Little Brother
Cory Doctorow
Whoo! Class is over! I mean, I liked it a lot, but now I can write about things that aren't comics!
So it's been, like, a month, and I return triumphant, having been out of school for a week and a half and back in the workforce for a day total. Not that I started working just today. It's Memorial Day weekend. That'd be silly. No, I started yesterday at my regular summer job at the local bookstore, a glorious Nirvana if ever there was one. Well, at least in that incredibly-materialistic-I-love-books-not-Nirvana-at-all kind of a way.
Anyway, one of the perks of my job is that we've got a whole table full of advanced reading copies of books all stacked up in the back room at the store. They come, they sit around, sometimes they get read. As an employee, I get to take home any of these books that I'd like, a policy that I take liberal--sometimes absurd--advantage of. To start things off, I found a couple of books that looked interesting and wafted them away with me, and one was Little Brother, by Cory Doctorow.
Now, I had a copy of Little Brother already. I downloaded it in PDF from Cory Doctorow's website, because that's the sort of thing he likes. And I suppose I proved part of his point in doing this, because did it stop me wanting a print copy? No! Reading long books on the computer sucks. Trust me, I know this for a fact. I've been known to spend days at a time on Project Gutenberg and come out, more well-read, but with a splitting fucking headache. Man, seriously. You have no idea of the pain. ...well, probably you do. Not relevant. Whatever.
So, I started on the book this morning. Finished it this evening. It's a quick read. Partially that may be because it's a YA book and thus was written more simply than I'm used to, but I wouldn't really buy that as a full excuse. Mainly it took me so little time because I couldn't put it down. Well, ok, I put it down to drive to the movie theatre and watch Prince Caspian, but those were special circumstances. A Narnia movie was available to me. Far be it for me to not indulge myself in a personal childhood obsession.
I'm babbling. It was a great book. It's solid, and scary, and it doesn't talk down to anyone. If Marcus (the narrator) says something weird, he explains himself, and he does it well. The tech was real (or realistic, if not all strictly real), the hacks were definitely real, and the story was real in a way that warmed a diffident dissident like myself to the core. I finished the book and it made me want to poke around online for hacks for my PSP. (Yes, I own a PSP. And a DS. Consumer whore? Maybe so. But mainly I like games.) But seriously, for gods' sake, this kid takes out Homeland Security with an Xbox! That's a glorious feat!
Neil Gaiman says in his wonderful blurb that he wants to get this into the hands of every thirteen-year-old he knows, in the hopes that it'll change the way they think for the better. I agree. Shit, I want to give copies of this book to my cousins. Then when they take over the planet they'll remember me as the person who showed them the way.
Have I not let out the basic plot yet? Well, here. Hacker kid in San Francisco is near the site of a terrorist attack, gets arrested by Homeland Security and interrogated, and then is released into a USA that's like Franz Kafka had a baby with George Orwell's worst nightmare. So he decides to do something about it using only a hacked Xbox and pure, unadulterated rage.
It's super cool. I feel the need to program now. Actually, I think I need to go take a look around, see if anyone's programmed a Clockwork Pirates game yet.
Read this book. Give it to your kid sister and every single one of her friends. If they don't want to buy it and you don't want to lend it to them, get them to Cory Doctorow's website and have them download a copy. If they don't have Internet access and can't have the book, read it to them, over the phone if necessary. Spread it like a plague. Spread it like an Internet meme.
This book kicks ass.
25 May 2008
22 April 2008
Things You Might Enjoy, If You Enjoy This Sort Of Thing: Episode Nine
Doom Patrol Volume One: Crawling Out of the Wreckage
Grant Morrison
This is an addendum to the con edition of Four-Color World, because I picked up the first volume of Doom Patrol there. I've been looking for it for a while, but previously I've only ever managed to find volumes two through four, never one.
Doom Patrol is a comic about a group of superhumans who are not superheroes. They've got superpowers, but you can't look up to them. They're weird and fucked-up and depressed. One of them is a human brain in a robot body. One of them has sixty-four distinct personalities, each with its own superpower. They're pretty bizarre. And they fight the enemies too freaky for the normal heroes to take care of.
