Tag Archives: Mythic comics

A Redtail’s Dream

When I read my first regular webcomic, Clan of the Cats, I was quickly dragged into it and found myself devouring over a year’s worth of archives in one sitting (which was quickly followed by CRfH due to the Halloween crossover happening between the comics). Since then, every once in a while I’ll find a comic that just grabs me by the scruff of the neck and insists “read me. Now.” And while this urge comes upon me less and less often these days, today I found one such comic with the mythic comic A Redtail’s Dream.

The amusing thing is, I’ve had this comic on my reading list for a couple of weeks now. I was drawn in by an advertisement and never got off the first couple of pages (in which some spirit-foxes were discussing business in the spirit-world while eating snacks). While it seemed interesting enough, the spark just wasn’t hitting. It wasn’t until a dozen or so pages in that I found dry kindling igniting and the flames starting to spread quickly. Before I knew it, I was busy reading and had thrown away my planned commentary article to finish this comic and review it promptly.

While the comic utilizes some elements of Finnish mythology (and to be honest has a mythic feel to it that made me think of American Indian mythology), this is the delightfully mad invention of Minna Sundberg, and focuses on Hannu Viitanen and his dog Ville as they travel the spirit world trying to reclaim the souls of people from his village after a fox-spirit had an “oops” and trapped the souls of his village by mistake. Well, there’s more to it than that, but in each chapter our hero and his dog (who can speak in the spirit world, and who in each new world is a different form – including a seal, a snake, and a bear) have to fulfill some task before the people there can go home.

What’s even more interesting is that our protagonist is not the nicest of people. He doesn’t like people and wants to avoid talking to others if possible (while Ville finds no problem with talking to others and drags Hannu along – physically, sometimes). He used to shoot small animals with a crossbow just for fun (rats, mostly) and doesn’t like physical work. Nor is he “learning” a lesson along the ways. He’s doing what he has to because if he doesn’t, people may die. He may die. But he grumbles along the way and if there were anyone else who could do this, he would. In short, he’s human, and delightfully so.

As a brief aside, I need to mention that Sundberg’s work ethic is enough that Howard Tayler of Schlock Mercenary would be impressed. Each comic takes about eight hours a day on average to make. She crafted enough comics to have a sizeable buffer and updates six days a week. And what’s more? This is just a practice comic. This comic, which has run for nearly 400 pages (and has another couple hundred pages to go) is meant to improve her skills before she starts work on her real project (and which she’ll be jumping right into as soon as she’s finished drawing A Redtail’s Dream). I am truly impressed by the amount of work she’s putting into what is in effect a trial run.

The truly scary thing is that A Redtail’s Dream is a damn fine comic. The early artwork is good, and it does not show any massive shifts in design even as Sundberg refines her craft. Nor did I detect any problems with her storytelling. In short, she has created as a trial run a comic that easily would be worth publishing. I don’t know what she has planned for her masterpiece work, but when it begins I will definitely read it. In the meantime, I strongly recommend this comic… but only if you have a couple hours to spare. Because otherwise you’ll be up unto the wee hours of the morning reading it… and won’t regret that choice one bit.

The Jupiter Palladium

Given the popularity of antiheroes as protagonists, it can be difficult crafting an effective antihero that can still attract readers. Part of this lies with their basic personality – as an antihero, they tend to be… less than pleasant (to understate things). Seeing that people rarely like cynics and their ilk, often some redeeming aspect is needed to help not only explain why an antihero has chosen that path, but also present some aspect of redemption (even if only a minor one). This is certainly the case with Matt Cooper, an information broker in the superhero comic Jupiter Palladium who uses sarcasm to keep people at bay, while simultaneously pointing out their shortcomings and forcing them to take a long hard look at themselves.

Of course, when you consider what it is that information brokers do, it doesn’t come as much of a surprise people don’t think highly of him (and this is even before his own ability to transform into a humanoid bat is revealed). People don’t enjoy having their secrets revealed, and they also tend to dislike being teased. Naturally, Matt revels in teasing and harassing the target of his sarcasm while slowly revealing small tidbits to whet the appetites of those listening to him while the target of his sarcasm has her secrets revealed. To be honest, I’m not quite sure why he held his sarcasm in check when forcing the Jupiter Palladium’s leader, Angel, to admit the truth of her past. But what did prove interesting is his targeting of the telepath Syren and his reasoning behind his harassment.

In essence, Syren is useless. She was unable to do anything effective in the Jupiter Palladium’s recent fight, and despite being a telepath she wasn’t able to reveal the treachery of one of their own despite spending a bit of time with her. While she’s not the only novice among the heroes, Matt seems to think her naivety will end up getting herself killed… unless he can toughen her up or chase her out. What with Matt’s own tendencies as a loner and his words, we end up with a glimpse of someone who is trying to keep Syren from getting herself killed. It’s an interesting glimpse into the mindset of someone who ultimately is more heroic than he likes to let on… but who hates to show any sign of weakness that others could use against him.

Eerie Cuties

While Eerie Cuties claims to be a comedy horror, for the most part the comedy is emphasized over the horror. Today’s update was a subtle reminder of the horror aspect to the comic: both with Nina’s introspection on having drunken blood when she’d possessed her sister’s body (using a plot gimmick for a quick “Freaky Friday” story) and with the possessed doll Blair, who was apparently ready to run a stake through Nina depending on her reaction to eating chocolate once more. To be honest, I’m not quite sure which was more surprising: Blair with a stake, or Nina in quiet contemplation.

