thursday. The Children's Museum is a hugely fun place, even at his age: he spent lots of time in a fake barn running around with a plastic egg in each hand, and I guess that's what counts. I did discover that he could be a little mean-- four times he took or attempted to take a toy from another kid. (One time the kid was bigger than him, and shoved him; he didn't seem to mind!)

He even did great at the pediatrician; I remember on those early visits he would cry after his shots all the way home, and then still more at home. This time he was done crying by the time we were out the door!

At home we entertained ourselves with birthday presents, old favorite toys, and a never-ending stream of books. I have to say, it was nice, and helpful. During the school year it was sometimes easy to feel disconnected from him-- I'd get home, we'd eat dinner, and he'd go to bed. But spending the summer with him and spending days alone with him has definitely sharpened my relationship with him.

But fifteen minutes before Hayley got home Thursday night, my week of solo parenting ended in disaster.

One Night

I was on my laptop on the couch; he was running around playing next to me, though not in a position where I could directly see him. Suddenly he fell over and started crying-- a not infrequent occurrence.

But when I picked him up to comfort him, I saw blood on his face. A lot. There was a little cut (almost a gash?) in his lower lip. I think he must have hit the windowsill near that end of the couch.

I tried to calm him down and stop the bleeding while I waited for Hayley. Since I knew she would be home in fifteen minutes, it seemed premature to rush off somewhere by myself. Trying to read what to do about a mouth cut on my phone and actually doing it at the same time proved difficult, not aided by the fact that he wouldn't let me hold anything in place on his bleeding lip as he screamed and cried. (Though, when I temporarily put him down and stood up to get an icepack, he stopped crying to grab my phone off the floor and excitedly chase the cat, only to resume crying once I picked him up and tried to actually apply the icepack.)

Hayley soon made it home, and soothed him while I called our pediatrician, who said to go to the ER.

By the time we got there, the bleeding was over and he was actually in a great mood. He ran around in circles in the waiting room of the pediatric ER, and seemed particularly excited when he discovered that if he ran at the sliding door, it would open automatically.

The pediatric doctor at the ER ended up recommending stitches. I think that was the moment where it hit me the hardest. I know these things happen (I got my first stitches, also in my lip, at age 2), but man it is tough to look at your kid and think that this is happening to them and maybe if you had been a little more diligent, a little more careful, it wouldn't have had to.

We stayed through the whole thing. They shot some stuff into his nose to make him more... pliable, I guess? It made him think everything was funny. Then numbing stuff in his lip, and then the nurse practitioner sewed it up with five stitches. I had never actually watched someone get stitched before; it is kind of weird to see someone just start sewing parts of a person. The first couple made me flinch, but I got used to watching surprisingly quick.

A popsicle to make sure he was okay, and we were out of there. Surprisingly, the whole visit was just over two hours.

I think he will have a scar now. It felt like it was a pretty big chunk, but it doesn't look like one now. I am taking him to the plastic surgeon (!) for a follow-up soon (or will have done so by the time you read this); I also have to take him to the pediatric dentist to make sure no damage was done to his teeth.

You might think he would have learned something from this experience, but he is of course as fearless as ever.

28 August 2019

Joe Casey's Adventures of Superman #589: Return to Krypton

Return to Krypton: "Fathers" / "Sliding Home" / "Second Honeymoon" / "The Most Dangerous Kryptonian Game" / "Escape from Krypton"


The Adventures of Superman vol. 1 #589 (Apr. 2001)
Superman: Return to Krypton (2004), reprinting Action Comics vol. 1 #776, Superman vol. 2 #166-67, Superman: The Man of Steel #111 (Mar.-Apr. 2001) 

Story: Jeph Loeb, Joe Casey, Mark Schultz, and Joe Kelly
Pencils: Ed McGuinness, Duncan Rouleau, Doug Mahnke, and Kano
Inkers: Cam Smith, Jaime Mendoza, Marlo Alquiza, and Tom Nguyen

Colors: Tanya & Richard Horie and Rob Schwager
Lettering: Richard Starkings, Chris Eliopoulos, and Ken Lopez
Assistant Editor: Tom Palmer, Jr.
Editor: Eddie Berganza 