They got a few different comics, and the one this volume is from had been running for a while when Grant Morrison got hold of it. Before he started writing it, however, he persuaded the previous author to kill off a number of characters, so that he could build the cast himself. Crazy Jane, the one with multiple personalities, is one of his creations.
In short: this comic is intensely disturbing. The nature of reality is frequently fluid, and several of the monsters are based on things from that horrifyingly delightful children's book, Struwwelpeter. I read it in the van on the way back to Maine, and it gave me the wiggins, enough that I didn't want to let my feet hang off the seat into the place where it was dark.
At the same time, though, it was really cool. The writing was fantastic, of course, the art was fairly cool, and the creepiness added. The characters were also amazing--they were well-developed and interesting. Crazy Jane's multiple personalities added depth without being an irritating stereotype. Rebis, Negative-Man, was intensely bizarre in a way that was genuinely unnerving.
Anyway, it's really worth reading. Creepy, but cool. I'd recommend it.
Grant Morrison
This is an addendum to the con edition of Four-Color World, because I picked up the first volume of Doom Patrol there. I've been looking for it for a while, but previously I've only ever managed to find volumes two through four, never one.
Doom Patrol is a comic about a group of superhumans who are not superheroes. They've got superpowers, but you can't look up to them. They're weird and fucked-up and depressed. One of them is a human brain in a robot body. One of them has sixty-four distinct personalities, each with its own superpower. They're pretty bizarre. And they fight the enemies too freaky for the normal heroes to take care of.
They got a few different comics, and the one this volume is from had been running for a while when Grant Morrison got hold of it. Before he started writing it, however, he persuaded the previous author to kill off a number of characters, so that he could build the cast himself. Crazy Jane, the one with multiple personalities, is one of his creations.
In short: this comic is intensely disturbing. The nature of reality is frequently fluid, and several of the monsters are based on things from that horrifyingly delightful children's book, Struwwelpeter. I read it in the van on the way back to Maine, and it gave me the wiggins, enough that I didn't want to let my feet hang off the seat into the place where it was dark.
At the same time, though, it was really cool. The writing was fantastic, of course, the art was fairly cool, and the creepiness added. The characters were also amazing--they were well-developed and interesting. Crazy Jane's multiple personalities added depth without being an irritating stereotype. Rebis, Negative-Man, was intensely bizarre in a way that was genuinely unnerving.
Anyway, it's really worth reading. Creepy, but cool. I'd recommend it.
Four-Color World: The (Slightly Belated) Con Edition
Hello, everybody! Today, your lovely Miss Becca is reporting to you on New York Comic Con.
My classmates and professor and I drove to New York City on Friday. Because we're in central Maine, we started out at three in the morning. The drive was long and cramped and mildly horrible, but when we got there it was cool.
Highlights of the con:
My classmates and professor and I drove to New York City on Friday. Because we're in central Maine, we started out at three in the morning. The drive was long and cramped and mildly horrible, but when we got there it was cool.
Highlights of the con:
- On Friday evening I went to Neil Gaiman's reading. He was very funny and charming, and he read chapter three of The Graveyard Book, which was awesome. Afterward I got to see the Christmas special of the latest season of Doctor Who. It was dreadful. But in a fun way.
- On Saturday there was shopping, and my boyfriend and I went to the "Spotlight on Grant Morrison" presentation. I got to ask him how he felt about being a character in the DC Universe. He's pretty cool with it.
- Later, there had been plans to go see the previews for Iron Man, The Incredible Hulk, and The Spirit. However, they were ditched in favor of waiting in line for Grant Morrison's signing. He signed my copy of Arkham Asylum and gave me a hug. It was the pinnacle of my con experience. ^_^
- Met many exciting people, including Jon Rosenberg, the author of Goats. It is one of my favorite webcomics. I bought the first volume and he signed it.
