One last thing

I'll shut up about ereaders and ebooks and anything else that involves taking a regular word and then sticking an 'e' in front of it, but I just wanted to share one last thing that makes me happy about my Sony PRS-600:

One thing they got completely right is that when I switch it on it takes maybe three seconds to go from switched off to looking at the last page I read.

That's faster to boot up than my MP3 player. It's faster than my TV or my mobile phone. It's so much faster than my PC that I could switch them on at the same time and read a few pages while I wait for the computer to get its act together.

I'm not sure I could find my place any quicker with an old fashioned, dead-tree book.

Typical!

A week after I give up waiting for Amazon to get together a British edition of the Kindle and go buy another ereader, they announce a release date for it.

I expected to feel a little annoyed, but I'm not really. I found an ereader that I'm so happy with I want to hug it and pet it and call it George, and while the Kindle has some advantages, notably the massive library of ebooks that Amazon aren't interested in selling in any competing formats, it also has a few drawbacks that I'm delighted I don't have to deal with.

ebay strangeness

I just counted fifteen copies of The End of Mr Y by Scarlett Thomas listed on ebay in the non-fiction category.

I realise that homoeopaths are deluded at the best of times, but I find it hard to believe that many of them would claim their magic remedies to enable telepathy or time-travel.

eBook report: second impressions

When you read a review it's usually true to say that the reviewer has not spent enough time with the thing they are reviewing to get bored with it or break it. The truth is that a professional reviewer simply doesn't have the time to spend much more than half an hour with the thing because they are paid by the word, and time spent reading books, playing games, or poking gizmos is time they are not earning money.

Consequently they can give you some basic look & feel information about the product, but they can't say much about what it's like living with it for a month. So I thought it take that extra step and chronicle my ongoing experiences with the Sony PRS-600 Reader.

It's been a week now and I'm surprised how much the reader has become an integral part of my life. I'm almost tempted to clasp it close and murmur "my precious". I think the size is key here. It is small enough for me to easily carry around with me, but with a large enough screen to make reading it as easy as reading any paperback. I'm glad mine came with the nice leather cover as this prevents it from getting bumps and scratches from everyday use, and holding it with the cover open feels much more like an ordinary book-reading experience than if I was just looking at the screen.

I'm also glad I invested in a 2GB SD card, as I managed to fill up the main system memory quite quickly. And while this may be largely down to the half-dozen manga I included, any graphics heavy files, like computer manuals or text books, would similarly take up much larger amounts of space than pure text. The specifications say it will hold "upto 350 books"; I doubt I managed fifty before I moved on to the SD card. Having said that, I think 2GB is probably enough. Unless you are a voracious reader who is planning to be away from home for a month or more, loading up the machine with more than 200 books is only going to leave you lost for choice about what to read next.

I think I've now managed to work out how to use all the functions available. The librarian in me is a little dismayed to find that listing books by author name will only catalogue them by first name rather than surname, but I like that you can sort books by "collections" based on tags. This takes a little effort to use efficiently because a lot of books come with dozens of tags, but I just worked out how to edit them down to something that suits me using Calibre. So if I don't have anything particular in mind I can now easily search through individual catalogues of "short stories", "humour", "science fiction", "cheese", or any other category I feel like setting up.

I did install the Sony software that came with the Reader, but Calibre is so much more useful that once I became aware how limited the Sony program is I haven't bothered with it.

As for the extra features of the PRS-600, I like the touch screen. I haven't tried a reader that has a lot of buttons, or a few buttons that have to do multiple jobs, but I have an old MP3 player that has one rocker switch that, depending on how you press it, adjusts the volume, moves forward or back through the current track, moves forwards or back between tracks, and pages through the menus. It's a pain in the ass, and way too easy to find yourself in completely the wrong track when you just wanted to make it a bit louder. Even if you have enough buttons for all the functions, I doubt it compares with simply touching the relevant part of the screen. It feels very intuitive and comfortable.

I haven't yet felt the need to use the dictionary, except to try it out. But I can see where it would be nice to do an immediate look up when I come across a word I don't understand. And this feature also enables you to search for particular words anywhere in the book. For me it's a nice extra, but I'd definitely class it as a luxury, rather than an essential.