Joe Casey's second solo issue on Adventures of Superman isn't really a solo issue at all, because Adventures is promptly plunged into a crossover between the four ongoing Super titles, Return to Krypton, and Adventures #589 is thus part two of a four-part story. (The Return to Krypton trade also collects a one-issue prologue, Superman #166.) In this story, the sterile Krypton of John Byrne's Man of Steel reboot is revealed to be an illusion, and the "true" Krypton is something closer to the Krypton that we saw in the comics of the Silver Age; Jor-El created fake data about Krypton for Kal-El so that he wouldn't miss his home. It's a little convoluted-- retconning a retcon always is, I suppose-- and probably doesn't really track with the details of Man of Steel, which I remember really liking, though it's been over a decade since I've read it. In that story, people on Krypton no longer bore children, so baby Kal-El was sent to Earth in a "birthing matrix," and thus literally born in Kansas. Return to Krypton makes it clear that Lara bore Kal-El in her body, and then he was placed in the birthing matrix to be sent to Earth, so the story maintains some details of Man of Steel while ignoring its spirit.

from Superman vol. 2 #167
(script by Jeph Loeb, art by Ed McGuinness & Cam Smith)
Superman learns much of this from a message Jor-El left in his rocket in a crystal. Then, with the help of Professor Hamilton and John Henry Irons, he is able to use thought projection to make an image of Krypton in the Phantom Zone, into which he and Lois travel to see what the planet was "really" like before it was destroyed; the story is ambiguous about whether Clark and Lois actually traveled to Krypton of the past, or if only to a recreation of it. Clark is able to hang out with his parents briefly, but soon events get crazy: he helps Jor-El adjust Krypton's orbit so it won't be destroyed, but this drains his powers so Lara has to rescue him in a rocket, but space travel is against the law, so General Zod comes to arrest Jor-El and Lara, but they all go on the run, and Zod gets angry and deposes the Kryptonian leadership because he blames their complacency for the crisis, and then all of a sudden Jor-El has been made president in a counter-revolution. Whoa.

It's action-packed (particularly part three, Man of Steel #111), which is the big weakness of it all: I feel like this story should have had more emotional weight. This is momentous! But most of the story is spent 1) massaging the continuity to the preferred form of the 2000s writers, and 2) making things explode again and again. The human story gets lost in the middle of it all. I know this is a superhero comic, but I feel like there must have been a way to balance them better than they were.

from The Adventures of Superman vol. 1 #589
(script by Joe Casey, art by Duncan Rouleau
and Jaime Mendoza & Marlo Alquiza)
One thing I do like about these comics is their emphasis on narration. Three of the five issues use narration: the prologue is Pa Kent, while parts one and three are narrated by Lois. This keeps some emphasis on character, and I particularly liked the focus on Lois, who I think could otherwise have very easily gotten lost in the shuffle.

As for the retcons... I dunno. The Steve Mollmann criterion for judging retcons is that The new thing must be at least as interesting, if not more interesting, as the old thing being replaced. I did like Byrne's Man of Steel, especially its vision of Krypton, but I'm open to stories about other forms of Krypton being told. But based on this tale, this new old version of Krypton doesn't have more to offer, but I also believe it could. Weirdly, the story indicates Superman might actually have changed Kryptonian history (wouldn't that have wiped him from existence) and kind of hints that the Man of Steel Krypton still exists. I guess I'll see if either of these ideas are picked up in Adventures going forward.

(Incidentally, the method of the retcon here would itself be retconned! In Superman: Infinite Crisis we're told that Kal-El's backstory changed because of Superboy-Prime punching at the edge of reality, and thus not because Jor-El had been lying about the truth.)

ACCESS AN INDEX OF ALL POSTS IN THIS SERIES HERE

27 August 2019

Review: Transformers: Fall of Cybertron by John Barber and Dheeraj Verma

Comic PDF eBook, n. pag.
Published 2013 (contents: 2012)
Acquired August 2014

Read April 2019
Transformers: Fall of Cybertron

Written by: John Barber
Art by: Dheeraj Verma
Colors by: Sanjay Kharwar & Priscilla Tramontano
Letters by: Chris Mowry

After making my way through all of IDW's original continuity, I'm finally free to explore some other Transformers comics I've picked up along the way, beginning with this, the first of two stories about the Dinobots set in the so-called "Aligned" continuity, an initiative from 2010 to 2017 to create a common continuity for videogames, novels, cartoons, and of course comic books.

