Showing posts with label comic books. Show all posts
Showing posts with label comic books. Show all posts

Thursday, 16 October 2014

Batman without the Batman: the Gotham TV series

Finally watched Gotham last night and it’s … okay. Little more than an average police procedural, with lots of gratuitous name-dropping (or should that be bludgeoning?).
 
That pointy-nosed fellow with the umbrella was called ‘Oswald’ enough times (and then ‘Penguin’ a couple more just in case we missed the subtleties) that even someone who didn’t have a clue about the Batman universe (and why should they even be watching in the first place?) would be feeling over-informed.
 
A young girl with an obvious thing for plants declared “I’m Ivy!” in a clear, strong voice – just in case those at the back didn’t get it. Young Bruce Wayne – even though traumatised at witnessing his parents’ deaths – managed to give Jim Gordon a description of the murderer that was forensic in its detail. A young girl dressed in black – with an uncanny climbing ability – was the only one who wasn’t verbally identified, but her feeding a stray cat with stolen milk might just be a clue.
 
Everyone’s future characters were underlined in such lumpen, clumsy fashion that it felt like I was constantly being nudged violently in the ribs and winked at whilst the programme makers shouted “You get it?” loudly into both ears.
 
And why is Sean Pertwee talking in a lousy Mockney accent? Does he think he’s going to grow up into Michael Cain, or something?
 
In fact the most intriguing facet of the whole unsubtle shouting match was the physical resemblance shared by Alfred and Jim Gordon – I can’t believe it was accidental. Someone trying to say something about the two surrogate fathers in Bruce Wayne’s/Batman’s life?
 
It’s early days yet but at the moment the programme is managing to be arch whilst at the same time too much on the nose. I’ll keep watching, of course, in the hope that like Agents of SHIELD and Arrow it’ll grow stronger as the series progresses. Then again, it could be the next Smallville; that’s a depressing thought…

Friday, 20 December 2013

Pulp Heroes: Martin Gately

Martin is the author of "The Sons of Crystal City": a masked adventuter story for THE ALCHEMY PRESS BOOK OF PULP HEROES 2.
http://www.amazon.co.uk/Alchemy-Press-Book-Pulp-Heroes/dp/0957348940/ref=sr_1_1?s=books&ie=UTF8&qid=1387542983&sr=1-1&keywords=pulp+heroes+2
Would you like to briefly introduce yourself: what inspired your writing and when you began, and – if possible – of all of your published work could you tell me which your favourites are (and why)?
 
I suppose in a roundabout way my writing was inspired by Earl Hamner, the creator of THE WALTONS – I was heavily influenced at age seven or so by the fact that John-Boy wanted to be a writer. And by the fact that my grandmother assured me that my writing was as good as anything appearing on the kids’ page of the local paper … the inference being that there was therefore money to be made (which there was).
 
I attempted to enter the world of writing full time in my early twenties, and this is when I did the work of which I am most proud – on DC Thomson’s STARBLAZER comic. One of my STARBLAZER stories was illustrated by the great maestro of Argentine comic artists Quiqué Alcatena – a true genius. I had the pleasure of working with him on two further occasions; firstly on the ‘comics novella’ SHERWOOD JUNGLE which starred that well known King Features character The Phantom, and also on a one-off comic strip for Fortean Times called THE CRYPTID KID. This was obviously written in one of my more egomaniacal moments since the strip is hosted Rod Serling-style by a younger version of myself.
 
Do you have a favourite genre, or sub-genre? What exactly is it that attracts you?
 
My favourite genre to read is fantasy: Moorcock or Robert E Howard, with Lovecraftian horror running a close second. The attraction with fantasy is, of course, entering a fully realised world.
 
Fantasy is also what I write most easily. However, I have found that you don’t pick the genre, the genre picks you. I seem to have written a lot of detective fiction in the last few years, including two Sherlock Holmes stories.
 
Some say Pulp is a genre, others a style; which side do you come down on?
 
It’s some sort of interlocking of both, I guess. The pulps of the 1930s covered many different genres: sport, detective, western, fantasy and SF. Pulp isn’t a comment or expectation on the quality of the writing – don’t forget that Tennessee Williams wrote for WEIRD TALES.  When I think of Pulp now, what first springs to mind are proto-super heroes like Doc Savage and The Shadow. It’s possible to see the influence of those two characters on, say, the Fantastic Four and the Jedi from Star Wars. So Pulp has also been a platform on which other sub-genres (super-heroes and space opera) have been built. I suppose what Pulp was in reality was a colossal market for writers, and what we have now is just some vestigial temporal echo of that.
 
