Dreams of the Golden Age, by Carrie Vaughn

Not quite as strong as the earlier outing (After the Golden Age) but still very good. This volume takes place about 18 years after the first, with the next generation of heroes taking the stage. Mostly high school kids, they are trying to figure out both how to use their powers safely and where they fit in the world—all with a healthy dose of teenage angst. I especially liked how some of the powers the kids have aren't as easy to be heroic with as others, and the conflicts that arise as a result. The plot is straightforward with almost none of the mystery of the earlier novel; it was pretty clear who the bad guy was from his first introduction (a bit of the author's political stance on housing shows through here, where the hero has an economic redevelopment plan that adds density and revitalization in the city core and the villain's competing plan enhances suburban sprawl. I approve, but it makes me a bit sad that in my hometown of Austin the villain would be winning...), although the universe expanded nicely with a lot more super-powered people running around. Considering Dreams of the Golden Age was released in 2011, though, I'm sadly not sure if a third volume is forthcoming, but I'm hopeful the world-building wasn't for naught. A lot of fun, this is a nice easy read.

First Sentence:

Celia West sat alone in her office, a corner suite in the family penthouse at West Plaza.

Ghosts of Karnak, by George Mann

I purchased this thinking the titular Ghost was the same character from the Batman: The Animated Series episode "Beware the Gray Ghost"—one of my favorites. It was a great story where we find out Batman patterned a lot of his approach to crimefighting from an old TV show, The Gray Ghost. (Even cooler, the Ghost was voiced by Adam West, a nice nod to Batman history.) Sadly, although the art on the cover of Ghosts of Karnak seems to support this, the Ghost from the novel clearly isn't the Grey Ghost I wanted.

Set in a steampunk-inspired 1920s New York City the plot finds the Ghost initially fighting mobsters, but they take a back seat when a mystic religion that wants to destroy Manhattan is uncovered. The book is surprisingly violent, with deadly force seemingly the only thing ever used—"Batman doesn't kill" is a mantra not shared by the Ghost. To that end, the Ghost uses explosive rounds in his gun rather than regular bullets, that burst targets "chests like glistening, blooming flowers." Resurrected ancient Egyptian gods, sentient baboons, and living statues feature in the climax; while interesting, they completely pulled me out of the world and story. Overall I found this book to be disjoint and disappointing; but to be fair, I went into it with a very different expectation than what I found.

First Sentence:

Her name was Autumn and like the season that had invested her with both name and temperament, her apperance heralded the onset of a fall.

After the Golden Age, by Carrie Vaughn

A coming-of-age story, this novel focuses on Celia, the only daughter of the world's greatest superheroes, Captain Olympus and Spark. Celia has no powers herself, though, and spent her childhood feeling like a disappointment to her famous parents. After a major act of rebellion she ran away to college, became a forensic accountant, and has refused to have anything to do with her family while rebuilding her life. However, when her parents' archenemy is jailed for tax evasion, Celia is assigned to the case and finds her worlds drawn together once again.

While superheroes and villains are at the core, this is really a tale of redemption simply set in a four color world. There are a few different mysteries in play, but everything is wrapped up neatly (if predictably) at the end. The main romance jarred me a bit; I clearly misunderstood the age of one character so the sudden affair seemed to come out of nowhere. Regardless, I found myself rooting for Celia and look forward to the next volume, Dreams of the Golden Age.

First Sentence:

Celia took the late bus home, riding along with other young workaholic professionals, the odd student, and late-shift retail clerks.

Slaves of the Switchboard of Doom, by Bradley W. Schenck

Described accurately on the back cover as "Fritz Lang's Metropolis meets Futurama" this book is set in a future that might have been envisioned in the 1930s, complete with space pirates, personal rockets, robot sidekicks, mad scientists, and private adventurers. There are a couple of main plots that coalesce at the climax—almost too many plots. There are a lot of groups running around and until they start bumping into one-another the story is pretty chaotic. The humor saves the novel, though, with the city's Experimental Research District (where all of the scientists maintain their laboratories to keep all of the explosions contained and the rest of the city safe) being my favorite location and the world's smallest giant robot my favorite character. Overall the book is pretty light, but the madcap adventure and pulpy descriptions and depictions of the art deco world are worth a look.