- Sunday had a bit more shopping, and the Final Crisis panel. I didn't pay too much attention, because I don't keep up with current comics, but it was fun listening to Grant Morrison's lovely accent.
16 April 2008
Rorschach the Optimist
Watchmen
Alan Moore
To the winner goes the SPOILERS
Whoo! This is the week I've been looking forward too. My dad got me a copy of Watchmen when I was in high school, and I've loved it ever since.
Anyway, with this latest reread I noticed something sort of odd. Rorschach, probably the scariest character in the entire comic, is actually kind of an optimist. But not happy. Just an optimist. I mean, I'd be hard-pressed to think of a less cheery comic book character. But he really believes in what he's doing, and he believes it in a good way.
Witness this. In the second issue of Watchmen (I have to go by issue--my trade has no other page numbers), Rorschach goes to visit the Comedian's grave. He is busy pondering the case of the Comedian's murder, and provides us with this really amazing quote:
"So many questions. Never mind. Answers soon. Nothing is insoluble. Nothing is hopeless. Not while there's life."
Think about that. Rorschach is sketchy and violent and has a lot of prejudices. He does not get along well with others and never smiles. But he's the one who believes in the human race. Dan Dreiberg can't decide what he wants, let alone figure out what he wants for other people. Laurie Juspeczyk always hated the hero business. Ozymandias can only help people by doing things for them, and Dr. Manhattan doesn't care.
But Rorschach...he thinks things are going to work out. He thinks that things are probably going to work out all right. Which is kind of weird, given how much he dislikes most people.
I think I like Rorschach a lot more now.
Alan Moore
To the winner goes the SPOILERS
Whoo! This is the week I've been looking forward too. My dad got me a copy of Watchmen when I was in high school, and I've loved it ever since.
Anyway, with this latest reread I noticed something sort of odd. Rorschach, probably the scariest character in the entire comic, is actually kind of an optimist. But not happy. Just an optimist. I mean, I'd be hard-pressed to think of a less cheery comic book character. But he really believes in what he's doing, and he believes it in a good way.
Witness this. In the second issue of Watchmen (I have to go by issue--my trade has no other page numbers), Rorschach goes to visit the Comedian's grave. He is busy pondering the case of the Comedian's murder, and provides us with this really amazing quote:
"So many questions. Never mind. Answers soon. Nothing is insoluble. Nothing is hopeless. Not while there's life."
Think about that. Rorschach is sketchy and violent and has a lot of prejudices. He does not get along well with others and never smiles. But he's the one who believes in the human race. Dan Dreiberg can't decide what he wants, let alone figure out what he wants for other people. Laurie Juspeczyk always hated the hero business. Ozymandias can only help people by doing things for them, and Dr. Manhattan doesn't care.
But Rorschach...he thinks things are going to work out. He thinks that things are probably going to work out all right. Which is kind of weird, given how much he dislikes most people.
I think I like Rorschach a lot more now.
13 April 2008
Things You Might Enjoy, If You Enjoy This Sort Of Thing: Episode Eight
The Book of Ballads
Charles Vess and various others
Hey, look! It's not a webcomic!
Not only is The Book of Ballads not a webcomic, it's also nothing like really any of the comics I've reviewed here so far. It doesn't have a continuing story, and nothing in it connects to any other comics. It's a fully standalone book of short pieces. I figured it'd fit into this week's set of post because all of the stories in it are, as you may have guessed from the title, taken from ballads.
Charles Vess is one of my favorite comic book artists. You may have heard of him, particularly if you're a fan of Neil Gaiman. He did the Fairyland section of the original Book of Magic and was the other half of Stardust--not the recent movie, but the illustrated novel it's based on. He does extraordinary work, and The Book of Ballads is one of his babies.
Basically, what Vess did was get a bunch of awesome comics writers to do scripts based on various traditional English ballads, and then he illustrated them. The first one, "The False Knight on the Road," is actually by Neil Gaiman. Other ballads used are "Alison Gross," "Barbara Allen," and "King Henry," among others.