What was the inspiration for “The Sons of Crystal City”?
 
Well, it’s kind of an unabashed Green Hornet pastiche – I love the old GREEN HORNET TV show and in particular the performances of Van Williams and Bruce Lee. Sadly, there wasn’t a big budget Green Hornet movie in the 60s like there was for Batman (the fashion was for high camp and the Hornet was always played reasonably straight) but if there had been perhaps it might’ve resembled this story. The serious aspect to this tale is around the internment of Japanese Americans during the Second World War. While my personal view is that internment was an utter disgrace, it is, arguably, comprehensible as a reflex action in the context of the attack on Pearl Harbor. Less understandable are the modern day apologists who say what fine places the relocation camps were, whilst taking umbrage at any suggestion that they were concentration camps.
 
Other inspirations include … the anti-Japanese sentiment in one of the 1940s Batman movie serials, DR STRANGELOVE (of course!) and The Spider – I think somebody once said that in the world of the Spider, every day is like 9/11 – and that was certainly part of what I was aiming for; you are ‘behind the scenes’ on what just might turn out to be doomsday.
 
Do you have a particular favourite author, or authors? What is it about their work which appeals to you?
 
My favourite authors are Roger Zelazny and Philip José Farmer, in the sense that they are my writing heroes.   I think the Amber series stands out as an extraordinary work of imagination and originality. JACK OF SHADOWS is also excellent. Farmer’s fictional ‘biographies’ (DOC SAVAGE: HIS APOCALYPTIC LIFE and TARZAN ALIVE) works are another high watermark for me. These are the books which inspired the whole Wold Newton Family concept and sub-culture. Farmer was an incredibly daring writer and books like A FEAST UNKNOWN and BLOWN still have the power to shock. Of his more straightforward novels, TIME’S LAST GIFT and THE GREEN ODYSSEY are two of my favourites.
 
Outside writing, what else occupies your time (assuming you have any free time left)?
 
My time is spent raising two children who seem to be far more intelligent and better adjusted than I ever was … I wouldn’t be surprised if they took over the World, or ruled the Galaxy as brother and sister, or something.
 
Is there any particular style of music – or musicians – which appeals to you?
 
Imagine the musical tastes of Alan Partridge, only slightly worse. I’ll make it easier for you: Geoff Love’s album STAR WARS AND OTHER DISCO GALACTIC THEMES is on my iPod. The videos I’ve most frequently posted to my FB page are probably I LOST MY HEART TO A STARSHIP TROOPER and the theme to the LOGAN’S RUN TV show (surely one of the most sublime pieces of music ever composed). Earlier in the week I was listening to some Perry Como.
 
When I am writing, I tend to listen to random movie soundtracks: Ron Grainer’s OMEGA MAN, Jerry Goldsmith, FIRST BLOOD, CAPRICORN ONE; John William’s DRACULA and JAWS 2 – these latter two are particularly good because I don’t know the movies that well, so there is no visual interference from them (i.e. I’m not reminded of what’s happening in the movie as I listen). The problem is that I can’t write in total silence, nor with anyone singing, nor with purely classical music.
 
What are you currently working on?
 
There are a few things I’ve worked on this year which I’ve mentally filed under ‘too good to be true’ so I won’t inadvertently curse them by mentioning them now… But, officially I can tell you that I’m writing a novel for Jean-Marc Lofficier’s Black Coat Press called THE PHANTOM OF THE OPERA IN PERSIA. Jean-Marc also produces an excellent anthology series called TALES OF THE SHADOWMEN. I’ve had stories in the last couple of volumes and I’m just finishing off my submission for Volume 10 which again features the French public domain inspiration for Jonathan Creek: Joseph Rouletabille.