First Sentence:

The Scarlet Robots of Lemuria had begun to climb the walls of the citadel by the time Dash remembered to check the time.

Song of Spider-Man, by Glen Berger

Even though Spider-Man: Turn Off the Dark is often called one of the biggest disasters ever produced on Broadway, it is a show I dearly would have liked to have seen. Spider-Man is one of my favorite heroes, and the descriptions of the action scenes in the show sound amazing. Spider-Man and the Green Goblin battling in the air above the audience, leaping off walls, briefly landing in the aisles before soaring off again. As great as that sounds, Song of Spider-Man makes it clear what a mess the musical actually was.

The reason the show was such a train wreck was the creative minds behind the show didn't understand what makes Spider-Man special. Interestingly, the author of the book is one of those creative minds. Berger details how he and Julie Taymor came up with the story, and then proceeds to cover how it clearly didn't work while they steadfastly held to their original vision. Spider-Man was created in 1962, and in the decades since has been populated with scores of memorable characters. For whatever reason, Berger and Taymor decided to have the main antagonist in the musical be a character from Greek mythology instead. Eventually the producers of Turn Off the Dark brought in a different creative team that salvaged what they could, but the show never could shake the bad press.

Sadly, for as honest as Berger is while discussing the trials and tribulations of the musical, I don't think he ever came to terms with why it all went wrong. He writes of how the plot was eviscerated on the internet and he was so upset he'd go online and respond to the haters (spoiler, it didn't help). He simply couldn't understand why people were disemboweling a show that they had never seen, much less not even being complete yet! I agree the internet can be an awful place and comic fans in particular are famously impossible to please, but it simply isn't that difficult to see why. Imagine if in The Lion King Simba defeats Scar at the end of act one, and then in act two he has to fight a poacher that is Artemis in disguise. It would be awful, right? Well, that is basically the plot of Spider-Man: Turn Off the Dark. Amusingly, Taymor is the force behind The Lion King as well, but didn't stray from the source material there.

Song of Spider-Man is a great look behind the curtains at what it takes to create a Broadway production. (It is especially interesting as the musical wasn't a successful one.) Berger doesn't pull any punches either. As a main character in the tale he comes off as indecisive and feckless in some places, fawning and obsequious in others; but, he shares it all, giving an overall impression of honesty. Anyone interested in musical theater should enjoy this.

First Sentence:

The four drinks I knocked back on an empty stomach in the empty VIP room were finally kicking in.

Tough Sh*t, by Kevin Smith

I like Kevin Smith's work; from Clerks to Green Arrow to Daredevil I find him both clever and funny. There are several autobiographical stories in Tough Sh*t—many of which are covered in more detail elsewhere—such as Smith's feud with Bruce Willis and the arrogance of Southwest Airlines. In and around the vignettes Smith weaves in advice for how to approach life. The guidance is often odd, such as where he compares the odds of a single sperm fertilizing an egg and creating a human being to self-actualization: "Remind them they've already beaten the odds, so the existence that follows is merely a victory lap to do with as they please." A phrase I found less specious and much more thoughtful occurs a little later in the chapter: "In the face of such hopelessness as our eventual, unavoidable death, there is little sense in not at least trying to accomplish all your wildest dreams in life." Smith's trademark humor and irreverence come through loud and clear throughout this short but entertaining read.

First Sentence:

I am a product of Don Smith's balls.

Seven Wonders, by Adam Christopher

Novels following superheroes are becoming more common; some are great, and some aren't. Seven Wonders falls somewhere in the middle, but leaning very heavily toward the "great" side of the equation.

The Seven Wonders is the bastion of justice, a group of the best heroes that has nearly eradicated crime. The last remaining supervillain, the Cowl, opposes them. The battle between these two has raged for years, but despite a seven-to-one manpower advantage for the forces of good a stalemate reigns. Into this world an average man develops amazing powers, and decides to join the battle. Interestingly, neither side is thrilled with this...

