Thursday, September 23, 2010

Bloody Bloody Andrew Jackson Puts the Emo in dEMOcracy

Broadway has seen its fair share of offbeat musicals in recent years, but The Public Theatre's emo rock opera about controversial president Andrew Jackson seems like a combo that's just to weird to work.

Taking the life story of the president that is responsible for the Trail of Tears which caused the deaths of numerous Native Americans, and fusing it with rockstar celebrity, it just somehow makes sense in today's day and age, making history more accessible by re-enacting it through modern tropes.

However, I was a poor history student so I really have no idea whether what I was hearing and seeing was even remotely accurate, but it sparked in me a desire to find out the true story behind the "American Hitler" that's also considered one of our greatest presidents "who put the Man in Manifest Destiny".

The show is playing at Bernard B. Jacobs Theatre, where the stage is small but even with a drum kit and piano set up, the cast makes good use of the space. The entire theatre is done up like a Wild West saloon with empty beer cans, animals stuffed and surrounding the stage, with an overall rockabilly flair. With parts of the cast coming out and playing instruments, it was a full blown band performance.

But this is where the show falters. The songs are not strong enough to stick in your head, leaving you unable to remember any individual song or lyrics. The singing falls a bit flat, never producing the power of Broadway vocals that gives you the chills. The music itself is really good, but the song compositions often break it up too much to really get into.

That said, the theatrical performances of the cast were amazing. Each member had great comedic timing and the supporting cast transformed itself with each change of scene, going from Southern Rednecks to Washington Aritocrats flawlessly. Benjamin Walker as Andrew Jackson was thoroughly charismatic, Maria Elena Ramirez felt like a poor casting choice as his wife, but it was Jeff Hiller as backup characters who stold every scene.

So all in all, it was a darn good time and had me laughing throughout, and even though the music I found lacking, it was refreshing to see something a bit more rock'n'roll in the form of a very un-PC, historical satire. Dare I say, it was a bloody good time.

Monday, September 13, 2010

Pryzmalite Massacre

Band Performance
Backstage Breakdown
Jen Solo

Dive Bar
Drummer Death
Stalker Setup

Jam Session
Bassist Stabbing
Hiding Out

Central Park
Heart to Heart
Guitarist Slashing

Agent Action
Manager Reveal
Killer Paparazzi

Tuesday, September 7, 2010

Superhero Script Ideas

Here's the basis for the superhero story that came out of thinking of something more lighthearted. It's my take on an un-ironic Kick-Ass. Not sure about it, still working out the narration, but it'll be about making friends and happy stuff. Let me know if you think tone-wise and interest-wise it'll work. Otherwise I was maybe thinking the Bob Awesome story would be a good choice for your style and be fun enough for the book. If you're still free...

Hope you guys had a good Labor Day!

K

Young superhero
Anti-Kickass
Inspirational
Non-ironic
Actual super moral ideal
Love story?

Page 1
Origin
Hyper Maximum
Sugar & cartoons

Panel 1
Young kid watching cartoons and eating cereal, repeated three times across the top. (Maybe a bit older each time, or at least in different sci-fi outfits, cowboy to spaceman to pulp-hero?)

HM: (NARRATION) ONE FATEFUL SUMMER AT OUR NEW HOUSE...

MOM: (Off Panel) MAX, DON'T SIT THERE ALL DAY WATCHING CARTOONS.

HM: (N) A YOUNG BOY WHO HAD SEEN TOO MANY SUPERHERO CARTOONS AND HAD WAY TOO MUCH SUGAR...

MOM: (OP) YOU'VE GOTTA GET OUT THERE AND MAKE FRIENDS.

Panel 2
Max running out the front door, blurs into Hyper Maximum in costume.

HM: (N) WAS FORCED OUT INTO THE SUMMER DAY...

MOM: (OP) GET OUT THERE RIGHT NOW YOUNG MAN! ENJOY YOUR YOUTH/SUMMER BEFORE IT'S OVER!

HM: (N) WHERE HE BECAME...

(Title-logo) HYPER-MAXIMUM!

Panel 3
Snatches a cat from the street before a car hits it.

HM: (N) PROTECTOR OF THE STREETS.

Panel 4
Chasing off bullies from a dorky kid.

HM: DEFENDER OF THE WEAK.

Panel 5
Diving and catching a girl falling from a tree.

HM: (N) SAVIOR TO THE MEEK.

Panel 6
Close up. They smile at each other.

