"It's Because I'm a CHICKEN, Isn't It?"

 ELMER is a new graphic novel by Gerry Alanguilan (primarily an inker, best known for his collaborations with Leinil Francis Yu) that explores a world where chickens have suddenly gained human-like intelligence and the ability to speak. That sounds ridiculous, and it is, but it’s also by turns funny, heartbreaking, horrifying, and thought-provoking. This black-and-white volume follows Jake, an unemployed chicken with some serious anger issues and a dysfunctional family, headed by a couple of ailing parents. When his father, Elmer, finally passes away, Jake inherits his journal. Elmer’s writings reveals the early days of what the chickens call “the great awakening”—that is, the mysterious flash in the sky that gives them sentience—as well as the near-genocide that follows, the resulting struggle for civil rights, and Elmer’s touching friendship with Ben, the local farmer who saved his life.

 

ELMER can be enjoyed on multiple levels—science-fiction allegory, dysfunctional family drama, or just a crazy book about chickens who can talk and coexist with man. Alanguilan’s intricate linework calls to mind other black-and-white indie comics craftsmen like Eric Shanower and Jason Lutes, and his writing is sensitive, honest, and occasionally really funny (at a job interview gone wrong, Jake screams out "EQUAL OPPORTUNITY MY PINK PLUCKED FLABBY SCABBY ASS!"). What could have been a fairly shallow, jokey premise gradually evolves into a highly original fable about family and intolerance, and it’s one of my favourite graphic novels of the year. Check out a preview at SLG's website here.

Someone Somewhere Must Have Covered This Already, But...

 ...we got in a collection of comics at the store yesterday that was just plain all over the place--a lot of beat-up Silver Age DC, some Marvel movie adaptations (Dune, etc.) and things that seemed like toy tie-ins that I don't remember any toys for (Animax, anybody?), and weird crap I'd never seen before, like a comic that taught kids all about...moving. Like, moving to a different house. It was no Moving with Richard Pryor, lemme tell ya. Anyway, one comic that I knew of, but really hadn't devoted much thought to since I was ten, was in there, and it got me thinking:

 

 

Hey, wasn't there a more recent comic with a similar title that also featured a white-haired protagonist with two sidekicks, one male, one female?

 

Be sure to tune in next week, when I blow the lid off the whole Get Along Gang/Authority connection.

Ain't That A Kick In The Skull?: A Special Early Skullkickers Review

 Skullkickers is the latest Image series to garner crazy accolades and fevered speculation before the first issue has even hit comic shops, alongside recent hits like Chew and Morning Glories. Fueled by positive early reviews, the first issue of Skullkickers has sold out at the distributor level before it’s even shipped (a second printing has already been announced). There’s always an element of hysteria surrounding this kind of pre-release excitement, and I find that, as both a reader and a retailer, I’m usually a bit suspicious that somehow, somewhere, somebody has manipulated the internet and/or media to give the book an added promotional push. I’m happy to say, though, that like Chew and Morning Glories, Skullkickers is a fun book with broad appeal that, unlike most of the offerings from the Big Two these days, makes a point to reach out to potential new readers with an accessible concept rather than trying to squeeze even more money out of an existing, ever-shrinking readership. The breezy script and slick artwork don’t hurt, either.

 Written by Jim Zubkavich and drawn by the art team of Edwin Huang, Chris Stevens, and Misty Coats, Skullkickers stars a couple of hard-drinking, two-fisted, medieval badasses who make a living tracking down and destroying supernatural menaces for money. The story opens with the duo busting up a werewolf cult, but they’re screwed out of getting paid by the local constabulary. Broke, the heroes—one a bald giant, the other a feisty Scottish dwarf—witness a political assassination and find themselves caught up in some kind of paranormal body-snatching conspiracy.

 The tone of Skullkickers falls somewhere in between Joe Madureira’s Battle Chasers and Todd DeZago & Mike Weiringo’s Tellos. The art by Huang, Stevens, and Coats has the exaggerated proportions and fast-paced action of the former, with the light touch and clean lines of the latter. Despite some gruesome subject matter, Zubkavich’s script maintains a fun tone—the back-and-forth between the leads, not to mention the barking city official who attempts to stymie them at every turn, brings to mind a buddy cop comedy transplanted to a fantasy setting.