This is a strong book, with characters that are unique enough for the reader not to simply sub in "Superman," "Batman," or "The Joker" when encountering a new hero or villain. The plot starts off with a superpowered bank robbery, and then grows from a earthbound fantasy to an interstellar one. As we reach the climax things get weird enough that it nearly lost me, but the ending is satisfying enough. There is just enough adult language throughout that I would hesitate recommending this to a young reader, but overall a great escapist read.

First Sentence:

It wasn't until the following week that Tony realized he could fly.

Looking for Calvin and Hobbes, by Nevin Martell

I have loved Calvin and Hobbes since I first found it in the funny pages in the Dallas Morning News when in high school. When the strip was abruptly stopped in 1995, along with the rest of the world I was saddened by the loss. Watterson has gone on to become a virtual hermit, joining J. D. Salinger and Harper Lee as literary recluses. I always wondered why Watterson made this choice, and when I saw this book I snapped it up looking for answers. While an entertaining read, I still didn't quite find what I was looking for.

The most jarring problem with the book is that while many are discussed, there isn't a single strip reprinted. “The father comes in after a brisk morning workout. "Ahh, what a day," he exclaims, with ruddy cheeks and covered with snow. "Up at 6:00, a 10-mile run in the sleet, and now a big bowl of plain oatmeal! How I love the crazy hedonism of the weekends!"” While this description puts a smile on my face, it pales in comparison to the grin that the actual comic elicits. Clearly this is an unauthorized biography (understandable due to the solitary nature of Watterson) but the lack of art was a huge blow to the credibility of the work.

Another failing is that Martell comes across as incredibly narcissistic here. Often the book seems to be more about the quest to interview Watterson than the man himself. Anecdotes of Martell's trials and tribulations during the writing are interspersed with his nightmares, wedding planning, baking, and long hours. “But disappointment doesn't meet deadlines, so I threw myself back into the wordy fray. ... I'm a big believer in karma and I'd thrown a supertanker full of the stuff at this project, so didn't the universe owe me?” If he'd actually scored the fabled interview this might not have been so obnoxious, but because he didn't it comes off more as whiny than anything else.

That said, there is a lot to love about this book. The story of Watterson is well-researched and well-written, and the genuine affection Martell has for his subject is palpable. The style is straightforward but entertaining, a biography of the comic itself as much as the artist. For instance, due to the thoughtful debates between the main characters, I'd always assumed the strip was named after John Calvin, the influential French theologian, and Thomas Hobbes, the famed English political philosopher. Turns out it was very nearly called Marvin and Hobbes, but Tom Armstrong's comic Marvin launched first and Watterson didn't want any confusion!

An enjoyable if uneven book, Looking for Calvin and Hobbes is well worth your time—but don't expect to have much of the enigma that is Watterson revealed.

First Sentence:

Luckily for me, the story of William Boyd Watterson II began only a few miles away from where I start typing this.

Who Can Save Us Now? edited by Owen King and John McNally

I do enjoy a good comic. This short story anthology is all about superheroes and their nemeses; not the famous ones like Superman and Captain America, but B-list heroes like Manna Man, the Rememberer, and the Meerkat. None of these tales are spectacular, but none are terrible either—a remarkably even collection. Each story has a great accompanying illustration by Chris Burnham; unfortunately some of them span two pages with the focus in the center, meaning the heart of the picture is buried in the spine. Overall, this is a pleasant distraction well worth your time.

First Sentence (from the Introduction):

In 1938 a gawky, bespectacled man walked through a door, and when it opened again, a benevolent giant in red and blue tights emerged, gave a wink, and lifted right off the pages of ACTION COMICS #1 and into the sky.

Lost Girls, by Alan Moore and Melinda Gebbie

This controversial graphic novel examines the erotic lives of three ladies: Dorothy, Alice, and Wendy. As the women tell each other sexually explicit stories from their past, we come to recognize them as the lead characters from the Wizard of Oz, Alice in Wonderland, and Peter Pan. The tales become wilder and wilder, starting with simple promiscuity and spinning into drug-fueled orgies and outright incest. Interestingly there are no consequences of any of these decadent actions; no pregnancies, no diseases, no apparent psychological trauma: clearly a fantasy.

