Monthly Archives: October 2010

Freefall

As I was on the road when this specific Freefall comic updated it’s slightly dated, but I figure it’s still well within its freshness warranty and worth commenting on, especially as it pokes fun at two genres at the same time. There are few people out there who’ve not encountered “sparkling vampires” thanks to the Twilight series of books (which I find slightly annoying as I’ve used “Twilight” as the surname for some of my characters for over ten years now). The arguments back and forth on the veracity of Meyer’s imagining of vampires has become old hat by now; more subtle is the dig on the growing interest in fascist Germany and Hitler that seems endemic to certain mindsets. It also hints at something interesting: by grouping Vlad the Impaler and Hitler together, cartoonist Mark Stanley suggests that in time, some of the worse humans in history will be relegated to mythical status… and then corrupted into a form alien to what was the truth.

Stalking the Wolf

Special thanks go out to Emily Brady, whom I commissioned to draw the illustrations for the story, and to Emily Brady and Charlotte L. who provided editorial input for the story, and William Bellamy V who has worked with me for over a decade in designing the world and some of the characters found in this story.

* * * * *

Wolf PACT: Stalking the Wolf

by Robert A. Howard

Prologue


Franklin Park, Boston, Massachusetts
September 19, 2011

Richard appeared from nowhere, light playing about him as he appeared in the night, hinting at the vague shape of wings that weren’t there. He would deny them if she mentioned them. He said he’d walked away from that path long ago, though Angel could sense the anger and pain and overwhelming pride behind that vast wound, despite his being Other, and alien to her talents.

He towered over her by over a foot, and Angel found herself looking up at his pale face, searching for a clue as to what he was thinking. He stared back down at her without expression. Still, Angel could catch glimpses; moments of emotion, the occasional thought. She knew why he was here. And she knew that while he’d try to convince her to change her mind, he’d not act. At least, not directly. Not this time.

“You shouldn’t be here, Angel. Not now; you’ve over a hundred years to wait before you left. You should come with me. I’ll get you back to your proper time. Eventually,” he said, his voice a soft baritone that barely carried in the darkness. He seemed cloaked with pale light from the waning moon; the darkness almost abhorred him. Even his pale shadow appeared silvery, casting the night away from him.

“You’re glowing,” she said, chiding. Richard glanced down at himself and snorted. Darkness crept back around him though it still refused to touch him. She rolled her eyes and looked into the park. “I’ve been bouncing through space and time for the past three thousand years trying to get home. All I have to do is wait. What’s a hundred years after all that? Besides, it’s not like you ever brought me home. Despite your promises,” she added, her last words distinct and hard.

Richard had the decency to look embarrassed as his gaze followed hers. “It wasn’t the right time. I can’t change how things happen. Nor should you. Are you really going to cause a paradox? And for what, some girl who died millennia ago?”

Angel glared up at Richard. “Her name is Jenny, and she’s not dead yet. She doesn’t deserve to die, not like that. And she doesn’t have to. I know what I’m doing. There won’t be a paradox. Her body will be found, that fucker will remember torturing her…” Angel paused, looking down at the ground as she whispered “and I’ll think she’s dead.” Angel smiled, though it didn’t touch her eyes as she looked back up at Richard. “Well, my younger self will.”

He continued to stare out into the park and after a moment Angel felt the need to continue talking. She knew what Richard was doing; by remaining silent, he was forcing her to fill that silence. She’d end up saying more than if he’d asked what she was going to do. But it was better for him to know the truth. While she believed he wouldn’t act against her… it was better to be safe. “I’ve grown a clone of Jenny,” she said; “It’ll die in her place. No one will know the difference. Your precious causality will be preserved.”

One of Richard’s eyebrows twitched upward at her sarcasm. “You’ll keep her from her family? Deny them the truth? It’s better that she just die, than to live a lie,” Richard said, turning back toward her. He gazed dispassionately down at her, and Angel felt a crick in her neck as she met his gaze.