 Skullkickers isn’t perfect—so far as I can tell, the two protagonists aren't given names in the first issue, and I’m still not entirely sure what’s going down on that last page—but, it is only the first issue, and the positives outweigh the negatives to be sure. What’s more important, though, is that Skullkickers is a comic that anyone can pick up and read without any prior knowledge of characters or continuity as a requirement. It’s also not trying to jump on the bandwagon of some existing concept that happens to be hot stuff right now (the supernatural angle means that either zombies or vampires could conceivably pop up at some point, but there aren’t any in the first issue at least), but is instead carving out its own place in a popular but under-represented genre. That kind of willingness to break away from the pack is always worthy of praise, advance or otherwise. 

Pilgrim's Progress: Another Spoiler-Free Mini Review

 I went into the sneak preview of Scott Pilgrim Vs. The World with a lot of baggage. While I did enjoy Bryan Lee O’Malley’s comic series, I’ve been feeling a bit burnt out on the whole phenomenon. It’s the kind of franchise that attracts a lot of hyper, obsessive fans who love it to an embarrassing degree, and its imminent arrival as a motion picture has also attracted a bunch of jaded newbies—the type who disdainfully throw the first volume on the counter at the store and ask me, with a dismissive sniff, “So is this movie gonna be any good?”. Somewhere between the two, I’ve tried to maintain an attitude of cautious optimism, mostly based on the involvement of Edgar Wright (Spaced, Shaun Of The Dead, Hot Fuzz). I’m happy to say, though, that Scott Pilgrim won me over pretty quickly with its fast pace, cool action, relentless comedy, winning cast, and inspired soundtrack.

 In case you’ve been living under a rock, here’s the plot: Toronto slacker Scott Pilgrim (Michael Cera) is a bass-playing slacker who’s sort-of dating a high school girl (I say sort-of because it’s less a romance and more a way of avoiding responsibility for Scott, as well as avoiding the possible heartbreak of a real relationship after his last one went sour). When he meets Ramona Flowers, the literal girl of his dreams (Mary Elizabeth Winstead), Scott is instantly smitten, but soon learns that to win her heart, he’ll have to defeat her seven evil exes. Lots of rock and roll, drama, heartbreak, and Nintendo-style battles ensue, punctuated with Wright’s signature pushing of multiple pop-culture buttons.

 While star Michael Cera isn’t really going to do a lot to reverse the ongoing backlash against his well-worn awkward goofball persona here, he fits the lead character well and acquits himself surprisingly during the movie’s many fight scenes. The supporting cast is filled with reliable comedy MVPs and actiony superguys playing against type. Kieran Culkin, as Scott’s roommate Wallace, has a lot of the film’s best lines, and Chris Evans and Brandon Routh subvert their filmic superhero personas to hilarious effect as two of Ramona’s evil exes (a third superhero actor shows up in a cameo appearance, leading to one of the movie’s best and funniest background gags, but I won’t spoil it here). The soundtrack is a lot of fun as well, featuring really catchy Sex Bob-omb (Scott’s fictional band) songs written by Beck, as well as Frank Black, T-Rex, The Rolling Stones, and Canadian faves Metric and Broken Social Scene (not to mention Plumtree, the Halifax band whose song gave Scott Pilgrim its title).

 None of this would work, however, without the sure hand of Edgar Wright guiding the ship. Scott Pilgrim is crammed with visual cleverness (after learning of the seven evil exes, Scott walks down a street framed by X’s on street signs) and bursting with cool video-game battles (when opponents are defeated, they usually dissolve into a pile of tokens). The many digital effects required for the various zero-gravity smackdowns, magically-conjured monster avatars, and flaming katanas are seamlessly blended into the live-action stunt work with funny and exciting results. Scott Pilgrim feels like no other movie before it, and it’s the kind of material that probably couldn’t have been brought to life in such an impressive and accessible way by any other director. Extra kudos to Wright and company for keeping the Canadian-ness of the books present throughout the movie—Honest Ed’s, Second Cup, and Lee’s Palace are all on display thoughout, and the coins dispensed by defeated opponents visibly include loonies and toonies. With its very specific pop-cultural touchstones, Scott Pilgrim Vs. The World is likely going to alienate a lot of older viewers, but for those of a certain generation, it’s likely to strike a very appealing chord.