I still find the biggest drawback is the lack of books available in ebook format. While it's possible to find plenty of free ebooks on the net, from copyright-free older books at sites like Project Gutenberg (who so far have surprisingly little H.P. Lovecraft) to more legally dubious collections, if you want to buy from strictly legal booksellers like Barnes & Noble or Waterstones, you'll find the selection limited and expensive. I read an ebook of a writer previously unknown to me and was unable to find any other works by her available in electronic form. I ended up getting her Times Bestseller in paperback from Amazon for the princely sum of one penny.

In conclusion, one week on I give the Sony PRS-600 Reader 9 out of 10 for making reading fun, but I give the booksellers 4 out of 10 for wasting the opportunity to sell me stuff by not providing books I want to read at a reasonable price.

Eye on the Price

One big drawback of ereading is book prices. On the one hand you can't browse second hand bookstores for ebooks, and on the other it seems that publishers are under the distinct impression that it costs more to format a one megabyte file and make it available for download than it does to buy a lot of paper and ink, combine the two with a lot of big machines into a pleasing shape, and then ship the result to the shop.

I can't imagine any other reason why the new bestseller I want to read costs more as an ebook than it does as a hardback.

I don't think that word means what you think it means

Kekko Kamen listed under 'Mature Content'.

eBook report: first impressions

While I was waiting for the Sony Reader to arrive on my doorstep I've been preparing a bunch of books to load onto it using Calibre on my PC, which is a great little program that appears to be able to convert almost anything into a format my Reader can understand.

I therefore picked samples from many different sources and formats to test how the Reader handled them. The one thing I'd been a bit concerned about was the page refresh speed, particularly with graphics, after seeing this little video.

The reader duly arrived. Instructions are minimal. One page of the small leaflet shows you where all the buttons are, and the other page basically just tells you to plug it into your computer and follow the prompts. To be fair, it's a fairly simple device. It only does the one thing, so the instructions don't need to be lengthy. But it would have been nice if it had informed me about basic functions like automatic bookmarking of everything you read, rather than leaving you to find this out by trial and error.

The unit itself is the size of a Tokyopop manga, but a lot thinner. Also noticeably heavier. I did set up the official software, but soon found it limited and annoying. I think I'll probably just stick to Calibre.

I loaded it up with my test selection of books, and started reading.

First impression is how dark the screen is. I'm just not used to a screen that isn't backlit. It's fine in normal daylight, but I can see why they sell little light attachments for them. Next thing I noticed was that I had a little trouble focussing on the lettering. I think that's maybe because I was trying to read it at the distance I would for a normal book, and it's not quite the same. We shall see.

Then I got on to testing how comics looked on it. Manga looks surprisingly good, although text readability drops off fast as it gets smaller. Some fan translations use an unnecessarily small font that leaves lots of empty space in the text boxes and balloons, and is difficult to make out even on a full size monitor. After a little trial and error I found that changing the orientation does wonders for readability. It leaves something to be desired aesthetically to only be able to see half a page at a time, but I'm prepared to sacrifice that much if it means I don't have to squint with my nose pressed against the screen. It still doesn't save the tiny-text fan scans, but I'm not sure what would.

The major relief is that page-loading times are fine. I noticed it was a little slower for a 200 page file, but I'd expected that, and had intended to split up anything over 100 pages anyway. As far as manga is concerned, it ticks all the boxes.

Ordinary book files read pretty much like reading a regular book. Variation in quality seems more down to the original file coding than anything else. Hard to say without an extended test. I need to actually read a whole book on it to judge.

The touch screen works so well I almost forgot to mention it. After a couple of minutes it felt so natural to turn pages by a little flick of the finger that I stopped noticing I was doing it.

Clever stuff you can do with the Reader includes highlighting passages or even scribbling on pages, but I can't work out how to do the dictionary look up, though. You'd think a machine that is perfect for reading PDF manuals would come loaded with one of its own, but no. I think I saw a review on Youtube that went through all the features. I'll have to see if that explains it.

To conclude first impressions, it seems to do pretty much what I expected of it, which is a good thing, since that, after all, was why I bought it. Biggest drawback at this point is the annoying lack of documentation. But, to be honest, if the worst you can say about a new device is that the manual is a bit lacking, then I think it's a good result.

Like a book

At the point where everyone is buying an iPad I have instead opted for a Sony Reader. Why? I suppose the most obvious reasons are 1) it cost me less than a third as much as an iPad, and 2) an iPad wouldn't fit in my bag.