“Her dad beats her for being gay,” Angel said; she clenched her fist, her knuckles turning white as she looked down at her hands. “Her mother doesn’t even talk to her any longer. You know they blamed me for her death. Hell, we were talking about running away together. She won’t care.” Angel opened her hand and sighed, the tension draining from her body. It was almost time. “Don’t interfere, Richard. I don’t want to hurt you.”

She stalked off along one of the footpaths, heading toward Overlook Ruins. She’d gone there with Jenny that… this night. Jenny had fought with her parents again, and Angel… she paused for a moment. She could sense her younger self, could feel Jenny and her anger and grief. And if she tried very hard she could catch a glimmer of thought from Jenny’s killer. She paused, taking deep breaths while she sought her center. She had to be careful. Richard was partly right; Jenny’s killer had to go free, no matter how much it rankled.

It did. After over three thousand years she still bore the scar on her throat, a thin white line that was barely visible. She’d been attacked and cast aside; she hadn’t been the target. Not that time. She had just been in the way. And there’d been no way she could have saved Jenny. Not then. Her talents were just emerging and had been intermittent until this night, when desperate need and a good samaritan had kept her from dying.

Angel had to admit she was curious as to the identity of her savior. He’d left soon after the paramedics arrived; the police report didn’t mention anything about the person who saved her life. She suspected he (or she) had been one of the Unregistered as her throat had been half-healed by the time she’d been admitted to Shattack Hospital.

Not that there were that many Unregistered paranormals back in ’11; only a relative handful of Emergents had evaded the federal dragnet rounding up paranormals after the Christmas Plague in ’96, or the subsequent registration and training of paranormals after the Congress pushed through the Federal Tracking and Training program. But there had been a bit of distrust with the government, especially after President Gore dragged them into war and occupation of Iraq in retribution for the bioterror attack after Clinton’s assassination.

The attack happened so fast Angel almost missed it; Even after all this time, after learning so much, she could barely sense the killer. Richard was more open to her talents, even with his hybrid thoughts that could barely be considered human, no matter what the appearance of his physical shell. From her younger self, Angel felt surprise… panic… a sudden realization of pain and of fear as she started bleeding to death. Jenny’s own thoughts seemed trapped in amber; a moment of horror from seeing the blood spurt from her friend’s throat… and helplessness as she was dragged away.

Everything was prepared; the clone was hidden near where Jenny had been found. But Angel paused, watching her younger self bleeding to death, her hand clutched impotently at her throat trying to hold her life’s blood in even as consciousness faded. Something was wrong.

Angel cast her awareness out. There was no one nearby. No one had noticed the attack. There was no good samaritan rushing to her younger self’s aid. She couldn’t even sense Richard… Are you really going to cause a paradox? he’d asked. And suddenly she realized why Richard hadn’t pulled her away. Why she had been allowed to be here to begin with… and how her throat had been half-healed when she’d been found.

“Richard… please,” she whispered. But he was gone. Angel stepped out of the woods, running to the side of her younger self. Blood was pooling around her head, and her younger self’s hand had dropped away from her throat, letting blood bubble out. Angel closed her eyes and ran telekinetic fingertips through the wound; the jugular veins had been severed, along with the superior thyroid artery.

Tears scalded her eyes and ran down her cheeks as Angel struggled to save her younger self’s life. She had no time for anything fancy; one mistake, and she’d lose her. “I’m sorry, Jenny,” she whispered and closed her eyes to focus on the life she could save.

* * * * *

Weregeek

Here’s the second guest review I received, compliments of Francisco De Freitas. I’ve been meaning to review the print compilation for this strip for a while now, so I appreciate this glimpse at a comic I found most amusing and worth reading.

——————-

Weregeek is, for the most part, a slice-of-life comic about Mark (pictured above) and the group of geeks he joins. When the gang role play the comic takes on the look of the role play they are taking part in.

There are, however, some fantastical elements (I am not counting the role play images as fantastical as they are meant to be in the imagination of the characters). The first of these is that there exists “weregeeks”. Under the right conditions they can transform into humanoid creatures (see below). In their weregeek form geeks are stronger but they are more geeky. The other fantastical element is that there is a band of hunters that are trying to eliminate the world of geeks.