Big Day Downtown!

As a Halifax blogger-type person, I was recently asked to participate in the Big Day Downtown event, an initiative started by the Downtown Halifax Business Commission. Basically, a bunch of us bloggy types were given $100 to spend at various downtown businesses, writing about where we shopped and generally promoting downtown Halifax as a viable place to spend your hard-earned sheckels. As a lifelong Halifax citizen, this is an issue that always concerns me—as more and more businesses pop us in remote (well, to non-car-driving me, anyway) locations like Bayers Lake Industrial Park and Dartmouth Crossing, and as less and less businesses are able to survive in once-thriving areas like Barrington Street, the downtown area is straight up Tumbleweed City sometimes. But where there’s life, there’s hope, and I found that it’s pretty easy to find cool spots to quickly spend a hundred smackers of the city's cash. Civic pride aside, who am I to turn down free money? Armed with a promotional Visa card that looks like something that would appear on a flyer in the mail, seeing as how the name on the front of it is "Valued Cardholder"—I kind of expected alarm bells to go off the first time I used it—I went out into the wilds of Halifax between Lower Water Street and Brunswick Street and enjoyed me some unfettered capitalism.

 First up was a place that I never have a hard time spending money at—my place of employment, and this blog’s sponsor, Strange Adventures Comic Bookshop (5262 Sackville St.). This spot is generally agreed upon as one of the best comic shops on the planet, and with good reason; you can find a comic for pretty much anyone here, no matter their age or taste. Strange Adventures carries the widest and wisest selection of comic book goodness of every genre and style, from the most mainstream of superhero slugfests to the most heart-wrenchingly confessional alternative autobiographical comics. There’s also tons of other kinds of cool merchandise to be found as well, like toys, statues, board games and RPGs, and clothing. For instance, where else can you buy a t-shirt to show your love for the unlucky bounty hunter who stands at the figurative and literal flashpoint of the whole “Han Shoots First” controversy brought about by George Lucas’s endless tinkering with the Star Wars films?

 

Next came DeSerres Art Store, 1546 Barrington St. If you grew up in Halifax, chances are you still call this place Loomis Art Store on occasion (or Loomis & Toles, depending on your age), but no matter what you call it, it’s your number one stop for brush pens, charcoals, sketchbooks, oil paints, or even a new drafting table. They’ve even got a handy framing section if you’ve got some cool art you want to hang on your walls. It’s pretty easy to get lost in this joint, with its seemingly endless aisles of brushes and inkwells, but just keep your eyes peeled for the ever-vested DeSerres employees and they’ll be happy to help you out. For my part, I picked up a new mechanical pencil and some fine-tipped pens to continue working on my pals Sean Jordan and Kody Peters' webcomic Snakor's Pizza, as well as my own online comic series, Slam-a-rama (never let it be said that I’m not above a little free plug for myself and my friends).

 At this point, I was feeling a bit peckish, so I took my girlfriend (and, as it turns out, unofficial photographer) Hillary out to one of my favourite lunch spots—Cabin Coffee, located at 1554 Hollis Street. The rustic atmosphere perfectly compliments a tasty menu of soups and sandwiches, and I would be remiss if I didn’t mention their excellent Nanaimo bars, as well as, in Hillary’s words, their “good-ass carrot muffins”. I recommend the Cabin Club, which can be had with an accompanying soup (my favourite is the Mulligatawny, and not just because I love saying Mulligatawny), or a handful of potato chips on the side. Careful, they’re ruffled!