It's all about defining what you want. I wanted something that enables me to read books, that reads like a book, doesn't strain my eyes (like a book), and that fits the paperback sized space in my bag(1). Sure, the iPad is new and shiny and does lots of clever things and connects to the net and all that stuff, but it doesn't have an e-ink screen and it's too big for my bag. So the fact that it does all kinds of extra fun stuff is a bit pointless if it doesn't fulfil the primary criteria I was looking for(2).

I had been waiting for the Kindle to show up in the UK. But it's been a year since the Kindle 2 was released, and Amazon UK are still suggesting I import it myself, so I don't think they are really trying. Plus I'd need to get the Kindle DX to get the right wireless connection and that one is again too big for my bag.

So that was how I ended up looking at the Sony PRS-600. I did my research and read user reviews, and it seems to be the best e-reader currently available. The older 505 is a little cheaper, and it's generally considered to have a slightly clearer screen, but the 600 has twice as much memory and useful extras like the built in dictionary. It's also touch screen based, instead of all the buttons on the 505; not sure what difference that makes.

Having decided on my choice of reader, it then seemed a good idea to see if I could actually find the books I wanted to read in a suitable format. It turns out that yes, I could. I found all sorts of obscure science fiction novels that I own or once owned and would love to read again. I found books I wanted to read that I've been unable to find in dead tree format because they've been out of print for twenty years. And I found five of the seven books currently on my Waiting to be Read shelf.

Okay, I confess some of these were not strictly legally authorised editions. But when it comes to books that I already own in another format, or a book that I've been hunting for ages and would happily pay money for if only someone would make it possible for me to buy it, I don't feel like I've cheated anyone.

What really surprised me was the manga. It hadn't occurred to me that I could read manga on it. I mean manga collections are the right size(3), but I guess it hadn't realised it could do pictures too. In fact there seems to be a whole niche fan base for ebook manga. It's a shame the official publishers haven't noticed or they might be able to open up a whole new market.

So having found my e-reader and ascertained that there is plenty of material available for me to read that interests me, I have now ordered a Sony Reader PRS-600. I'll let you know how it works out when it arrives.

1) Truth to tell, the last two actual books I've read don't fit that last criteria, as one was an oversize paperback and the other was a hardback.
2) Sure, I could get a bigger bag, but I like the one I've got. Had I found something that was perfect in every other way, I might have considered this, but I didn't.
3) Manga, specifically, rather than comics generally because the standard collected format for manga is the right size, so it's intended to be read that way. Western comics are intended to be seen larger and so are much harder to read at this size. They are also usually in full colour.

Tooting one's own tooter

Returning to this blog after a long gap, I had a stroll through some of my old posts and I'm surprised to find that some of them aren't half bad. Which got me thinking about collecting together the good bits and publishing them. Probably just as PDFs, as there would be all kinds of copyright issues if I wanted to do anything more professional.

And then that turned into two books, because there's enough to do one that's purely Wonder Woman focussed and one that's everything else. So I'm now working my way through collating it all and polishing it up a bit. Though probably not much, as I'm far too lazy to make that much effort when I'm not getting paid for it.

I guess this means I'm going to have to finally get around to reading the last thirty issues of pre-Crisis Wonder Woman in order to finish it off. Le sigh.

ETA: Here's a question for anyone who has read much of my ramblings; for the non-Wonder Woman collection I wasn't thinking of including any actual comics reviews, but as I look through, I find that some of them (particularly the Teen Titans and Legion Showcase bits) stand up quite well. Should I include them or not?

Feminist language

Language defines our world in so many unconscious ways. The words we use to describe things say a lot about how we view the world. More, the associations we have for a word are important, even if we don't see any connection. So when people say that when they use "gay" as an insult it has nothing to do with their attitudes toward homosexuals, they are wrong.

How can I say that? Consider the trouble caused by the usage of the word "niggardly", which has no racial connotations at all, and yet people who have used it have been given reprimands, been sued, or even lost their jobs for using a word that sounds similar to an unacceptable word. In fact it's now pretty much disappeared from the language altogether.

In the early days of feminism there was an effort to add some gender balance to language by changing words that had "man" in them to something a bit more gender-neutral. Some did take; for example "chairman" is now often "chair-person", or the slightly sillier (to my mind) "chair". Many did not. What I've noticed lately is something of a feminist revenge, where rather than attempting to "fix" the established language and persuade other people (particularly men) to use it, women have just started making up new male-specific words that often describe aspects of the female experience (eg. mansplain, man flu) which somehow hadn't been covered before.