I have often thought one of the marks of a good leader was inability to control anger that leads to the destruction of one's own property.
from Transformers: Fall of Cybertron #1

It's a pretty typical John Barber Dinobots story. That guy loves his Dinobots, but is often unable to make me love them. Here, we see where they came from in the Aligned continuity; they were the Lightning Strike Coalition, but when they disobeyed orders to rescue one of their own, they were captured by-- who else-- Shockwave, and he experimented on them to turn them into the Dinobots, though they-- of course-- refused to work for him.

Oh, good. MORE Shockwave monologueing. I sure missed that.
from Transformers: Fall of Cybertron #4

It's okay, you know? Lots of narration, and not as fun as I think a story featuring giant robot dinosaurs ought to be. I think after Barber's frequent use of the Dinobots in the IDW continuity, he doesn't say anything here that he didn't say there. They're angry, and they don't obey the rules, but they have regrets and hidden depths. Sure.

Note: despite the title, Cybertron does not actually fall in this story. That happens in the next Aligned Dinobot story.

Next Week: Later, still on Cybertron... it's time for the Rage of the Dinobots!

26 August 2019

Review: Conspiracy of the Planet of the Apes by Andrew E.C. Gaska

Hardcover, 269 pages
Published 2011

Borrowed from the library
Read April 2019
Conspiracy of the Planet of the Apes by Andrew E.C. Gaska
story by Andrew E.C. Gaska, Rich Handley, Christian Berntsen, and Erik Matthews

Periodically I read a Planet of the Apes book because, hey, why not? The original films have a kitschy charm and nihilistic streak that makes them endure. My most recent perambulations bring me to Conspiracy of the Planet of the Apes, the first original novel set during the continuity of the 1968-73 films. The book is kind of a novelization of the first film, the only one of the five to never be novelized (publishers just reissued Pierre Boulle's original novel with a film tie-in cover instead), and kind of a sidequel to it, as it mostly focuses on minor characters from the first film, and characters who were introduced in later ones.

The main human character is Landon, one of the not-Charlton Heston astronauts from the original film; Conspiracy reveals that he had a much more involved adventure on the planet of the apes than one might have guessed based on the film. It's kind of neat to see the early scenes of the original retold from his viewpoint. Taylor is kind of an asshole when he's not the protagonist. There are also lots of flashbacks that fill in Landon's pre-Liberty 1 life, especially a space mission he undertook a few years earlier along with Maryann Stewart, the female astronaut who dies in suspended animation in the film's opening. To be honest, I struggled to care about him at times; the present-day stuff was interesting, but the flashbacks ultimately came off as pretty pointless.

The main ape characters are Galen, a veterinarian who briefly appeared in the original film, and Milo, a scientist who was introduced in the third film as a close friend of Cornelius and Zira who'd we never heard of before. Galen experiments on Landon, while Milo uses information from Landon to recover the Liberty 1 from beneath the water, setting up and explaining one of the particularly contrived aspects of the third film. To be honest, this is one of those tie-ins where it feels like its whole purpose is not telling a story, but sewing up holes. It does a good job of sewing up holes (I liked the explanation for why the Liberty 1 crashed to begin with, or why someone would even send a rescue mission after a ship that seemingly couldn't return), but Gaska's own story isn't always particularly compelling.

The book is graphic novel-sized (I think it was published by a comic book publisher) and profusely illustrated by some greats of the sf/comics world like Andrew Probert, Dave Dorman, and Thomas Scioli, which was really neat. Worth reading if you've thought a lot about inconsistencies in the Planet of the Apes films (which I have), but maybe not if you just want to read a great story.

23 August 2019

The 2019 Hugo Awards: Results and Final Thoughts

I watched the livestream go out again this year, which really is the way to do it. This year's ceremony was a little longer than last year's, which I liked, as last year's felt a little rushed at times. Both co-hosts-- Irish author Michael Scott and American artist Afua Richardson-- were fantastic. Richardson's mid-show tribute to Nichelle Nichols, complete with an amazing rendition of "Stand by Me," was a real highlight of the whole evening, and made my eyes mist up slightly. The use of live music for when winners walked up to the stage was also a nice touch. (And whenever my twelve-month-old son heard it, he started dancing.)