HM: (N) IT WAS MY DESTINY TO HELP THOSE I COULD.

HM: (N) THERE WASN'T MUCH ROOM FOR THAT SUMMER FOR...FRIENDS.

Page 2
Partner
Ultimate Extreme
Wrestling & spray paint

Panel 1
The dorky kid from page 1 is now dressed up in a neon costume, raging and yelling as he runs along a picnic table in a backyard.

HM: (N) ONE DAY I SAW THAT MY PRESENCE HAD INSPIRED ANOTHER.

Panel 2
Jumping off and tackling three kids to the ground. HM in the background, high above in his tree house watching.

HM: (N) COULD THIS WARRIOR BE A PARTNER IN MY MISSION?

Panel 3
The duo chasing a bike thief who's speeding towards us. Maybe HM is hanging on the back of the bike as UE grapples the kid.

HM: (N) SURE ENOUGH WE TEAMED UP AND BATTLED TWICE THE THREATS I COULD ALONE.

Panel 4
Eating candy sitting atop the playground. A giant rocket. Outside the window is the girl from page 1.

HM: (N)

Panel 5
Close up on the porthole on the rocket that shows the girl out on the playground.

HM: (N)

Page 3
Panel 1
UE yelling at HM. Wrestling near the edge, UE pushing HM closer.

UE: YOU'RE SO RETARDED!

HM: GET OFF!

Panel 2
Fall out of the rocket and hit ground.

Panel 3
HM hurt, UE storms off as the girl comes up to help.

Panel 4
HM takes off his mask, bleeding a bit from the nose, looks up at us (The Girl) smiling.

Page 4
Conflict
UE vs HM

Panel 1
UE all dark and sinister watches as HM (out of costume) walks around with the Girl.

Panel 2
Ice Cream Truck, he peers from broken slat in fence.

Panel 3
Swimming pool, he hides beneath umbrella as Max dives off and Girl waves.

Panel 4
Max & Girl holding hands, walking towards us, UE in the background, a bit more exposed with a darker costume, riding a skateboard speeding up behind them.

Page 5
Villain
UE returns evil
Splash page

Panel 1 (Main Image top left)
UE dives off skateboard lunging in mid-air towards Max who has turned preparing for attack. Girl is in shock.

Panel 2-6 (all surrounding the main shot)
UE beats up Max.
Roll on the ground.
Punch to stomach.
Kick in the butt.
Pushes him back down to sidewalk

Page 6
Fight
Battle

Panel 1
Girl swoops in, her own costume on. (Flower Girl?).

Panel 2
Gets UE on the defense, Max in background taking costume from backpack.

Panel 3
UE bracing from Girl's attack.

Panel 4
UE cocks his fist back, about to punch Girl.

Panel 5
HM clocks him good with FG.

Page 7
Resolution
Team up

Panel 1
UE is stripped of part of his costume as he shouts from the back patio, the back door sliding closed as he yells.

Panel 2
HM & FG stand atop the tree house.

Panel 3
They look at each other smiling.

Panel 4
Close up on them holding hands.

HM: (N)

Thursday, August 12, 2010

Scott Pilgrim vs. Hollywood: a Scott Pilgrim Experience Review

I absolutely loved Bryan Lee O'Malley's 'Lost At Sea', from the teenager angst to the simply beautiful, solemn and quirky artwork, but when his next series, 'Scott Pilgrim' came out I thought it seemed to silly or something, and it never really caught my attention.

Until one day my good friend Reilly Brown said that I HAD to read it. There were just too many similarities between Scott's life and my own. Granted I wasn't an early 20's bassist in Canada, but I was a slacker with a young ex with a penchant for blades, and relationship drama mixed with oblivious comedy sounded about right.

The comic melted my brain. It was an indie book, with characters that just hung out, went to parties, and meandered through their lives. It was a battle book where suddenly a duel would take place with superpowered kung fu. Scott was clueless and yet you couldn't keep him down for long. It was rock'n'roll mixed with subtle video game moments. What was this?

The comic makes you love the characters, from the bitchy Julie Powers, to snarky Kim Pine, to vulnerable Knives Chau. Stephen Stills cowboy shirts, Young Neil's haircuts, and Wallace Wells dry wit, these were all iconic people in Scott Pilgrim's universe, well rounded and each given their moments, their personalities developed organically through the volumes.