And what's even more amusing, to me at least, is the rise of male-specific words to describe things that are traditionally more female associated, and why it's not in any way effeminate or un-manly for a guy to be associated with them (eg. man purse). Possibly used sarcastically, but your mileage may vary.

Not to be confused with words where someone has taken an offensive female-specific word and applied it to a man (eg man-slut). Equality of offensiveness is still just offensive.

A stroll through Urban dictionary has pages of this stuff, including many hilarious examples I've never heard of before, but am now noting down and looking for opportunities to insert them into conversation.

Boring, Boring Violence

It's not exclusively a comics thing, but I am starting to get fed up of what many comics writers seem to think is a realism thing to get specific about all the injuries the characters are suffering.

The first time I noticed it was The Dark Knight Returns, where we get this litany of damage Bats is suffering from as the story progresses, but I've seen it a lot recently. Where the "reality" falls down is where despite being concussed, shot, beaten up, a broken arm, had their powers stolen, shot again, dropped out of a helicopter, and had their leg bitten off by a werewolf, the hero still somehow manages to hold it together for as long as it takes to win the day.

It doesn't take long before the tension created by injuries becomes lost once you realise that it's not actually stopping them from doing anything they need to do, and they will completely recover from it anyway. Lately I've been reading The Dresden Files, and it's reaching the point where I feel like a sucker for feeling any kind of concern for the latest injury Harry is dealt, because, honestly, if the broken leg he got last chapter isn't slowing him down, I don't see how being beaten up again is going to make much of a difference.

I'm not saying that I want to see the lasting effects that such injuries cause someone to recur through the rest of the series, I'm just saying that if they are not going to have real effects then don't have them in the first place.

Is it worse to have a character seriously hurt but somehow act like they haven't been nearly as badly hurt as we've been told, or to not have them hurt that bad in the first place?

Edited to add:
I think I've solved it. It was when it occurred to me that The Dresden Files are written in the first person. It's Harry telling the story. Things never were quite as bad as he tells you; he's bigging up how hurt he is for sympathy and to show how cool he is. Harry Dresden has manflu.

Bugged about Big Finish

I did a review a little while ago of one of the Big Finish Doctor Who audio productions. I've listened to a few of these, and even a couple more since the one I reviewed.

The trick is to avoid listening to the extras they put on at the end after the drama, in which various people involved with the production congratulate each other about how brilliant it was. I'm sure they've worked hard on it, and they are on a bit of a buzz after working through some fairly intensive recording sessions, but telling me it's fantastic when I've just listened to it and I know it is not fantastic just makes me more aware of its shortcomings.

So two pieces of advice to Big Finish productions:

1) Cut out all the extra bits that are just self-congratulatory lovey-stuff. Either give us something that is going to enhance our appreciation of the production or don't bother.

2) Get a script editor who understands that highly convoluted plotting does not equal clever storytelling.

So is Final Crisis over yet or what?

Event overkill in the DC universe

Now I don't for one second think there's some big conspiracy at DC to undermine Final Crisis and make a fool of Grant Morrison; it's just a side effect of company greed out of control.

Final Crisis was presented to us as the big climax to the trilogy, following the awesome Crisis on Infinite Earths and the disposable Ultimate Crisis. The rot set in a year before it even started. Morrison had requested that the New Gods not be used in other comics in the lead up to FC, so that he could build up his reinterpretation of them. So Dan Didio rushed out and commissioned the dreadful Death of the New Gods mini-series, which was not only a bad, bad comic, but directly contravened events in Final Crisis, and gave Morrison a handicap before he'd even started.

So Final Crisis rolls around, and just as what's supposed to be the big event kicks off, DC elects to run several other big stories, each with their own spin-offs. There's Maelstrom, which ties into a bunch of Superman-related titles, there's Kingdom's Come A Bit Early in JSA and friends, there's the build up to next year's big event in all the Green Lantern books, and there's even Morrison's own Batman's dead no he isn't over in the Bat-family.

At first I assumed that at least some of these fitted together in some convoluted way with Final Crisis, but that doesn't seem to be the case, and consequently I can't keep track of what is a spin-off from which event. Especially the ones that are convoluted side-stories to Final Crisis.

The result is that I end up reading less comics, rather than more. And I have no idea whether Final Crisis is even finished yet.