They're all well-written stories, and of course the art is beautiful, but the little thing that makes this book even more awesome is the appendix. At the end of the book, Vess has included a list of all the ballads used, with information about where you can find various recordings of them. For example, Steeleye Span, one of my favorite music groups, recorded an amazing version of "Alison Gross," and that is listed.
It seemed right to include this review in this week's posts because of the whole icon theme. A ballad is not necessarily iconic, but ballads and their themes are in the same family as icons. They're songs because it's easy to remember songs, and they tell stories that people felt, for one reason or another, should be remembered. Ballads are part of the collective memory of the English and Celtic cultures.
If you'd like to dispute the important of ballads, I will tell you do one thing. Find the old Loony Toons episodes where they did Robin Hood stories. One of them has Porky Pig in it as Friar Tuck, and what is he doing when we first see him? He's singing "Barbara Allen," probably one of the most famous English ballads and also one of the ones used in this book.
This is a cool book. You should read it. It may not be like anything you're used to, but it's interesting, and makes for good bite-sized bits of reading.
Charles Vess and various others
Hey, look! It's not a webcomic!
Not only is The Book of Ballads not a webcomic, it's also nothing like really any of the comics I've reviewed here so far. It doesn't have a continuing story, and nothing in it connects to any other comics. It's a fully standalone book of short pieces. I figured it'd fit into this week's set of post because all of the stories in it are, as you may have guessed from the title, taken from ballads.
Charles Vess is one of my favorite comic book artists. You may have heard of him, particularly if you're a fan of Neil Gaiman. He did the Fairyland section of the original Book of Magic and was the other half of Stardust--not the recent movie, but the illustrated novel it's based on. He does extraordinary work, and The Book of Ballads is one of his babies.
Basically, what Vess did was get a bunch of awesome comics writers to do scripts based on various traditional English ballads, and then he illustrated them. The first one, "The False Knight on the Road," is actually by Neil Gaiman. Other ballads used are "Alison Gross," "Barbara Allen," and "King Henry," among others.
They're all well-written stories, and of course the art is beautiful, but the little thing that makes this book even more awesome is the appendix. At the end of the book, Vess has included a list of all the ballads used, with information about where you can find various recordings of them. For example, Steeleye Span, one of my favorite music groups, recorded an amazing version of "Alison Gross," and that is listed.
It seemed right to include this review in this week's posts because of the whole icon theme. A ballad is not necessarily iconic, but ballads and their themes are in the same family as icons. They're songs because it's easy to remember songs, and they tell stories that people felt, for one reason or another, should be remembered. Ballads are part of the collective memory of the English and Celtic cultures.
If you'd like to dispute the important of ballads, I will tell you do one thing. Find the old Loony Toons episodes where they did Robin Hood stories. One of them has Porky Pig in it as Friar Tuck, and what is he doing when we first see him? He's singing "Barbara Allen," probably one of the most famous English ballads and also one of the ones used in this book.
This is a cool book. You should read it. It may not be like anything you're used to, but it's interesting, and makes for good bite-sized bits of reading.
Other Iconic Characters
The group presentations I mentioned in the last post were focused around five fairly iconic superhero characters. My group was of course Captain America. The others were Batman, Wonder Woman, Spiderman, and Superman. Actually we haven't gotten to those last two yet in class; the presentations run a bit long.
Anyway, that's a good selection of characters for basic icon status. However, I think there are a lot more to be considered. They're not necessarily quite as much in the common consciousness, but they still represent interesting and long-lasting things. So this post will be a brief list of other people who seem important in that way.
Number one: The Phantom Stranger. I've got a bit of a weakness for him, because he's weird and interesting, but he's also got something going for him on the iconic level. He's that guy. You know, that guy. The one who shows up and helps you out and then is just sort of...gone. He's like the Doctor, and look how popular the Doctor is. He's Obi-Wan Kenobi. It's awesome.
Number two: Dr. Strange. Another weakness. Well, honestly, I've got a weakness for any magic-based superhero. But Dr. Strange fits well into that iconic mold because he's not just a magic-user. He's the Sorcerer Supreme. He's the kind of guy people might seek out for instruction. Big Top Wizard Guy is an important iconic role.