Now, I must say, I love Edgar Wright. I've seen his BBC series Spaced at least three times through, and. Shaun of the Dead was brilliant in its skirting of the fine line between horror and comedy. Hot Fuzz was a sophmore dip, but it had tons of fun moments. This was an amazing storyteller of a director with a ton of geeky influences and a plethora of visual tricks.

So when I heard that he was directing Scott Pilgrim vs the World, it was like nothing I've experienced as a fanboy. My favorite superheroes have yet to make it to the big screen, and the closest I got to having one of my all-time favorite graphic novels translated to film well was V For Vendetta, which I quite liked. But this was different.

Here we had excellent source material with loveable characters, fun violent action, and a director that seemed to be perfectly suited for the lighthearted tone this adaptation would need. It features a bunch of actors I really enjoy, and with the teaser images Wright posted on his Flickr all last year while filming, it appeared it was devoutly faithful. Would it live up to the trailer that gave me chills when I first saw it?

Yes. Yes, it did. But do I feel some sort of deflated feeling after following the internet media push that was almost as entertaining as the comic itself? Yes, it's done, out into the ether to be consumed by the masses. In a few weeks it'll be half-remembered, perhaps quoted, inspiring new fans to track down the books, sport Plumtree t-shirts, and maybe start their own bands (like me).

Around Christmas we'll get the DVD release, maybe some rad extra features, behind the scenes, video game samples, etc. I'll pick up the special edition collection of all six volumes, complete with unreleased material as soon as it comes out. And there it'll sit for future enjoyment at a whim.

This time will never be captured again. Like seeing that epic band performance at the coliseum where you got the tour shirt that'll be expensive vintage for futuristic hipsters who were never there in the moment. But there's something about films that makes them timeless, just as we can enjoy classics from the past on Blu-Ray.

Now, as for the movie itself, (I had to explain all the emotions and thoughts involved to properly process my feelings) the first half is perfection. This is Scott Pilgrim's comic/video game universe come to life. The fantastic camera movements, the interactive narration and title cards introducing our main characters, the true performances that sell them as their graphic novel counterparts, it's all there.

The first half is almost shot for shot the introduction, I remembered the exact angle and background when Scott first sees Ramona at the library. I got giddy. Then suddenly new elements pop up, or small bits skipped over (which is flawlessly handled by Wright as he cuts a sharp turn from scene to scene), and then you realize that this is a movie of Scott Pilgrim.

I tried to not be that elitist fanboy that makes mental notes about what's missing and lines that were different, but it popped up now and again. And I told myself that O'Malley hadn't even completed volume six until months after filming had wrapped, so of course it would be different. There wasn't time for Julie & Stephen's drama, or Scott & Ramona to move in together.

And though I had slight problems with the end of volume six, it felt complete, satisfying. So the movie would have to do the same. And logically, I feel it satisfying me, but emotionally, something wasn't there. The fights came fast and frantic in the second half, never really letting Scott & Ramona to settle into being a couple. Those scenes were Scott gets a job or has birthday were what makes them the couple I know them as.

But yes, it's a two hour film so, I try and take it as a complete story, and it works. There's conflict and resolution and we're given an identical ending to the comic really, if not slightly stripped down and amped up for a more one on one style fight. What matters is the spirit is there. Scott earns the power of love and levels up, Sex-Bob-Omb rocks out, and Evil Exs are defeated.

I'd call that a flawless victory.

Ps- you can stream the soundtrack and the score, and my takes on those are that between them both is a solid album, if only the kickass Sex-Bob-Omb songs were on the score. My particular favorite is 'Summertime' which has been stuck in my head for days.

Now, who wants to start a band with me?

Tuesday, August 3, 2010

Thor Marvel Comics

I have just read the first 12 issues of Thor and the finale, as well as Thor 600 & 601 (going along with Marvel's return to original numbering, the flipside to the constant new issue #1s). This run by JMS, drawn by Oliver Copiel & Marco Dudjerjejrk, chronicles the return of Thor and all of Asgard from the post-Ragnarok void that the God's rested in when I guess Marvel didn't know what to do with the character (along with the Avengers) and killed them all off.

JMS does an amazing job resetting continuity while moving the series forward story-wise. Thor is called forth to protect Midgard (Earth) and is once again bonded to Dr. Donald Blake (who are two seperate conscious beings). He's got the gnarled walking staff which he uses to transform into the God of Thunder. And he's brought back into Man's world to re-create Asgard on Earth to reconnect with humanity.