The main plot is centred around Sarah. Mark has a girlfriend but, with him spending most of his time with his new friends, he isn’t spending as much time as she would like with her. Sarah, on the other hand, would like to hook up with Mark but knows that he is taken.

The hunters form the main sub-plot. It bubbles along in the background and, just when you start forgetting about them, there’s another development.

The comic tends to follow Mark, Abbie (a friend of Sarah’s) and Sarah. However, the comic sometimes centres on Joel, the mysterious member of the gang.

Do you love Star Trek and/or Star Wars? Do you role play? Do you like comics? If the answer is “yes”, maybe you should meet the gang.

Bruno

And it’s that time of year again, when the weather in the Northern Hemisphere starts growing cooler, nights longer, and as Halloween starts creeping over the horizon, the Guest Reviews appear. Unfortunately, the economy being as it is, we’ve had slim pickings this year in the Guest review front. We do have two nice reviews, however; the first from the creator of the webcomic A Moment of Peace, Abigail Corfman. The next will be up on the 26th… followed by the first installment of a e-novel I’ve been writing on the 28th. And now for the review:

——————–

‘Bruno’ is a black and white webcomic about a young painfully intelligent and blisteringly opinionated girl trying to find her place in the world. It is dialogue heavy by necessity — each ‘strip’ is actually one long or tall panel with an illustrated scene and a conversation between characters. This is comic very much driven by characters, not by any sort of an overarching plot.

The comics vacillate between being long and rambling, and quick and pithy. Almost all of the humor is character based–Bruno’s reactions to people around her.

Bruno’s cynicism and indecisive anxiety can be grating, but it is generally offset by her wry sense of humor, insight, and occasional deviations into unrepentant silliness. As a reader you will probably find yourself empathizing with Bruno’s friends– and forgiving her her flaws for the sake of her charm and the occasional perfect luminescence of character she displays.

‘Bruno’ the comic has a very pronounced flaws that are extremely evident in the beginning, but gentle as the comic goes on. In the beginning, it tosses you immediately into the action without providing exposition. You need to pay careful attention to the conversations the characters are having to figure out who everyone is and where you are.

There are sufficient cues in the dialogue to orient you, but it’s easy to miss one (I didn’t figure out the comic had started in New England until Bruno left and came back) and it’s shocking to immediately have so much pressure on the reader to figure out everything.

On the bright side, this rewards an attentive the reader with understanding and the satisfaction of having figured things out for yourself. Even when somewhat incomprehensible, Bruno’s style is interesting and engaging. The comic doesn’t talk down to you, the characters regularly discuss complex ideas and don’t shy away from big words. Is rewarding and educational to read.

But getting back to criticism, there are a few points early on where it’s simply impossible to get sufficiently oriented. I initially assumed Bruno was at college because people kept talking about it, and was startled to find out she was on break. There were many instances where you meet a character, and only later discover how significant they are. There also many instances where you need a character, and then never ever see them again.

The snapshot style of the comic makes it difficult to intuitively keep track of how much time is passing. Given all these obstacles it’s extremely impressive that it all hangs together as well as it does. The author quickly learns how to transition us more gradually from situation to situation, and to focus more on individual characters (other than Bruno) to help us develop relationships with them.

The comic really comes into its own with the introduction of Amy, Bruno’s niece. This happens in the archives on April 29, 1996. if you’re not entertained by then, put it back on the digital shelf.

I want to make a particular note about characters. The vastness of Bruno’s cast is a beautiful and potentially befuddling thing. Christopher Baldwin does an exquisite job drawing faces. Faces pop out from every comic, the focus and the point. Vivid and expressive. The story is character based, and the drawing style expresses this by making people’s emotions the centerpiece of every image.

And the voices of the characters are wonderfully varied and evocative. It’s obvious this author loves people.

The comic has some trouble resolving itself, and sometimes seems to lack direction. Appropriately, Bruno constantly struggles with these very same problems. You could argue that this indecision is an elegant metaphor for Bruno’s life, but it seems more likely that it’s the artist not knowing what to do next.