Once again, it was great to be able to see all these writers go up to the mic and receive their awards, even people who I myself did not vote for or even particularly want to win!

Say what you will about The Good Place, it was super-cool that actress D'Arcy Carden and the writer (I think? I didn't quite catch her introduction) sent a video message accepting the award; last year I complained at how the Best Dramatic Presentation finalists are unrepresented. Also I felt Professor Ada Palmer gave a great speech as she presented the Campbell Award for Best New Writer.

People really need to learn to not depend on their phones for acceptance speeches... and really not depend on logging into their e-mail!

So what did I think of the results? Just some brief thoughts here:

Category What Won Where I Ranked It What I Ranked #1 Where It Placed
Lodestar Award for Best Young Adult Book Children of Blood and Bone
6th Tess of the Road 3rd
I knew this would win, even though I found little of interest in it myself. I thought Tess of the Road would do worse, though, so I was happy for a third-place showing. Dread Nation, which I rated second, finished second, so that was nice. The category was pretty evenly split in first-round votes among four different titles; CBB, Dread Nation, Tess, and Invasion each had around 200. I'm not very surprised to see that Cruel Prince and The Belles weren't to the taste of the Hugo electorate, though Cruel Prince did edge past Invasion to take fourth.

Best Dramatic Presentation (Short Form) The Good Place: "Janet(s)" 3rd Dirty Computer 6th
Dirty Computer was a finalist that was really liked by those who liked it... but not liked by enough people in the end. It had the second most first-round votes: more than "Janet(s)," actually, as The Expanse: "Abbadon's Gate" got the most. But once the other Good Place episode, "Jeremy Bearimy," was eliminated from contention, most of its votes unsurprisingly transferred to "Janet(s)." The two Doctor Who episodes up this year (which I ranked second and fourth) finished in third and fourth.

The long list has some interesting stuff bubbling under with not quite enough nominations to make the ballot: episodes of the new She-Ra in 8th and 13th, an ep of Steven Universe in 10th, and a Star Trek: Discovery episode down in 14th.

Best Dramatic Presentation (Long Form) Spider-Man: Into the Spider-Verse 1st Spider-Man: Into the Spider-Verse 1st
This was the only category where I voted for the first-place winner! I was delighted, as it was a very worthy winner. I feel almost embarrassed to see, though, that Infinity War in third somehow beat out Annihilation, A Quiet Place, and Sorry to Bother You. C'mon, people!

Best Graphic Story Monstress: Haven
7th On a Sunbeam
6th
My tastes in comics and those of Hugo voters at large are clearly wildly divergent. The two works I placed below No Award (Monstress and Black Panther: Long Live the King) ranked first and second! On the other hand, On a Sunbeam lands in last, which is just grossly unfair. Why do the Hugo voters love Monstress so much? Can one of them please explain what is actually happening in that series to me? It has now won three years in a row!

The longlist shows some interesting stuff bubbling under, some of which I suspect would have been more to my taste: The Wicked + the Divine (7th), Ms. Marvel: Teenage Wasteland, which I nominated (9th), Mister Miracle, which I read but after nominations closed (14th). I also nominated Transformers: Lost Light, but it didn't place in the top 15.

Best Related Work Archive of Our Own 7th Astounding 6th
Wow, yikes, me totally off based yet again. Great speech by the victors, though, and I like that they're actually leaving the rocket with WSFS because it belongs to fandom, not them. I am really, well, astounded at the poor showing for Astounding. It did not deserve to be beaten by a mediocre Le Guin interview, for sure. It actually got the most nominations, so I'm not sure what happened there. Also bummed that the The Hobbit video essay landed in fifth.

Looking at the longlist, I am pretty relieved I didn't have to read George R.R. Martin's Westeros history, as it missed the ballot by less than half a point.

Best Short Story "A Witch's Guide to Escape" 3rd "The Court Magician" 5th
Hard for me to complain, when I felt this category was kind of mediocre this year. All of the finalists were pretty good, but few were great, so eh. Am kind of sad that Sarah Pinsker keeps getting Hugo nominations but no wins (she's definitely the best short fiction writer I've discovered by getting involved in the Hugos), but I feel like she'll make it someday.