While clearly pornography, the book is beautiful and can be appreciated on several levels. For example, a seemingly straightforward conversation between a married couple has an entirely different interpretation when the shadows they are causing are examined in the background. Elsewhere a journal entry is shared that is illustrated with both an opium-induced tryst and a depiction of the assassination of the Archduke Ferdinand, with both sets of drawings make sense. In another place the seven deadly sins are juxtaposed with a lesbian seduction. Moore and Gebbie have clearly taken the term “graphic” in “graphic novel” to extremes here, with interesting results.

First Sentence:

Tell me a story.

Schulz and Peanuts, by David Michaelis

Charles M. Schulz was both a complicated and simple man. The beloved creator of Peanuts poured a lot of himself into his characters, but Charlie Brown is by no means Charles Schulz. Multiple affairs and a deep sadness marked Schulz’s life, who continually was depicted as a socially-awkward, self-involved man—far from the lovable loser in the funny papers. On the other hand, Sparky (Schulz’s nickname) remained a straightforward and down-to-earth person for his entire life, despite his fame and fortune. I suppose this oxymoronic behavior is fitting for a man that wrote a comic strip about children that waxed philosophical.

For a book about a humorist, there is very little humor found here; I find it surprising that a comic that ran for so long and was so amusing was created by a man that doesn’t seem that funny. I didn’t expect him to be cracking jokes constantly, but there wasn’t really any indication that Schulz had any comedy at all in his personality. While Schulz’s history is interesting, once I realized how many of his experiences made their way into the strip I found myself wanting more details on the backstory of Peanuts and less of the creator sitting at a coffee shop. Regardless, an interesting story that brought out many fond memories of reading the funnies as a kid.

First Sentence:

The great troop train, a quarter-mile of olive green carriages, rolled out of the depot and into the storm.

The Book of Lies, by Brad Meltzer

Cain killing Able is arguable the world’s most famous murder, but surprisingly the weapon used is unknown. In 1932, the father of the boy who would go on to create the world’s most famous superhero was shot and killed; that weapon is also missing. What do Cain, history’s greatest villain, and Superman, our greatest hero, have in common? That is the mystery explored in The Book of Lies.

Fact and fiction are stitched together in a clever fashion that gives plausibility to an otherwise farcical tale. Fast-paced action and a lot of dialogue keep the story moving, and red herrings keep you guessing which of the (few) characters is a traitor. Plot holes and coincidences abound and none of the roles are given much depth, but the lack of pretension makes up for a lot. This is a fun tale and a quick read, perfect for (as a friend of mine says) “a sinfully long and hot bubble bath with a book.”

Brad Meltzer gave a book reading of this at BookPeople, a local bookstore here in Austin. (I’m normally a fan of local chains, but BookPeople is terrible; they have an arrogant, haughty staff and are rude to customers. It is a shame an eclectic city like Austin is known for this crappy place.) He is a funny and engaging speaker, and spoke passionately about his new organization, Ordinary People Change the World, a group that doesn’t need “political favors, or government, or skeevy politicians” to make a difference, but instead encourages normal folks to get involved. I found this inspiring and a much more worthy cause than most political movements. Check it out.

First Sentence:

When Calvin Harper was five, his petite, four-foot-eleven-inch mom ripped the pillow from his bed at three a.m. and told him that dust mites were feeding off his skin.

The Amazing Adventures of Kavalier & Klay, by Michael Chabon

This is the tale of two boys—one a kid from Brooklyn and one a refugee from Nazi controlled Prague—that create a superhero that rivals Superman. While comic books have a prominent place in the book (my favorite scene has Stan Lee, Gil Kane, and Bob Powell discussing Seduction of the Innocent in a diner named the Excelsior Cafeteria) this is by no means a lightweight pleasure read. A Pulitzer Prize winner, we experience the struggles of two talented Jewish boys coming of age in the intolerant times before World War II. These boys (the Kavalier and Clay of the title) struggle for acceptance throughout: first looking for acceptance as artists in what is considered (even today to a large degree) a kiddie medium, then for acceptance in a society with strong anti-homosexual and antisemitic beliefs, and finally internal acceptance, seeking forgiveness and understanding from themselves. Significant themes told with humor, style, and grace made for a truly unforgettable read. I had a hard time putting this book down, and highly recommend it to anyone that enjoys a dramatic tale.