Heimdall, Balder, Loki, the Warriors Three, they're all back (although Loki in female form which works to unsettle and regain trust with the Asgardians just enough to manipulate them all, and later is revealed as a plot to keep Lady Sif from Thor). Everyone is back except Odin.

Though it appears Thor is purposefully not bringing back his father, he tells himself it is so the kingdom may not repeat the cycle of Ragnarok once more. It will be a fresh start for the Asgardians. But perhaps it is because Thor truly wishes to lead, to come into his own, to surpass his father.

To that end Thor journeys via Odinsleep, into the realm that now houses Odin and Surtur, who are locked in eternelly repititious cycles of violence against each other. Here we are told a tale of Bor, Odin's father, and how in defiance of him Odin created man, who his father plagued with monsters and beasts to punish his son and his creation. Odin understands the need for the cycle to begin anew with new leadership.

This tale of Bor also sets up an interesting twist on the origin of Loki and how he came to be adopted son of Odin, the guilty poison let into the kingdom. I won't spoil it past that as it is truly one of the most clever bits in this run. It also sets up the return of Bor who is brought to NYC dis at the hands of Loki, and then beset by Thor, who ends up killing his own grandfather.

A move that allows Loki to place Balder as King (after slyly revealing the truth that Balder is half-brother to Thor), and to have Thor exiled. This brings the Asgardians into Latveria, and Doom experiments on them, and there's a big fight with Doom's own version of the Destroyer suit. It's pure comic book here.

But it also has nice moments of the Gods interacting with humans, and even sets up a heroic death for Bill Jr. (aka William the Third) who fell in love with a female winter goddess. It's pretty well done and you really do root for the character and his death is handled exceptionally well if not blunt. But these are gods here. Depowered a bit on Earth, but gods among mortals.

There's even a bit at the end which makes it so Dr. Donald Blake once again is wounded and left with a limp so he needs the cane. It's all very neatly tied up with a bow, leaving us with a well developed story, an entertaining and engaging return of the great characters from this part of Marvel, and prepares us for Siege.

A small plot hole I found was, what was Loki's plan for Sif, it almost seemed as if he were just using her to distract Thor, or perhaps just using her mortal form to regain trust? I'm not sure, but it wasn't to remove her from him forever.

Either way, it's great to have Thor back, and the scene where Thor gives Iron Man what's coming to him for the Civil War/Thor clone debacle, and the Captain America memorial, well this really helps build up the need for a return of the Avengers.

Thor Marvel Comics

I have just read the first 12 issues of Thor and the finale, as well as Thor 600 & 601 (going along with Marvel's return to original numbering, the flipside to the constant new issue #1s). This run by JMS, drawn by Oliver Copiel & Marco Dudjerjejrk, chronicles the return of Thor and all of Asgard from the post-Ragnarok void that the God's rested in when I guess Marvel didn't know what to do with the character (along with the Avengers) and killed them all off.

JMS does an amazing job resetting continuity while moving the series forward story-wise. Thor is called forth to protect Midgard (Earth) and is once again bonded to Dr. Donald Blake (who are two seperate conscious beings). He's got the gnarled walking staff which he uses to transform into the God of Thunder. And he's brought back into Man's world to re-create Asgard on Earth to reconnect with humanity.

Heimdall, Balder, Loki, the Warriors Three, they're all back (although Loki in female form which works to unsettle and regain trust with the Asgardians just enough to manipulate them all, and later is revealed as a plot to keep Lady Sif from Thor). Everyone is back except Odin.

Though it appears Thor is purposefully not bringing back his father, he tells himself it is so the kingdom may not repeat the cycle of Ragnarok once more. It will be a fresh start for the Asgardians. But perhaps it is because Thor truly wishes to lead, to come into his own, to surpass his father.

To that end Thor journeys via Odinsleep, into the realm that now houses Odin and Surtur, who are locked in eternelly repititious cycles of violence against each other. Here we are told a tale of Bor, Odin's father, and how in defiance of him Odin created man, who his father plagued with monsters and beasts to punish his son and his creation. Odin understands the need for the cycle to begin anew with new leadership.

This tale of Bor also sets up an interesting twist on the origin of Loki and how he came to be adopted son of Odin, the guilty poison let into the kingdom. I won't spoil it past that as it is truly one of the most clever bits in this run. It also sets up the return of Bor who is brought to NYC dis at the hands of Loki, and then beset by Thor, who ends up killing his own grandfather.