Who even gives a

Doctor Who: The Dark Husband
Big Finish audio adventures

I'm sure that the vast majority of people watching Doctor Who now have little interest in the previous incarnation of the show and are blissfully unaware that it is carrying on in the form of audio dramas produced by Big Finish featuring original cast from Doctors 5 to 8.

Don't be fooled by the professional look and the official BBC license; this is definitely a fan production. I've listened to a few and, although having their own continuity, are not generally obsessed by it (1) They are for the most part okay, with rare bouts of originality (2), but for the most part don't exactly push the envelope.

Which brings me to one I've been listening to today. It's called The Dark Husband, and features the 7th Doctor (3), Ace (4) and some other guy they seem to have picked up along the way. I should probably wait until I've finished it before commenting, but I'm not sure that's ever going to happen.

The first episode is so arch you could mistake it for the Colosseum. So many lampshades are hung about every Who cliché they are enacting that they must be the best lit studio on the planet. And yet the plot, such as it is, involves two factions of the same race who are in an eons long conflict for no very good reason, and have no distinguishing features other than one side is very hairy and have unsophisticated tastes while the other side is hairless and highly sophisticated. And then the Doctor and co. show up and each side assumes on the basis of no information at all that they are spies for the other and attempts to kill them without even a gesture toward interrogation before we reach the actual plot and we can get out of generic land before I fall asleep.

Honestly, it's so painfully Who by the numbers. After all the self-awareness in the opening scenes' dialogue you'd think the writer might be attempting to subvert the form, but I haven't spotted any sign of it so far. The conflict that the Doctor is here to resolve barely qualifies as two-dimensional. And the Doctor himself is so smug you want to kick his arse. He's deliberately and meanly dropped Ace into yet another adventure after promising her a vacation. And the conflict has been going on for centuries, with millions dead on each side, which leaves you wondering why the Doctor didn't turn up a bit sooner if he really wanted to help.

And then the Doctor appears to know more or less about what's going on depending on the needs of the plot. On the one hand, it transpires that he has deliberately arrived at this time and place (5), and appears to know more than what is going on than just about anybody, including the inhabitants, who are doing the old "We no longer remember the reason for our war or the details of the rituals you have just invoked", and at other times is claiming that he's just working from some information that he picked up off a war memorial after they arrived (6), and has no idea where it's leading.

Halfway into episode two I'm wishing that the writer would make up their mind whether the Doctor knows more about what's happening than anyone else or that he's making it up as he goes along, and stop trying to do both. I don't really care about the aliens as they are so stupid that they've been killing each other for centuries without knowing why, and without any noticeable success, and have no culture other than is required for the plot anyway. Really, the only thing of interest is the business about how a marriage could stop such a conflict, and who the bride is. And that's only interesting because it's been made into such a mystery by having nobody present have any idea about what's going on.

Other than this hideously contrived mystery, it's so generic and yet at the same time so heavy on the meta-commentary that I may never get to the end of it. How it can be so smug about cliches it's perpetuating without doing anything original with them is so annoying that I may be forced to destroy the discs in a very creative way. But if I can keep the irritation down I might just keep going to the end in case they actually do throw an original twist into the story.

And if they don't, at least I get to go "see? I knew it."

Notes
1. except for the sequence involving the 8th Doctor starting with episode 50, but that seems to have been handily resolved now. I have no clue how.
2. like the one story that's on two CDs that can be listened to in any order.
3. sylvester Mc Coy
4. who has been stuck as a teenager for the last twenty years.
5. so much so that he deceived his companions into wanting to go there.
6. somehow, the inhabitants have entirely failed to notice this, despite it being on a mural on the side of the only landmark on the planet.

It Rhymes with Goth

There's been a little chat lately in some corners of the blogospherahedron about the work of cartoonist Elena Steier, whose pictures contain elements some find racist and/or sexist [1].

But that's not what I want to talk about today. I think her work is simply not very funny [2]. I would have lost interest in her website real quick if it were not for one series of cartoons she does called The Goth Scouts. She's even given them their own website, despite them being neither funny, nor actually containing any gothic elements.

It's a typical, if considerably tamer than most, Wednesday Addams knockoff in the Evil Little Girl genre. Only without any of the usual visual attributes you might expect. There are four characters, but to all intents and purposes they are interchangeable and don't appear to have any individual character traits.