First Sentence:

In later years, holding forth to an interviewer or to an audience of aging fans at a comic book convention, Sam Clay liked to declare, apropos of his and Joe Kavalier’s greatest creation, that back when he was a boy, sealed and hog-tied inside the airtight vessel known as Brooklyn, New York, he had been haunted by dreams of Harry Houdini.

The Rejection Collection: Cartoons You Never Saw, and Never Will See, in The New Yorker, edited by Matthew Diffee

A few months ago I read a book about rejected cartoons that was a bit disappointing. A friend then let me borrow this one, promising it was much better. He was right! Many of the cartoons made me laugh out loud and were funnier than others I’ve seen in the New Yorker. What this collection was missing was a description of why these in particular were rejected, although the implication is that they were too risqué or wierd for the magazine. There was a brief introduction to each artist that more than made up for this failing, though. Each artist filled out a two page questionnaire, which was filled to bursting with humor. Some doodled over the whole thing, others answered the questions with tongue firmly placed in cheek (“What’s the hardest part of cartooning?” “Groupies.”), but my favorites were where the cartoonist was asked to draw something about his childhood. Amusingly, an amazing number of them dealt with nuns and priests. This book is well worth your time!

First Sentence (from the introduction):

Let me tell you how lucky I am.

Killed Cartoons, edited by David Wallis

This books contains about 100 political cartoons that were banned from various newspapers and magazines across the country. Accompanying the images are narratives telling why they were banned; these descriptions are what makes this book both fascinating and annoying. With several of the cartoons it is easy to see why they were banned: women tied up on a conveyor belt waiting to be raped or a naked Uncle Sam, complete with pubic hair. Most aren’t as obvious though, which is where the text becomes enlightening. A cartoon showing the American auto industry in a poor light was killed—in Ohio, not in Detroit—because the paper was worried that they would lose the related advertising revenue. One showing the corpse of Orville Redenbacher literally popping out of his casket was not printed because obituary humor is considered hard to defend. Good stuff, much of it thought provoking. The annoying part is the one-sided political slant.

Out of just under 100 cartoons, 26 directly lampoon Republicans and 4 target Democrats. This imbalance wouldn’t have bothered me if much of the text didn’t rail against unfair and unwarranted censorship. The media inevitably takes a point of view in deciding what stories to print and how much attention each story receives. So it is bad for the editor of a newspaper to selectively choose topics but acceptable for the editor of this book? Eh. Newspapers and magazines are printed to make a profit; killing content that cause people to end subscriptions and advertisers to pull ads is going to be a rare thing. Is anyone really surprised that a cartoon with the image of MLK as a kid explaining the wet spot on his bed to his mother with the phrase, “I had a dream” is going to get yanked? (Ignore the fact it is fairly funny!) But wait, don’t journalists look at both sides of every issue and report things in a fair manner? Isn’t any form of press censorship a violation of free speech? Please. Journalists’ reflect their own beliefs in their art, consciously or unconsciously. To believe that what you read in the Sunday paper is fair and balanced is just as naive as believing the spin from the White House Press Secretary. If Wallis wants to make a point about censorship then more power to him (and frankly, I agree with him!), but doing so while showing his political agenda severely damages the legitimacy of his message.

First Sentence:

Success to Paul Conrad means ruining your appetite.

It's Superman!, by Tom De Haven

Smallville is the popular TV show about Clark Kent before he becomes Superman. This novel is a similar take, but done in a pulp-noir treatment and set during the time when Superman was first created by Siegel and Shuster in the 1930’s. The language and setting strongly evoke the imagery of the old Fleischer shorts; even the cover is an animation cel from one of the cartoons. While the modern material has a more polished look, this older stuff has a style all its own.

Clark is not the confident master-of-all-trades we all read growing up; here he is a B student—not because he was intentionally dumbing-down while trying to fit in but because that was the best he could do—and the kind of guy that “can’t read his own stupid handwriting.” He wants badly to be smarter; in fact, he starts wearing glasses simply to appear more intelligent. Superman isn’t nigh invulnerable here either; bullets still bounce off (leaving a bruise, though), but he gets cut and bleeds a bit when a powerful bomb goes off in his hands. A far cry from the hero that could do everything up to and including super-ventriloquism in the comics when I was a kid!