Number three: Beast. Besides being my favorite X-Men character, he's got a very important iconic role to play. Specifically, he's the Smart Freak. You know the Smart Freak. Lots of things have them. A lot of them, though, aren't as freaky as they're made out to be. For example, Willow, of Buffy the Vampire Slayer fame, or Smallville's Chloe. Those two are supposedly freaks at their high schools, but they don't look it. They're cute and personable. Beast's appearance can be genuinely alarming, and he's a bloody genius.
Number four: Swamp Thing. He's like Captain America. But for the planet. Also he's got that immortal elemental spirit thing going for him.
Anyway, that's a good selection of characters for basic icon status. However, I think there are a lot more to be considered. They're not necessarily quite as much in the common consciousness, but they still represent interesting and long-lasting things. So this post will be a brief list of other people who seem important in that way.
Number one: The Phantom Stranger. I've got a bit of a weakness for him, because he's weird and interesting, but he's also got something going for him on the iconic level. He's that guy. You know, that guy. The one who shows up and helps you out and then is just sort of...gone. He's like the Doctor, and look how popular the Doctor is. He's Obi-Wan Kenobi. It's awesome.
Number two: Dr. Strange. Another weakness. Well, honestly, I've got a weakness for any magic-based superhero. But Dr. Strange fits well into that iconic mold because he's not just a magic-user. He's the Sorcerer Supreme. He's the kind of guy people might seek out for instruction. Big Top Wizard Guy is an important iconic role.
Number three: Beast. Besides being my favorite X-Men character, he's got a very important iconic role to play. Specifically, he's the Smart Freak. You know the Smart Freak. Lots of things have them. A lot of them, though, aren't as freaky as they're made out to be. For example, Willow, of Buffy the Vampire Slayer fame, or Smallville's Chloe. Those two are supposedly freaks at their high schools, but they don't look it. They're cute and personable. Beast's appearance can be genuinely alarming, and he's a bloody genius.
Number four: Swamp Thing. He's like Captain America. But for the planet. Also he's got that immortal elemental spirit thing going for him.
I'm Not Even A Cap Fan And I Think He's Cool
This week in class we didn't discuss specific comics. Instead we talked about icons and iconic characters. This included breaking up into groups and doing presentations on certain iconic comics figure, and my group got Captain America.
Witness the title of this post. I think Captain America is neat. I was vaguely sad when he died. And I've never even read any comics with him in them. I mean, he made a couple of one-panel appearances in other things I've read, but nothing big.
We've already done our presentation, of course, but I thought I'd provide a little of it to you, my adoring public. We had to answer four questions:
Captain America can always be used to fight whatever real-life bad guy people in this country are scared of. Scared of Nazis? He's fought them. Communists? Punched them into next week. Terrorists? He'll battle them for you. The US government? Well, hey, Civil War. He's fought them too. And he's always fighting racists.
He may not be on as many t-shirts as Superman or have as many separate comics as the X-Men, but Captain America is still Captain America. He's our guy. Not the government's guy--the people's. And that's all the people, too.
Witness the title of this post. I think Captain America is neat. I was vaguely sad when he died. And I've never even read any comics with him in them. I mean, he made a couple of one-panel appearances in other things I've read, but nothing big.
We've already done our presentation, of course, but I thought I'd provide a little of it to you, my adoring public. We had to answer four questions:
- What does this character stand for?
- What other icons are associated with this character?
- Why has this character endured?
- How do you think this character will change in the future?
Captain America can always be used to fight whatever real-life bad guy people in this country are scared of. Scared of Nazis? He's fought them. Communists? Punched them into next week. Terrorists? He'll battle them for you. The US government? Well, hey, Civil War. He's fought them too. And he's always fighting racists.
He may not be on as many t-shirts as Superman or have as many separate comics as the X-Men, but Captain America is still Captain America. He's our guy. Not the government's guy--the people's. And that's all the people, too.
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