Even the name irritates me. Okay, I can see some mileage in doing a goth take on girl scouts, but if it were me, I wouldn't call it it something as unimaginative as Goth Scouts. I'd call them Crypt Scouts or Ghoul Scouts or something [3], and dress them in loligoth girl scout uniforms with extra bats and skulls, and a variety of horror-trope achievement badges. If you need to call them Goth Scouts in order for the reader to be aware that they are A) goth, and B) scouts, then you're doing something wrong.

Anyway, to get to the point, shortly after reading one of their typically unfunny cartoons I came across an episode of the syndicated Rhymes with Orange which did essentially the same joke, and I was intrigued by the comparison, so for your edification I thought I'd share.



The essence of the joke is a suggestion that the neighbours have been murdered. The Goth Scouts cartoon doesn't really process the notion much further than "Look, bones! Wouldn't it be funny if it was the neighbour?" [4]

This falls pretty flat, and undermines itself with unresolved aspects so you are left wondering why a murderer would have left the bones lying around in the garden, if the dog is a giant or it's just the perspective, and what the tiny girls and their giant dog are doing in the neighbour's garden in the first place. Perhaps I'm over-thinking this and the intention was just to suggest that the girls have morbidly over-active imaginations. Except that in other episodes they regularly interact with monsters and vampires, so that doesn't work.

The art on this strip is usually the best part of it, with some nice cartoon rendering, so this is unusually weak, with lots of irrelevant detail and the characters stiffly waving their arms at each other rather than supporting the joke in any way.



The Rhymes with Orange cartoon handles the joke a lot better, with a nice little play on words and a veiled hint of menace suggesting that the character himself has murdered the neighbour. A much better development of the notion. But what's going on with the art? It's so irrelevant to the joke that you could replace the text with a whole different gag and nobody would know.

It's worse than a generic talking heads image because there's enough going on in the picture to make you think it should be relevant in some way, but it's not.

Notes.
1. I find both.
2. People will excuse an awful lot if the jokes are genuinely funny.
3. Preferably something more imaginitive, but you get my drift.
4. Not especially, no.

One Hulk, two Hulk, red Hulk, boo Hulk

Hulksies are red, dilly dilly,
Hulksies are green,
Ed Mac draws lumpy people and
Jeph Loeb's still a hack.

Gentle reader, as you may know, I am not overfond of the writings of Jeph Loeb. It would not, perhaps, be going too far to say that, were it up to me, he would be first up against the wall when the revolution comes [1].

I was thus delighted when he signed up with Marvel, as it meant that he would no longer be interfering with characters I liked. His origin for Supergirl has been more (if you read this month's Action) or less (if you read this month's Brave and the Bold) retconned out of existence, along with her skeevy parental issues and nude adolescent spaceship-piloting, and most of his other additions and revisions are well on their way to being dismantled, ignored, reinterpreted. or set to fall down the next passing Crisis.

Thus it is that I now only read Loebwork for the thrill of the truly awful. The relaxing experience of knowing that I will not be disappointed by plot holes or lapses in structure, continuity, or basic physics. Indeed, I look forward to them with the gusto of one playing a drinking game wherein you take a shot every time Grant Morrison features a minor character unseen since 1966.

So I've been reading Hulk. AKA Red Hulk.

Is it in any continuity with other Marvel comics? I have a vague notion of dedicated fanboys working feverishly through the night to wedge all the cameos and guest stars into continuity, but I sincerely don't care [2].

Red Hulk is big and mean. Red Hulk is so strong he can beat up Classic™ Green Hulk and punch Thor into space. But sometimes he uses a gun.

Classic™ Hulk is very Silver Age retro and refers to himself in the third person. Classic™ Hulk is not a bag of hammers.

Each issue is composed of 95% Red Hulk beating up on this issue's guest star, 5% dropping hints and having people make inaccurate suspicions as to who Red Hulk might be.

I don't care who Red Hulk is.

There are also little one page gag strips by Audrey Loeb [3] at the end that feature Red Hulk, Green Hulk, and Blue Hulk. They are a delight.

In the latest issue, after five issues of Red Hulk beating the crap out of everyone, finally, Classic™ Hulk and Thor get together and beat Red Hulk. And then they go away, leaving Red Hulk to recover and go beat someone else next issue.

It has all the depth of a video game[4].



Notes

1. You can make guesses about who would fill the number two and three slots if you like. It's not difficult.
2. And how many SHIELD helicarriers are there, anyway? I don't think I've read a Marvel comic in the last year where they haven't crashed one.
3. She is either a relative, or it's very unfortunate coincidence.
4. Space Invaders, not Age of Empires.