This was an enjoyable read. The differences to the standard Superman mythos are large enough that there was still a sense of wonder as to what was coming next, and the plot lines were a lot of fun. I mean really, how can you go wrong with giant robots, death rays, and super heroes!

First Sentence:

Our version of the story opens on the last Saturday of May 1935 with the arrival of Sheriff Bill Dutcher at the police station in Smallville, Kansas.

Tales to Astonish, by Ronin Ro

This is a biography of Jack Kirby, one of the most influential comic book artists in America. I knew that a lot of the pioneers of the heroes we know today got screwed by the publishers but not many of the details. When I got into comics as a kid, Kirby was one of the names spoken in hushed tones in the shops. Yeah, we were geeks. Anyway, this book details the life of Jack Kirby, co-creator of Captain America, the Fantastic Four, the Incredible Hulk, Iron Man, and the original X-Men to name just a few. If you recognize a character from Marvel Comics there is a good chance that Kirby drew him or her if not having a hand in the actual creation. Kirby created art at an amazing rate: ten hours a day, seven day a week. Today’s artists make a lot of their money by selling their original art, but much of the art Kirby created was stolen or misplaced by Marvel. There was a period where Kirby and Marvel weren’t even speaking; amazing considering the obvious influence he had on the company. Imagine Chrysler not welcoming Lee Iacocca or Microsoft ignoring Bill Gates. In the background of all this drama, the comic book industry is unfolding into what we see today. If you enjoy comics, you’ll be fascinated by this story.

First Sentence:

Jacob Kurtzberg was tired of being poor.

V for Vendetta, by Alan Moore and David Lloyd

With the movie coming out soon, I thought I’d reread the original source. The (anti)hero is a stylish terrorist in a Guy Fawkes mask named V. The villains are the fascist government of England. Anarchy versus fascism—nothing subtle here! A terrorist is certainly an unlikely hero these days, but in comparison to the fascist state it seems almost reasonable. The authors didn’t take the easy way out either and have V be a terrorist with a heart of gold; many innocents and bystanders get hurt here.

Comparisons to 1984 immediately jump to mind while reading, not in the least because it is set in a future that is now in our past: 1996. Interestingly, while the dates are all dated, the content still carries a powerful meaning in today’s world. Libertarians will read this graphic novel and cry out that this is slowly happening here in America. Republicans should take note of the excesses of power and loss of privacy and be warned. Democrats will miss the point entirely, as usual.

Not as good as Watchmen, but still excellent.

First Sentence:

Good evening, London.

Superman: The Never-Ending Battle, by Roger Stern

While this book always intended to be a novel, because the characters are some of the most famous superheroes in the world it is very difficult to not compare to the drawn world. This probably isn't fair, any more than those irritating conversations we all get in that start, "the book was better than the movie." If this were a comic book, I suspect it would have been only average. The story (a villain attempting to control the world by co-opting the weather) was fine as a backdrop, but I was hoping for more depth to the characters. Unfortunately, every hero acted exactly as you'd expect; this was the Justice League out of the Superfriends, not from television. While that certainly doesn't make it bad, I find it sad that Paul Dini can create a much more powerful story and subtext in a half-hour show on Cartoon Network than found in a 370 page novel. I won't go as far as saying don't read this book, I will say a much more awarding JLA experience awaits you on Saturdays.

First Sentence:

He could see the bullet coming.

Something Under the Bed Is Drooling, by Bill Watterson

My oldest son has recently discovered Calvin and Hobbes. He has been going through my collection of collections, and really enjoying them. A couple of days ago he came up to me and asked for some designer clothes. I asked him why and he told me, “For the babes, Dad.” Between laughs I managed to ask where he had gotten that idea and he showed me the strip. I ended up reading the entire book and found the strips are just as fresh as they were almost 20 years ago. If you haven’t read any of Watterson’s genius lately, do yourself a favor and spend some time with a certain six-year-old and his tiger.

First Sentence:

Don’t turn out the light, Dad!