Sunday, 1 December 2013

Pulp Heroes: Ian Hunter

Writer, editor and poet Ian Hunter answers questions on his influences, his musical tastes, and the genesis of the character The Wraith who appears in “The Monster of Gorgon” in The Alchemy Press Book of Pulp Heroes 2.
 http://www.amazon.co.uk/Alchemy-Press-Book-Pulp-Heroes/dp/0957348940/ref=sr_1_1?s=books&ie=UTF8&qid=1385927638&sr=1-1&keywords=pulps+heroes+2
Would you like to briefly introduce yourself: what inspired your writing and when you began, and – if possible – of all of your published work could you tell me which your favourites are (and why)?
 
I suppose I began writing because of a variety of reasons – being an only child, having an over-active imagination, growing up in the 1960s and being exposed to all of Gerry Anderson’s “Supermarionation” antics, and Doctor Who, of course, and American comics, lots of American comics. I probably started writing seriously in my twenties, and my favourites of my own work are my children’s novels – The Dark Knight’s Blade (written because of my love of the film A Chinese Ghost Story), then Lipstick Lass (written because my children were into Captain Underpants and The Powerpuff Girls at the time) and The Magic Mousehole (because it’s just barking), although I do like it when a story gets long-listed for an award, or it actually wins an award or a prize, or gets an honourable mention in a year’s best, or someone who really knows me and my writing says that’s the best thing you’ve ever written, which has happened a couple of times.
 
 
Do you have a favourite genre, or sub-genre? What exactly is it that attracts you?
 
I review for Interzone and Concatenation so I get sent science fiction, fantasy and horror novels to review, and sometimes you gets “genre-ed out” and it’s good to read something different. I grew up reading Enid Blyton – the Famous Five and the Secret Seven books - then Alfred Hitchcock and the 3 Investigators books, then moved on to Tarzan and James Bond, before finding Michael Moorcock and James Herbert. Stephen King was a huge influence on my reading because of his book Danse Macabre as I tried to read all of the books he highlighted as being important to the genre by the likes Bradbury, Straub, etc; and because I was a huge King fan I bought Kirby McCauley’s Dark Forces which included “The Mist”, which was a real eye-opener as that was the first time I had encountered Ramsay Campbell, and Dennis Etchison and Charlie Grant, and Manly Wade Wellman and Lisa Tuttle and Joyce Carol Oates, and many others. Personally, I think it would have been a tragedy if I had never read that anthology and been exposed to all those writers.
 
 
Some say Pulp is a genre, others a style; which side do you come down on?
 
I’ll sit on the fence and say both. I think it was an important genre in the past and embraced many sub-genres, and the first Pulp Heroes anthology and probably this second one will show how wide the pulp genre is, from laconic, hard-bitten private eyes to shadowy vigilantes to off-world and weird-world adventures. I do think it is a style as well – the dialogue, the descriptions, the action, but also the weird array of characters and locations play their part. Maybe Jonathan Green’s Ulysses Quicksilver series continues the pulp tradition and Guy Adams' recent The Good, the Bad and the Dammed does the same – maybe, or maybe I’m doing them both a disservice but I think as a reader if you pick up these titles you are in for a rollicking good time.
 
 
What was the inspiration for “The Monster of Gorgon”?
 
I’ve been writing a novel about the Wraith and the East Nuked of Fife and the Thrownaway for a while now, which chronicles Darroch’s transformation into the Wraith and culminates with his awful revenge on the townspeople, and it really is awful, but I’ve been working on a series of spin-off stories because there are other stories – who is behind Darroch’s transformation, the dreadful Dr. Carstairs, what happened to Emma, and tales of the steam rigs and adventures in other parts of The Nuked and beyond, so there will probably be more stand-along stories to come.
 
 
Do you have a particular favourite author, or authors? What is it about their work which appeals to you?
 
My two favourite writers are Joyce Carol Oates, and William Kotzwinkle. Kotzwinkle is perhaps better known (if he is known at all) for writing novel adaptations of films like E.T. and Superman 3, but he has written some of the funniest books I’ve ever read, like The Midnight Examiner or The Bear Went Over the Mountain, or really different works like The Fan Man, Doctor Rat, and even Fata Morgana which reads almost like a detective novel, with a wonderful twist at the end. He also writes the Walter, the Farting Dog series, but, sadly, doesn’t write enough these days. Oates on the other hand is a literary chameleon and incredibly prolific. I’ve been lucky to hear her talk and read at the Edinburgh Book Festival a couple of times. She can write anything, and does, and many of her novels are a reaction to events and circumstances in America, although she has won a couple of Stokers for her short story collections and her magnificent horror novel Zombie (which isn’t about your traditional flesh-eating zombies at all). I thought Jennifer Egan’s A Visit from the Goon Squad was a brilliant read a couple of years ago, because of what she was doing to the narrative, and combining what might be a whole series of short stories into a circular novel (rather like the circularity of Ian McEwan’s Amsterdam and Alice Hoffman’s (one of my other favourite writers) The Ice Queen), and recently Zadie Smith was doing some interesting things with the form of the novel in  NW – the way she handled dialogue tags, a chapter as a concrete poem, using lists. I like it when people try the unconventional.
 