To summarize: Bruno’s main flaw is that it is sometimes confusing and indecisive, but it’s a beautiful and challenging character piece.

Shortpacked

Given the increasingly virulent political ads on television these days and the wave of anti-incumbent fervor that’s gripping the U.S., it only stands to reason that we’d see webcomics stepping into the fray. Shortpacked’s inclusion into the political arena is a given, seeing that David Willis decided to have his It’s Walky refugee character Robin become a congresswoman, as it allows Willis to thumb his nose not so much at any one political party, but more at the increasingly nasty atmosphere that’s grown to surround the political scene these days. And whether she’s giving Sarah Palin a colonoscopy using the head of a coworker or desperately trying to ward off increasingly bizarre personal attacks, it’s a lot more amusing than what we’ve got there in politics these days… and a bit more intelligent as well.

Ana and Gabriel

While I normally gravitate toward webcomics with ongoing (and often epic) storylines, I’ve a growing number of more humorous short-form comics that I enjoy reading. A recent addition to these whimsical webcomics is Ana Badra’s Ana and Gabriel, an imaginative slice-of-life webcomic about a college-aged girl whose childhood imaginary friend has come back into her life. Nor is this some rip-off of Count Your Sheep; Gabriel (the imaginary friend) isn’t a sheep, and while he’s one of the titular characters of the comic, it doesn’t rotate around him.

Instead, Ana and Gabriel is the story of Ana and her life in college. While her imaginary friend is a part of this, his role is ethereal in nature (seeing that he is imaginary. Unlike certain other imaginary characters in other webcomics, he doesn’t interact with the world around him with the exception of a certain rodent that appears early on in the comic; I won’t spoiler it for you, but it’s fairly obvious what’s going on as long as you remember Gabriel’s a figment of Ana’s imagination, not some manifestation of a fae spirit that pretends to be imaginary while helping around the house or something like that.

Unfortunately, Ana and Gabriel has suffered some signs of comic instability: while the artwork has improved from the early strips, Badra shifted from a colored comic to greyscale fairly early on. She has also utilized other cop-outs such as a couple of stick-figure comics and several filler strips that suggest Badra isn’t always sure what to draw. This can be a problem with non-storyline comics, and it’s a shame because there’s potential here. Whether it’s Gabriel being snarky about Ana’s interests, Ana interacting with her friends (and even trying not to react to her imaginary friend around her real ones), or even more college stuff, there’s some promise to this comic, and I hope Badra finds that happy medium that’ll encourage this comic to grow.

Order of the Stick

Webcomics are, by their very nature, a combination of storytelling and art. But while the artistry of webcomics is often used in storytelling, the artistic aspect isn’t always utilized as fully as it could be. Dialogue and narrative captions often are used in setting the scene and telling the action, rather than showing the story through art alone. The latest update for Order of the Stick has managed to capture that spark, foregoing captions or dialogue and using the art alone in telling a story.

Mind you, this is a stick-figure webcomic we’re talking about. While OotS may be one of the most artist stick-figure comics around, we’re still talking about a format that isn’t usually associated with “artistry.” This makes the interwoven aspects of the story that much more spectacular, as readers are given glimpses into the day and actions of each of the characters, whether it’s Elan and his father enjoying a day together as father and son (seeing that Elan was raised by his mother alone), or Vaarsuvius and Haley freeing 23 slaves (by V’s calculations), or even Durkon working on some prayer while Roy and Belkar spend time with the gladiators.

It took a tiny bit to puzzle out the format of the comic; rather than the traditional right-to-left seqence of events, Rich Burlew combined horizontal and vertical aspects to the storytelling; each vertical row presenting a moment in time (shown by the sun at the very top of the comic). There was no horizontal aspect to the storytelling (outside of double-wide panels representing extended periods of time), and a character would appear at the top of one sequence and the bottom of the next. Yet all of this was done without dialogue, except for the final panel with Elan saying to his father “That was the best day ever!!” Even then, the dialogue wasn’t necessary, though it was a fitting end to a comic that pushed the boundaries of graphic storytelling. In stick figure form.