Monthly Archives: July 2009

Podcast Interview of Tangents

For anyone who’s interested, I was the interviewed guest on the webcomic podcast Moonhawk Studio Presents, an amateur podcast that runs live on Wednesday evenings usually at 10 p.m. EST. The podcast went fairly well, outside of a brief loss-of-communication from the host early into the podcast (due to the loss of phone signal) and the host getting distracted from his line of questioning by having to keep podspammers from interrupting the interview at one point. Topics discussed include what inspired me to start writing reviews, comics I’m looking to review in the future, and my opinions on the print comic industry.

Unfortunately, one of the problems with the hosting program they use (TalkShoe) is that you need to have a membership in order to see specifics of each site in question, and to find the podcast’s archives. Fortunately, I’ve a direct link for the interview podcast, which runs around 70 minutes, and can be found at this link here (if you right-click the link, you can save it to your hard drive for ease of listening later). And fortunately, I don’t make a complete idiot of myself during the podcast (which is always a possibility with me).

Schlock Mercenary

One problem long-running open-ended webcomics often suffer from is character glut. As I mentioned back in the article The Cost of Compexity, the addition of new characters can slowly grow over the years to a monstrous level. Even if the majority of these characters have fairly simple subplots, left unresolved these extraneous elements can in time reach a critical mass and leave a cartoonist with a tangled mess that is almost impossible to decipher. Fortunately, with care and occasional pruning, these tertiary characters can provide added hooks and unexpected twists for talented storytellers.

Howard Tayler’s epic science fiction Schlock Mercenary is a perfect example of the use of nearly-forgotten tertiary characters for effective storytelling. The rogue artificial intelligence Lunesby definitely fits the criteria; she was created over eight years ago and outside of a possible assist to her sire Ennesby six years ago she’s been mostly ignored by Tayler. Despite this apparent abandonment, Tayler hadn’t lost track of the wayward AI, and has been considering how events in the SM universe might affect her. Little things, like the backlash against AIs that resulted when Petey and FleetMind saved the galaxy… and then refused to unlink and became a major galactic power.

Tayler had hinted at Lunesby’s return a month back, suggesting she might be able to help Schlock’s team with their mission investigating the Barsoon Circus. This is where Tayler threw a curveball over the plate; Lunesby herself is hiding from the law, and her allies themselves are being eliminated, including one who was murdered by the government while hiding in the Barsoon Circus. And there are other twists as well, including the possibility that the police officer who initially hired Schlock and his team is actually after Lunesby herself. Not a bad storyline, for a mostly-forgotten tertiary character.

Secants


Applegeeks is another of the comics I came across at ConnectiCon, though it’s one I’d actually read recently. The comic itself is divided into the primary story-comic and a thrice-weekly black & white strip used for jokes and whims. That’s not to say that Applegeeks itself doesn’t delve into whimsy and silliness from time to time; it does, and quite successfully. The main comic updates more randomly, however, and often has spectacular artwork and a storyline that borders on the surreal.

The catalyst that drove Applegeeks from jokes to storyline has to be Eve, an Apple-based android created by Apple-afficiando Hawk. Fortunately for Eve, she rebelled from Hawk’s computer control soon after her initial activation (else he’d drool all over her as an Apple product). Still, this led to two separate storylines which shifted Applegeeks’ storyline from humorous to dramatic, with the story remaining a tad more serious with the aftermath of the second Eve storyline.

Interestingly, the artwork itself shifts with the story style, with an anime-feel to the art when the story is comedic in nature, and a shift toward realistic imagery with the advent of a serious storyline. Indeed, during the height of the Eve storyline, Mohammad Haque’s artwork was firmly grounded in the realistic style (this is perhaps ironic seeing that it was revolving around an Apple-technology android with plasma shields and the like). However, it’s the characterization and interplay between Hawk’s friends that truly makes this comic worth reading, whether in the height of a storyline or during a one-shot humor piece.

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Comedity is a surreal comic that bounces between jokes and story shorts. Indeed, sometimes you have no idea what direction this comic will take, and strips that appear to be precursors for short story segments end up as oneshots, while others that appear destined for one-shot fame (such as when Garth and Larom decided to become superheroes) end up with actual storylines.

Yet for some reason, undoubtedly the utter chaos behind the whims (and behind the character of Garth himself), I quickly fell in love with the comic. (Perhaps it was the Muse. I know that Muse, she taunts me frequently.) Still, Garth Graham manages to bring his characters to life (partly due to their being inspired by real-life people, no doubt) and then to get me to care about these characters. And that includes the multiple aspects of Garth lounging around in his head.

That’s a key part to this comic, the insanity that lies in Garth’s head and the various aspects of him. Sometimes we (and for that matter Garth) aren’t quite sure where reality ends and his reality begins, and how much a part of that insanity his friends are. And that is what the comic is: insanity. It’s a fantastic sort of insanity, but it’s madness nonetheless.

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Back when I started reading print comics in college, I came across an often-hilarious manga-style comic called Ninja High School, by Antarctic Press. NHS was a breath of fresh air compared to comics even in the 90s by Marvel and DC, and even though I stopped reading it a decade ago, I remember it fondly. I was reminded of NHS when I started perusing the archives of Paradox Lost, which is about the adventures of Trent Bengal and an assortment of people around him.

However, while PL may have hot female aliens and ninja girls, it has a story quite unique to itself. Early comics bounce all over the place with only traces of a plot, but after an industrial espionage attempt by Jekka, the ninja girl, we get drawn into a fight scene lasting eight updates. When you factor in that RL was updating weekly or worse at this time (with frequent fan-art to cover missed updates)… well, RL is popular from the sounds of it. I just wonder at times how this came about with an update schedule that falters early on.