Ten things the ultimate geek comic collection should have to be truely awesome

There's one of those memes going around where people list all kinds of things they consider essential to any comic collection of any worth. I read a couple of them, found that I only had about a quarter of the things listed, and realised I didn't care.

So here's my short version of things to claim you have in your collection if you want to look cool (but you don't actually have to own them).

1. A current obscure title that nobody else has heard of, which goes to show how cool you are for being aware of it.

2. A title that everyone has heard of but doesn't think is that special, but for which you have a cunning argument for why it is cool.

3. A title that everyone already knows is cool, just to show that you have some common ground with the rest of comic fandom.

4. A golden age title that nobody else has heard of (you can make one up if you like as there are lots of short lived golden age comics that sank without trace).

5. An indie comic that nobody else has heard of because only 5 copies were ever printed.

6. Some outrageous kitchy light-hearted silver age element that could only be reused today with heavy-handed symbolism or knowing self-reference.

7. A comic, or particular run of a comic that has been out of print for at least twenty years, which you can lobby for collected reprints of.

8. A title you think must be very cool because you completely fail to make any sense of it. If it's a manga, you can't even work out whether to read it left to right or right to left because it makes as little sense either way.

9. A hideously expensive deluxe collection of some title . I mean if people are going to pay hundreds of dollars for it then it must be good, right?

10. A comic so obscure that it was never actually published. Or even written.


Edit: Damnit, I just thought of another one. Okay, consider this a substitute for any of the other ones, or an additional feature of one of them.

Ω. A comic with which you have some kind of personal connection, even if it's only that you once stepped on the inker's toe at a con. Anything works providing you can spin it into an anecdote to bore friends, acquaintances, and complete strangers for the rest of time.

Triple Treat

I always liked Triplicate Girl, even though she was useless. In a club where everyone has to have a super power, her power is to turn into three girls with no powers. And yet somehow nobody ever brings this up.

Of course her powers are actually tremendously useful. It's just she never gets a mission that would take proper advantage of them. Imagine how great she'd be in a covert operation: she can be in two or three places at once! She could be having a conversation with the evil overlord, while at the same time rifling through his panty drawer. And eating pizza.

There are great stretches of Legion stories I haven't read yet, so it may be that someone did get around to writing her well, but there's not much sign of it in the two Showcase volumes so far available.

And it gets worse. In volume two, one of her selves is killed! One third of her being is destroyed! And so we get a touching little scene in which she says "Oh, guess I'll need a new name, then." You can almost feel the entire lack of emotion. By complete coincidence, the day I read the story, I also saw the episode of the Legion cartoon where T-Girl #3 gets offed, and they at least gave her a couple of minutes to be upset about it before changing her name to Duo Damsel.

And then to cap it all, in a recent storyline (mostly Countdown) she loses her second self, and renames herself Una. She now has the super power of being able to be one girl. I'm not sure if this technically counts as a super power anymore.

Cause, but no effect

One of the things I find endearing about characters in silver age Superman comics is their incredible naivety and lack of awareness of the world around them, not to mention their entirely disproportionate response to situations.

Jimmy Olsen tries to drum up publicity for the Daily Planet by pretending to be an alien from Mars, because he's seen the success the newspaper made out of old hoaxes. He's perhaps momentarily forgotten that these days Superman drops by to give them daily exclusives better than any dumb hoax.

And then in order to help a girl become more popular at college, does Lois give her a makeover? No, she gets Superman to pretend the girl is his secret girlfriend, thus making her the target of any criminal in the world who might want to get back at him. In just the way he uses as an excuse not to get serious with Lois.

And that's not even counting the occasion where Superman fights a villain with ice powers by moving the Sun closer to the Earth to make it too hot for him. Overreact much?

Everyblonde

I was as surprised as everyone that the Iron Man movie didn't suck. So I'm taken in by the hype and pick up Invincible Iron Man #1 and what do I find? I had to go check the credits to make sure the artist wasn't Greg Land, because the comic seems to feature his popular Everyblonde.

Doesn't matter what comic Greg is drawing, what company it is, if there's a blonde in it, it's her. Black Canry, Sue Richards, Ms. Marvel, Pornface Girl; they are all played by the same girl as far as Greg's concerned.

So I'm left wondering, is this a subtle homage to the king of swipes, or does Salvador Larocca just read the same porn as Greg?