Blair’s bit with the stake was out of left field (though there were some hints during the storyline that the doll didn’t like the idea of Nina drinking blood, even when she possessed her sister Layla’s body). Up until now, Blair’s been a one-dimensional character that existed mostly annoyed other female cast members (and most of the readership). In essence, Blair was the comedy relief in a comic that already emphasizes humor over dramatic storytelling. But with one stake hidden behind its back, this dynamic has shifted. Suddenly, there’s an actual purpose behind Blair and the hope that there is a back story for the doll which will hopefully prove interesting.

What I found more intriguing though was Nina’s contemplation. She’s troubled by what she went through. Up until now she never thought twice about preferring chocolate to blood. But now, she knows what it’s about. She knows why her sister craves blood. And she may be realizing she’s… not like her sister, or her parents. She knew this before… but this hammered it down. Further, she’s starting to wonder why she is different. This is a new direction for Nina. It may very well be a new direction for the comic as well, and may provide Gisèle Lagacé and Dave Zero 1 a chance to slowly introduce horrific elements to what’s predominantly been a comedy.

Life and Death

Congratulations to Life and Death comic, which has made 1,000 updates. Though when you consider how many of those updates are parties celebrating X number of updates, it’s probably closer to 950 updates. To be honest, I have no idea who most of the people making cameos in the comic are, though I recognize Pintsize from Questionable Content and the every-present Hogan, keeper of The Webcomic Crossover and Cameo Archive. My one regret: we didn’t get to see Hogan and myself feasting on roast drunk duck, after Drunk Duck altered their file structure and rendered both of our links for various DD-hosted comics invalid (though to be honest, this impacted Hogan to a far greater extent than myself, seeing many of my archives are still off-line). In any event, congratulations, Joff. Here’s to the next 1,000 comics.

Finder’s Keeper

It’s an unfortunate truth that far too many non-human races in fantasy literature these days are nothing more than idealized humans with some “extra” trait that makes them better than normal humans. Whether it’s sparkly vampires, glossy-haired elves, or any number of other semi-human races, these nonhuman races often can pass fairly easily for human and seem to exist only to prove humanity is a flawed and inferior species. Thus I must admit I’ve enjoyed seeing Garth Graham’s depiction of the fae Puck in his contemporary fantasy comic Finder’s Keeper as a conniving yet proud nonhuman who takes honest umbrage at Cailyn’s need to assign human traits to him that he doesn’t possess.

The Fae of legends were creatures of horror and awe. The earliest tales didn’t even bother with the concept of the Seelie and Unseelie Courts, which is a human invention to try and assign some description of “good” and “evil” to them so to differentiate the “helpful” fae such as brownies and the like from the more destructive and offensive fae such as redcaps or the multitude of Faerie Princes that seem to crop up in stories. (And when you think of it, there are some interesting parallels between the stories of alien abductions and faerie abductions; the myths remain, but have been modernized as aliens are more “acceptable” than fae in this day and age.)

In modernizing the Fae and of mythic creatures, Graham has worked hard to let people identify with the nonhuman cast, while at the same time allow the sense of the Other to emanate from these creatures at the same time. I have to think he’s succeeded for the most part with Puck; while there are moments where Puck seems almost human (despite the horns and inhuman features), his moods and personality remain mercurial. I’m not quite sure Puck needed to rub his inhumanity into Cailyn’s face, but I suspect this reminder was as much for the audience as for Cailyn herself. And of course, it allowed Graham to poke fun at the supernatural teen romances, while conveniently forgetting the romantic tensions between Cailyn and Cardinal. At least, for the time being.

Blip

For the last couple of months, Blip has been taking a break from K to focus on the origin stories of her friends Liz, Mary and Hester. I have to admit that while I’ve missed seeing what’s up with K, it’s been rather enjoyable learning a bit more about her three friends, and how they first met. (I have to admit I found the scene when Hester glomped Liz (who’s a vampire) to try and shield her from the sun to be especially sweet, and very much in character for Hester.) It’s been rather interesting watching each of K’s friends’ origin stories told in flashback mode, though I wonder if it could have been dispersed further within K’s own story as the constant use of flashbacks does feel a tad contrived. Fortunately, with K’s recent inclusion in Hester’s recent flashback, it seems likely this section of stories is coming to an end. While it’s been fun to see how K’s friends met and their pasts, Blip is K’s story and I look forward to seeing how the next chapter of her life unfolds.

Life and Death

One of the things that I find enjoyable about the metaphysical humor comic Life and Death is its mixture of storyline and gag-a-day formats. The last week of strips has been of the latter variety, following former valkyrie Sally as she fills in for her friend and coworker Steve Zrael (the current Death), as she deals with some more… problematic individuals who refuse to accept their time has come. (This often involves running away at high speed; oddly enough, you can apparently outrun death, at least in the short run.) Sally quickly learns not to give the soon-to-be-departed any last requests after her first “customer” requests death via Tyrannosaurus Rex. Amusingly, she finally catches up with Ms. Zandhurst and with the help of Lucy (the embodiment of Time) provides her with just the death she asked for. Given that the gag had run its course with the previous two strips, this was an unexpected surprise, and a delightful end to this interlude with Sally.