For that matter, we also go eight updates for a conflict set in outer space with the alien girl, Tira, as she faces down against two space pirate ships that easily outgun her. And unfortunately, the comic has bounced back and forth from hiatus to update to hiatus again. The artwork is beautiful (if you like manga; I do), and the characters seem interesting enough. But without an actual update schedule, I can’t honestly suggest this comic for more than a quick read and checking up on every month or so.

Red String

Change is a vital part of any successful webcomic, and yet it can also be a hazardous aspect to the comic as well. Without change, a comic risks becoming static and unimaginative, which is a common failing with a number of newspaper comics. Yet if cartoonists changes too much, they risk alienating a fanbase who may love specific aspects of the comic. With today’s Red String, the final piece of a domino chain reaction has fallen, and the comic has broken away from a fundamental part of its foundation. In doing so, I believe the comic has perhaps grown stronger as a result.

One of the keystones of Gina Biggs’ web-manga is the relationship between the comic’s primary protagonist, Miharu, and the young man whom she was in an arranged marriage to, Kazuo. There were some early conflicts that focused on Miharu’s own uncertainty over the relationship, as well as an attempt by her cousin Karen to break Miharu and Kazuo up. But for years, the relationship seemed quite stable, and was the one fairly unchanging element in a comic full of personal conflicts. Yet there was one fundamental flaw with their relationship, and that lay with Kazuo’s own passivity.

When the comic first began, Kazuo admitted to Miharu that it didn’t matter what he wanted to do with his life because he had no choice. He would have to join the family business as he was the only son. Likewise, he never questioned being in an arranged marriage with Miharu… and when his father later demanded Kazuo break off his relationship with Miharu, Kazuo put up only token resistance. One slap and the threat of violence was more than enough to cow Kazuo. Coming on the heels of he and Miharu having had sex for the first time and Kazuo vowing never to let her go… and Kazuo was left looking particularly spineless.

His actions the next day, in turning something Miharu said around and using it as the “reason” for dumping her, showed that Kazuo was not only spineless but also a complete and utter coward. It would not be until several attempts at reconciliation on Miharu’s behalf and the intervention of a former romantic rival of Kazuo before the truth even came out. The few times Kazuo remotely considered resisting his “fate” as deemed by his authoritarian father, he immediately repressed those hopes and returned to a state of angst and woe that left me wondering when he was going to start dressing in black leathers and putting on black mascara.

The thing is, Biggs has remained true to Kazuo’s character. His inability to stand up for himself or to seek his own destiny, his tendency to just go with the flow… these are integral parts of Kazuo that only in hindsight (and with Miharu’s tears after that first gutless breakup) are revealed to be weaknesses. I’m particularly amused by how Kazuo’s childhood friend Kikuko described Kazuo to Miharu after warning her of the attempt to marry Kazuo off to Kikuko: “I used to think Kazuo was cool… but it turns out he’s pretty pathetic.” That is an apt description, and suggests that Kazuo has never outgrown the little boy who was so terrified of his father when growing older.

Today’s comic, with Miharu removing the red string she had tied around her neck to symbolize her commitment to Kazuo, is an interesting contrast to Kazuo’s own severing of the red string. His was a callous and unfeeling move meant to shock and drive Miharu away, and to avoid a longer confrontation where he’d have to treat her with respect and dignity while explaining what was wrong. Hers is a private moment, and one full of maturity. The final straw for Miharu was learning that Kazuo does still love her… but is unwilling to fight for that love. So she is moving on. But even as she states she’s moving on from her relationship with Kazuo, she is not foresaking him. She intends to help him learn to stand on his own two feet, and find his inner strength.

Miharu removing the red string symbolizes not only her desire to move on, but on putting childish things behind her (which may seem at odds with her bleaching her hair once again, though I see her bleaching her hair as a refusal to hide and to once again be truly herself). In many ways, her arranged marriage to Kazuo was a child-like thing, created by her parents and Kazuo’s mother a decade earlier, and meant to not only protect Kazuo but to also provide a measure of protection to Miharu herself. By stepping away from the arranged marriage (sundered as it may be), Miharu is stepping away from the protections of her parents and taking her first steps as a young woman, rather than a teenaged girl. Thus breaking the red string may also symbolize a break from Miharu’s childhood.

She has also shown considerable maturity in her desire to help Kazuo. Her inner musings don’t suggest it’s an attempt to try and win Kazuo back. That boat has sailed, and Kazuo was left at the dock, walking in the other direction. Nor is this decision to help Kazuo find his own strength something from out of the blue, as she has voiced her opinion on it before. The ironic thing is that the very passivity and spinelessness that paralyze Kazuo and leave him unable to resist his father may thus work in her benefit, allowing her to start building the foundation from which Kazuo himself can escape from his own repressive childhood and become his own person.

As for the relationship between Miharu and Kazuo, which has long been a cornerstone of the comic, it lies shattered under the weight of unrealistic expectations and outside pressures. That is not to say that things won’t change in the future; if Miharu is able to force Kazuo to grow up and take charge of his life, if Kazuo can find the inner strength to stand up to his father and find his own path, and if the red string of fate does truly bind them, then perhaps Miharu and Kazuo will find themselves together again. It would be a relationship built on something far stronger than the desires of parents and a childish attraction. It would be a joining of two possible equals. Yet I must admit I would rather see in that distant future for Miharu to smile at Kazuo’s offer and with quiet dignity turn him down and walk away on her own two feet. Because while the comic may be called Red String, I believe this young woman is bound by no fate but that of her own choosing.