 
Outside writing, what else occupies your time (assuming you have any free time left)?
 
I used to be more sporty – tennis, golf, badminton, squash, but as I’ve got older those have fallen away slightly, so I suppose its the usual stuff, like walking the dog, and photography (and taking too many pictures while walking the dog). I edit a little magazine called Unspoken Water so I’m always looking for unusual, spooky-ish places that would make a good cover picture and fortunately where I live there are lots of out of the way family graveyards and abandoned buildings. Other things would include going to concerts and movies, and collecting boxed sets of DVDs and not watching most of them.
 
 
Is there any particular style of music – or musicians – which appeals to you?
 
I like anything – really. Every year I go Download, the big heavy metal festival at Castle Donnington and when it is raining hard and it’s a mud bath I wonder what I am doing there and vow “never again”, but still come back the next year for more. I do like folk, and Americana, and the like. In Glasgow at the start of the year there is the big “Celtic Connections” festival which is a must, but my major music love is jazz, and it’s all Phil Collins’ fault. When I was younger I was into bands like Led Zeppelin, Deep Purple, Uriah Heep, and the “proggers” – Pink Floyd, Yes, Genesis, and Collins also played drums in a “jazz-rock” fusion band called Brand X, then at an influential age I heard him hosting a Radio 1 star special and practically all the stuff he played – Frank Zappa, Joni Mitchell, Weather Report, Pat Matheny, King Crimson – I went out and bought. But he also played some of the major jazz drummers like Billy Cobham and Tony Williams (the greatest jazz drummer ever, I think, who played drums for Miles when he was a teenager) and I was hooked. I really am a frustrated jazz drummer and I think if you were into bands which had great musicians, especially the “proggers”, for me, the logical thing, was to move into jazz where the musicianship is also great, but a bit looser. I’ve gone to jazz festivals all around the world, and would see people like Miles Davis two days in a row; I even went to see Miles twice in one day in London. It’s the only type of music where I sit or stand with a silly grin on my face, because I’m enjoying myself so much.
 
 
What are you currently working on?
 
Too much, probably. Lots of short stories, some concerning a vampire character of mine called Roam Belanger, and other stand alone stories. I’m very guilty of chasing markets, but it does mean that you get some stories finished. Recently, I’ve been on holiday and writing poems. I wish I could write more but they come in fits and starts. I’ve also been writing various children’s novel and adult novels concerning houses with secrets and teenagers in a post apocalyptic world and others based on Scottish folklore and legends like Tam Lin and Tam o’Shanter.

Sunday, 10 November 2013

Agents of SHEESH (with apologies)

 
I’ve been a fan of American comic-book superheroes for decades; in fact one of my earliest memories is of going on holiday, on a coach (we didn’t have a car at the time) reading a Green Lantern comic – over and over, as only young children can. I discovered Marvel comics several years later and became an instant convert to the garish, OTT universe its characters inhabited (at the time DC was definitely in the doldrums – despite having the lion’s share of the market – with repetitive and frequently boring storylines). These days I don’t hold a torch for either company – preferring individual characters (such as the Batman) or artists (like Howard Chaykin) over universes which are becoming mind-numbingly over-complex. When they’re not getting the far too frequent reinvention and clear-out treatment. But when movie technology finally caught up with the visual insanity of the comic-book worlds, I for one was delighted.
 
