25 April 2017

Heroes of the Frontier

Magnificent.

Dave Eggers presents a grand, heroic look at the threatening frontier of Alaska that is ironically both frozen and constantly fraught with forest fires. Simultaneously, he presents within Josie, a single-mother perpetually on edge of either a nervous breakdown or looking to succumb to rampant alcoholism, the heroic, and all-too human, qualities of running away while running towards. All throughout Heroes Of The Frontier, Josie, along with her two young children, Paul and Ana, completely, and even triumphantly, does both.

Eggers manifests within the novel a philosophy of life, marriage, the tediousness of parenting, and, most importantly, the need to grab hold of that golden ring. Through Josie, we get quirky, and often times hysterical, looks at the insanity of a grade school event schedule, the requisite stupidity of musicals, the glaring monotony of dentistry - perhaps the daily professional grind we all must endure - and the absolute joy of singing, dancing, and communing with live music. Josie embarks on her hero’s quest, destination unknown, hoping to find herself while going off the grid, discovering unabashed kindness and typical American anger. She loves her children, but maybe isn’t the best of parents. She wishes to remove herself from society, but seeks out companionship. She drinks, too much and too easily, but she also laughs, and smiles, and, eventually, does her best to forgive.

Like all great stories, the finale comes sooner than expected. However, the ultimate ending escapes complete fulfillment as earlier steps in the journey might have been more resolute in the closing of the circle. Then again, maybe I did not want this tale to finish. I wanted the fierce mystery of Alaska to unwrap and unveil as Josie continues her eternal quest for resolution and her well-deserved happy ending, as do we all; all of us heroes in this unending frontier.

As Always,
theJOE

10 April 2017

Hellblazer-lite

As a long, longtime fan of John Constantine, the Hellblazer, whose last contact I had with the character, outside of Arrow, was Hellblazer #300, I was both anxious and guarded when the advance preview of his Vertigo-less Rebirth series from DC Comics and NetGalley arrived. Overall, this first collection of Rebirth issues is fairly entertaining, albeit straightforward, gluten-free with no additives, essentially, Hellblazer-lite.

For this first volume of The Hellblazer, entitled “The Poison Truth”, writer Simon Oliver, who once visited John in the surface-level-enjoyable Chas: The Knowledge, brings John back to London (Living NYC, presumably, due to the New 52? Ah, DC) where he immediately gets mixed up in conning his way out of a demon’s curse that, similar to the story in Chas, ends abruptly and simply. Again, Hellblazer-lite.

Oliver’s script then splits off into two paths. John and a telepathic girl named Mercury go looking for an ancient Djinn that has been lurking in the shadows of history laid out in a tale that seems to have been gleaned from Helene Wecker’s fun novel, The Golem and the Jinni, while the always-welcome guest-star Swamp Thing, who is actually presented more like a co-star bringing about a fun if accidental update to The Brave And The Bold, goes on a quest for his wife, Abbey, who is now also an elemental (see again: New 52? Then again, perhaps not). Unfortunately, this first collection comes to it culmination just as both streams head deeper into their trajectories. Let’s hear it for the modern-day cliffhanger. Although, having John and Mercury arrive in Paris doesn’t quite have the same punch as, say, Rey presenting Luke with his lightsaber, but admittedly, I am curious to see what happens next.

The artwork is also split in twain between Moritat, who provides a cartoony, almost European design, and Pia Guerra, formerly of Y The Last Man, whose crisp, clean work is always a delight to see.  John Cassady provides covers that, although not as strong as Hellblazer classic artists Glenn Fabry and Tim Bradstreet, are right in line for this Hellblazer-lite.

Six issues and Oliver’s work is fun but a better pacing needs to be developed for upcoming issues as too much time is spent within on characters not named John Constantine. A lot world building, or revisiting, going on that, hopefully, will lead to a big payoff that might even have the potential of Paul Jenkins’ finale run.

Hey, at least John hasn’t been neutered from his Silk Cut habit.


As Always,
theJOE

04 April 2017

A Halloween Scare… for the Movie of the Week

The Halloween Children moves with the grace of a zombie crawl. Like a found-footage horror movie from the 70s the book is a slow, tiresome read of nothing more than enlightened transcripts where the big boo doesn’t shock ya until deep in the third act. And that shock? Well, nothing long-time genre aficionados would need to check on their blood pressure meds over.

Co-authors Brian James Freeman and Norman Prentiss set the stage in a prime place for a haunting: a high-turnover apartment complex. Yet aside from a few groans and whispers and things going bump in the night, the primary focus of the tale is on the fantastically bad relationship of hellbound-parents-of-the-year Harris and Lynn. The couple so incredibly dysfunctional they are presented as clich̩ caricatures, whose lives are boring, miserable, and uneventful Рuntil the event that occurs within the apartment complex that is supposed to bring the family together and rise up against the demonic invaders in great Spielberg-ian fashion. Except that never happens. Perhaps to groove to a modern audience, the authors present the third-hand details of the account by way of interviews and (prepare for a shock) emails.

Terrifying. Even more disturbing? No Twitter feed.

Interestingly, there is almost no development with the titular characters – the children themselves.

Freeman and Prentiss truly attempt to make a creepy Halloween tale. The slow pace and an unsatisfying build up make this one all tricks and no treat.

Fun-sized chocolate bars a go-go to both NetGalley and Hydra for the ghoulish opportunity of the advance copy.

As Always,
theJOE