 

Afterwards, I poked into United Bookstore, which can be found on 1669 Barrington. In addition to used books, magazines, and DVDs, United is also a Ticketpro location, so you can score tickets to plenty of upcoming concerts and events there as well. United is one of those cool stores that is dialed into the whole remaindered book circuit, by which they redistribute, at a considerable discount, some great reads that have been returned unsold from some of the bigger book chains. To this end, I picked up a half-priced copy of Paul Gravett and Peter Stanbury’s insanely entertaining book Holy Sh*t!: The World’s Weirdest Comic Books, an indispensable tome that sheds light on freaked-out funnybooks like Godzilla Vs. Charles Barkley and Hansi, The Girl Who Loved The Swastika. I also grabbed a used hardcover of Stephen King’s Cell, which was at one point slated for a film adaptation by Eli Roth. Man, I hope that happens some day.

 

With less than twenty-five bucks left on my card, I decided to hit up Random Play, at 1587 Barrington Street. A veritable treasure trove of used CDs and DVDs, not to mention t-shirts, pins, and posters, Random Play is the kind of store that is dangerous to old-school dorks like me who still prefer owning music and movies as physical objects and not just as files on my computer. I wish I could say I bought something artful, or European, perhaps something from the Criterion Collection—Days of Heaven, maybe, or Fitzcarraldo—but alas, my weakness for lowbrow humour won out yet again.

 

And that was the end of my Big Day Downtown. I think I have about thirty-one cents or so left on the card, but I think I'll hang on to 'em for the memories. Thanks to the Downtown Halifax Business Commission for letting me in on this, to Hillary for taking pictures and joining me for lunch, and to Iain Deans for putting me on to this promotion. I hope that, in staying a minimum safe distance from both the casino and the liquor store, I justified your faith in me.

Downe By Law

 Some days, I want to read a comic book that makes me consider new ideas, or one that stretches the boundaries of the medium’s possibilities. Other days, I just want to read a comic where a guy punches another guy’s head off, and said displaced cranium is stuck on the first guy’s fist for the duration of the comic. Image’s new one-shot Officer Downe was made for just those kinds of days.

 Aimed squarely at fans of hyper-violent comics in the vein of Miller and Darrow’s Hard Boiled, Joe Casey and Chris Burnham’s Officer Downe has a pretty simple concept. In a cartoony-futuristic Los Angeles ruled by animal-headed gangsters and depraved evil geniuses, Officer Terrence Downe is the last line of defense for ordinary citizens. A nigh-indestructible supercop of Hulk-like proportions, Downe uses a combination of foolishly huge guns and freakishly large fists to mow down armies of jumpsuited ninjas and rampaging convicts. When Downe inevitably suffers enough catastrophic damage to his frame that he finally drops dead in a bloody, dismembered heap, his fellow officers recover his remains and the combined psychic might of 100 telekinetic sensitives is used to resurrect him so he can do it all over again. For about 48 of the most violent pages I’ve ever seen, that’s pretty much it. Definitely not for the faint of heart, to put it mildly.

 I keep giving scripter Joe Casey a shot with his various projects over the years, and I keep just not quite clicking with his work (I thought if anything the guy wrote did it for me, his ‘70s Kirby riff Godland would be the book, but strangely I couldn’t get into it). However, the straight-ahead high concept approach of Officer Downe did the trick this time. Chris Burnham’s unbelievably gory artwork helps a lot—clearly, this guy has been studying the combination of operatically-choregraphed mayhem, microscopic attention to detail, and over-the-top ultraviolence that has made Geof Darrow and Frank Quitely superstars. Marc Letzmann’s lively colour palette tops the whole package off nicely. Once again, though, and I can’t stress this enough—this book is not for the squeamish. It contains enough decapitiations, defenestrations, and peeled-off faces to make RoboCop director Paul Verhoeven turn away in disgust.

 A word on the format as well—I really appreciated that Officer Downe was a comic book, a double-sized, glossy-papered, done-in-one affair that isn’t squarebound, or part of a series, or likely to make its way into another collection of some sort (trade-waiting will avail you naught here). For five bucks, you get a substantial, self-contained read with a couple of extras thrown in for good measure (an interview with Casey, and a look at some of Burnham’s concept art). If you’ve ever enjoyed the irresponsible antics of proto-fascist comic book thugs like Judge Dredd or Marshal Law, you’ll be happy that Officer Downe is out there.