I think it’s fair to say that, in the movies anyway, Marvel is doing slightly better, with the separate X-Men, Spider-Man and Iron Man/Thor/Captain America franchises. The Batman and Superman films (all of the sequels and re-boots) have had their successes – but Green Lantern was, I’m sad to say, a disappointment (doubly so for me for, as a youngster, the Gil Kane illustrated Green Lantern and Carmine Infantino’s Flash were my favourite characters). Talk of a Justice League movie remains just that – talk – whilst Avengers Assemble has not only spawned a cartoon version, but has been spun out into the Joss Whedon produced Marvel’s Agents of SHIELD. Which is where everything gets flipped.
 
 
Over the past couple of decades there have been various attempts to get superheroes on TV. I won’t mention the Dr Strange and Captain America TV movies, both of which suffered from tiny budgets; nor do I intend to cover The Hulk or Wonder Woman (other than to say the first was simply The Fugitive all over again, and the second a camp throwback to the mid-60s Batman show). In the wake of the X-Men films there was a dire series named Mutant X which somehow managed to survive three seasons; whilst the DCU came up with Birds of Prey (based on the comic of the same name) which was cancelled before all of the first season was aired (don’t ask me why: it was far from perfect, but still superior to Mutant X) Some years earlier there had been a Flash TV series which only lasted one season even though it was quite fun and – unlike Hulk and Wonder Woman – actually had a few super villains (such as Mark Hamill’s Trickster). And of course Supes was represented by both The New Adventures of Superman (aka Lois and Clark) and Smallville, both of which had long runs and – in the case of Smallville anyway – did a good job of presenting a version of the DCU to a largely unfamiliar audience. Plus there were all the cartoon series: Spider-Man, Batman, Superman, Justice League, X-Men and the Avengers.
 
 
Notice something: with the exception of the animated series, nearly all of these shows are based on DC characters.
 
Which brings us up to the present day: the DCU represented by Arrow; Marvel by Agents of SHIELD. And what a difference. Whilst Marvel certainly has got into its stride with movies, they’re still lagging on TV.
 
Based on the Green Arrow comic book, Arrow seems to be more a spiritual twin to Christopher Nolan’s Dark Knight trilogy: shadowy, angst-filled – there’s even a budding Batman/James Gordon style relationship building in the second series between Arrow and the demoted policeman Quentin Lance. Although aiming less for the spandex look, there’s still an impressive roster of characters from the DCU: Deathstroke, Deadshot, Roy Harper (Oliver Queen’s younger sister, Thea, already has the nickname Speedy – so it’ll be intriguing to see where that goes); Black Canary has become an established part of season two, with the promise of Barry Allen/the Flash later. Although it’s occasionally a little too po-faced the series is confident, and clearly knows where it’s going.
 
 
Agents of SHIELD, on the other hand, is so far suffering from what I can only see as a failure of nerve. Growing out of the crazy Marvel universe (in many ways a direct sequel to Avengers Assemble), with Joss Whedon at the helm I had expected so much more. SHIELD was Marvel’s answer to James Bond and The Man from UNCLE, and the comics were brash and OTT: operatives typically dressed in form-fitting one-piece suits, with shoulder holsters that held something far more exotic than a Glock automatic. They even have a flying aircraft carrier. So why, when AoS finally hit our screens is it so much like any number of other cops-with-fancy-technology shows? To be blunt, the hardware on display in CSI:NY was more fantastic than most of what Agent Coulson and his band of cyphers have so far encountered. It doesn’t matter how many times they name-check Captain America, this doesn’t feel like the same universe in which New York was invaded by a gang of other-dimensional creatures, master-minded by a Norse god, and involving a death-worshipping alien. It’s just too ordinary. Audiences in both the US and UK must feel the same, as viewing figures in both countries drop weekly. Unless things change, I don’t see AoS being picked up for a second season.
 
 
But maybe I’m being overly pessimistic. Recently I’ve started rewatching the first season of Babylon 5 – and I’m surprised at just how bad it is, with no sign of the heights it would attain in later years (ignoring the final series, which should never have been made). So perhaps AoS will make it yet; perhaps they’re still establishing the characters, and we may expect some real Marvel comic-book action. I hope so.

Bring back Hydra I say, introduce AIM (both have been name-checked either in the series or the films) – and let’s throw the automatic pistols away in favour of shoulder-holstered blasters, before it’s too late.
 

 

 
 

2024 IN REVIEW

It’s that time of year again, when we decide to look back at what we’ve done over the past twelve months. Frequently it’s a shock (for me, a...