Best Novelette "If at First You Don't Succeed, Try, Try Again" 4th The Only Harmless Great Thing 5th
On the other hand, this is hard for me to complain about because the category was so strong! "If at First You Don't Succeed" is an amazing little story, and only ended up in fourth on my ballot because the competition was so strong. I'm not surprised Only Harmless wasn't quite to the taste of the average Hugo voter.

Best Novella Artificial Condition 5th No Award 7th
Okay, I'm not surprised No Award didn't win this category, or even place, and I'm also not surprised that Murderbot won, and I'm also also not surprised that the actual story I ranked second landed down in sixth, Gods, Monsters, and the Lucky Peach. I hope next year is better.

Best Novel The Calculating Stars 2nd Spinning Silver 2nd
Not surprised at this, and pretty happy about it, too; it's the one category where I was roughly in accord all the way down (I placed Space Opera last; it finished in last). Mary Robinette Kowal gave a fantastic acceptance speech, too.

I actually No Awarded Best Series because I don't believe in the category, and I don't rate the Wayfarers books very highly... but I was glad to see Becky Chambers win it. First, because it's the kind of series the category was ostensibly created to honor, one where the constituent parts haven't won, but the whole does. Second, because Chambers gave a great acceptance speech about how Worldcon itself transformed her from a self-published author to one with a book deal! She was quite clearly emotional as she gave her speech, wishing her wife was there to share in the moment instead of back home.

As always, I enjoyed the experience, though I think I didn't enjoy more of the finalists this year than in previous years. Hopefully next year is a return to form. On the other hand, this year's actual process of voting and reading was way better than 2018's.

Now that I've done it three times, it's a thing, so I'll def be back for more!

22 August 2019

Review: The Craft of Writing Science Fiction That Sells by Ben Bova

Trade paperback, 275 pages
Published 2016 (originally 1994)

Acquired July 2019
Read August 2019
The Craft of Writing Science Fiction That Sells by Ben Bova

Based on my short-lived career as an author of mediocre Star Trek tie-ins, I've been assigned to teach a science fiction creative writing class this fall. So, I cast about for a textbook, and after skimming through a couple, decided upon this one, which was focused and straightforward and had some good insights. Bova has had a long career as an sf writer (beginning in 1959, and he had a new novel out this year!), but more importantly he had a strong stint as an editor at Analog (1972-78) and Omni (1978-82). It mostly focused on short fiction (ch. 3-14), though it also touches on novel writing (ch. 15-16, 18).

The book emphasizes four aspects of writing: character, background, conflict, and plot. For each of these aspects, Bova spends a chapter setting up general principles ("theory"). Then, he includes one of his own short stories. Finally, a third chapter explains how that story embodied the principles he set up ("practice"). It's a nice format, let down slightly that (on the basis of this book, at least; I haven't read much by Bova), he's a fairly middling sf writer. Three of the four stories here were good ideas, but coolly written; Bova has set-ups and ideas that could make you feel, but don't. One, "Crisis of the Month," is decidedly poor. However, they are useful at illuminating his ideas, and my plan is to pair his ideas with stories from The Best Science Fiction of the Year for 2018. I like his ideas, especially his take on how to write interesting characters. I do wish he spent more time focusing on what specifically is science fictional in each of the four categories: the background section does this the most, but a lot of his advice is fairly generic to all short fiction.

All that said, if you want a book about writing science fiction and just science fiction, it appears to be one of the strongest out there. My perusal on Amazon was not very promising; a lot of his competitors are unfocused (taking in many speculative genres) or spend a lot of time on basic elements of writing (which Bova assumes one already knows, and is how I would prefer to tackle my class), or just are chaotic (the table of contents for Jeff VanderMeer's Wonderbook, for example, overwhelmed me, though I might take a second look at it). It's not a perfect book, but I suspect it will teach well-- Bova has a very straightforward writing style, very businesslike-- which is the point for me. I guess we'll see this fall!