A move that allows Loki to place Balder as King (after slyly revealing the truth that Balder is half-brother to Thor), and to have Thor exiled. This brings the Asgardians into Latveria, and Doom experiments on them, and there's a big fight with Doom's own version of the Destroyer suit. It's pure comic book here.

But it also has nice moments of the Gods interacting with humans, and even sets up a heroic death for Bill Jr. (aka William the Third) who fell in love with a female winter goddess. It's pretty well done and you really do root for the character and his death is handled exceptionally well if not blunt. But these are gods here. Depowered a bit on Earth, but gods among mortals.

There's even a bit at the end which makes it so Dr. Donald Blake once again is wounded and left with a limp so he needs the cane. It's all very neatly tied up with a bow, leaving us with a well developed story, an entertaining and engaging return of the great characters from this part of Marvel, and prepares us for Siege.

A small plot hole I found was, what was Loki's plan for Sif, it almost seemed as if he were just using her to distract Thor, or perhaps just using her mortal form to regain trust? I'm not sure, but it wasn't to remove her from him forever.

Either way, it's great to have Thor back, and the scene where Thor gives Iron Man what's coming to him for the Civil War/Thor clone debacle, and the Captain America memorial, well this really helps build up the need for a return of the Avengers.

Thor Marvel Comics

I have just read the first 12 issues of Thor and the finale, as well as Thor 600 & 601 (going along with Marvel's return to original numbering, the flipside to the constant new issue #1s). This run by JMS, drawn by Oliver Copiel & Marco Dudjerjejrk, chronicles the return of Thor and all of Asgard from the post-Ragnarok void that the God's rested in when I guess Marvel didn't know what to do with the character (along with the Avengers) and killed them all off.

JMS does an amazing job resetting continuity while moving the series forward story-wise. Thor is called forth to protect Midgard (Earth) and is once again bonded to Dr. Donald Blake (who are two seperate conscious beings). He's got the gnarled walking staff which he uses to transform into the God of Thunder. And he's brought back into Man's world to re-create Asgard on Earth to reconnect with humanity.

Heimdall, Balder, Loki, the Warriors Three, they're all back (although Loki in female form which works to unsettle and regain trust with the Asgardians just enough to manipulate them all, and later is revealed as a plot to keep Lady Sif from Thor). Everyone is back except Odin.

Though it appears Thor is purposefully not bringing back his father, he tells himself it is so the kingdom may not repeat the cycle of Ragnarok once more. It will be a fresh start for the Asgardians. But perhaps it is because Thor truly wishes to lead, to come into his own, to surpass his father.

To that end Thor journeys via Odinsleep, into the realm that now houses Odin and Surtur, who are locked in eternelly repititious cycles of violence against each other. Here we are told a tale of Bor, Odin's father, and how in defiance of him Odin created man, who his father plagued with monsters and beasts to punish his son and his creation. Odin understands the need for the cycle to begin anew with new leadership.

This tale of Bor also sets up an interesting twist on the origin of Loki and how he came to be adopted son of Odin, the guilty poison let into the kingdom. I won't spoil it past that as it is truly one of the most clever bits in this run. It also sets up the return of Bor who is brought to NYC dis at the hands of Loki, and then beset by Thor, who ends up killing his own grandfather.

A move that allows Loki to place Balder as King (after slyly revealing the truth that Balder is half-brother to Thor), and to have Thor exiled. This brings the Asgardians into Latveria, and Doom experiments on them, and there's a big fight with Doom's own version of the Destroyer suit. It's pure comic book here.

But it also has nice moments of the Gods interacting with humans, and even sets up a heroic death for Bill Jr. (aka William the Third) who fell in love with a female winter goddess. It's pretty well done and you really do root for the character and his death is handled exceptionally well if not blunt. But these are gods here. Depowered a bit on Earth, but gods among mortals.

There's even a bit at the end which makes it so Dr. Donald Blake once again is wounded and left with a limp so he needs the cane. It's all very neatly tied up with a bow, leaving us with a well developed story, an entertaining and engaging return of the great characters from this part of Marvel, and prepares us for Siege.

A small plot hole I found was, what was Loki's plan for Sif, it almost seemed as if he were just using her to distract Thor, or perhaps just using her mortal form to regain trust? I'm not sure, but it wasn't to remove her from him forever.

Either way, it's great to have Thor back, and the scene where Thor gives Iron Man what's coming to him for the Civil War/Thor clone debacle, and the Captain America memorial, well this really helps build up the need for a return of the Avengers.