21 August 2019

Joe Casey's Adventures of Superman: Introduction / #588: "Child's Play" / Reading Order and Index to Posts

Introduction

Joe Casey's run on Adventures of Superman is one of those runs everyone in comics fandom speaks of in hushed, reverent tones, like Levitz and Giffen on the Legion, or Mark Waid on the Flash, or James Robinson on Starman. Although, it's not quite as widely spoken of as those; it has a more insidery feel than that. To the people that really know their Superman, Joe Casey is where it's at. Most noteworthy is the latter part of his run, where Superman never uses violence, allowing Casey to explore how Superman can be a superhero without throwing a punch.

Except, unlike all of those runs, it's never really been collected. DC has never released an Adventures of Superman by Joe Casey Omnibus, even though they've given the treatment to Justice League Detroit! I don't pretend to understand how DC's collected editions department makes decisions, but I suspect it's at least partially because for much of Casey's run, the four Super titles (Adventures, plain old Superman, Man of Steel, and Action Comics) were treated as one big title. Each week would see one of the four released, with stories rotating through them. So if you collect Casey's work, you have to collect a lot of other stuff too.

So, I spent some time tracking down the series on the secondary market. Casey's run ran from #588 (Mar. 2001) to #623 (Feb. 2004), minus a few fill-ins, a respectable three years that produced thirty-three comics. In addition, I'll be reading any crossovers with the other Super titles in full, sometimes in single issues, sometimes in collected editions (it just depended on what I could get cheaper). And I'll also be reading some other stuff from the era that seemed interesting to me (Traci 13, who I really enjoyed in Blue Beetle and Doctor 13, debuts in Action Comics during this time), as well as folding in Joe Casey's return to the era in his run on Superman Batman. The bottom of this post contains an index to the whole experiment that I'll update as we go.

Up, up, and away!

"Child's Play"

The Adventures of Superman vol. 1 #588 (Mar. 2001)
 
Writer: Joe Casey
Penciller: Mike S. Miller
Inkers: Jose Marzan, Jr. and Walden Wong
Letterer: Bill Oakley
Asst. Ed.: Tom Palmer, Jr.
Editor: Eddie Berganza 


This is Joe Casey's first solo issue on Adventures of Superman. He was credited as co-writer on #587 with J. M. DeMatteis, but I skipped that, thinking it was mostly a wrapping up of storylines from DeMatteis's run. The story begins in medias res, with everyone in Metropolis, including Superman, acting nasty-- except for Lois. People are rude to each other on the subway, Superman uses his heat vision to graffiti a dam, Clark ignores Lois at work and hits on an attractive young Daily Planet employee. This comes from the era where Clark and Lois are married, and where (as I vaguely remember reading about), Metropolis is a literal city of the future, with flying cars and stuff like that.

It's not explained why only Lois realizes something is going on. Soon she's contacted by a weird spirit lady ("I am the living bridge between the corporeal and the noncorporeal. I see... and am never seen.") who tells her the Clark that Lois sees is only a hollow shell; his real essence lies elsewhere. Lois manages to transfer herself into the "Nightmare Realm" through "Torquasm-Rao," which I'm guessing from context is some kind of Kryptonian mental/meditation technique. It turns out Superman is held captive by some thing called Satanus; he traded his soul for the city of Metropolis. Satanus is using the power of a wheelchair-bound boy named Cary to do all this. Lois and Clark free Cary, Satanus's realm collapses, and they all fly away.

I had thought at first that Casey's run was a clean start and this was all some in medias res stuff, but as it went on, I realized this was picking up from earlier issues; there was too much left unexplained otherwise. Looking at covers shows that this plotline goes back to at least #583. Oh well. I probably didn't want to read all that anyway.

It almost works on its own. I liked Casey's emphasis on Superman as the wellspring of decency in Metropolis; with him gone, the city itself becomes hollow. And I can see the seeds of what is to come in Superman stopping Cary from unnecessary violence in defeating Satanus. Casey and penciller Mike Miller also do a good job with the tone, which is slightly disconcerting. But there are too many unanswered questions and too much unrelayed exposition for this to read compellingly as a single issue to someone who's just come in. The rules of the "game" that let Superman et al. win seem pretty arbitrary, too.

Presumably the good stuff is forthcoming.

Reading Order and Index to Posts

Issue numbers are preceded by "triangle numbers" (which ran across the Super titles, so that you knew how to interweave the four ongoings) where relevant.