Comicsgirl

I, of course, went to see Scott Pilgrim vs. The World this weekend.

I liked the movie. It had a great, manic energy and it just kept moving forward without any hesitation. There really wasn’t a wasted moment nor was there any time to stop and get bored. Or honestly, really think. Director Edgar Wright did a beautiful job of capturing the giddy spirit of the comic. It’s a pretty seamless, joyful adaptation and the video game and manga-inspired touches are playful. The whole production design is perfect and spot-on.

But I guess my problems with Scott Pilgrim vs. The World are the same problems I have with the comic. Mostly, Scott Pilgrim himself.

I did enjoy Bryan Lee O’Malley’s comic. I think it captures a certain period of life very well. But I think that’s also its flaw. The older I get, the less I’m interested in the drama of young twentysomethings. I did love the final volume of Scott Pligrim and I think O’Malley brought it all together in a very satisfying manner, but I think it took too long to get there.

In some ways, the abbreviated pace of the movie works a bit better for me — it edits down the comic to its essential parts. And as annoying as he can be, I think Michael Cera was perfect for the role of Scott. Mostly because Scott is annoying. When his friends in the movie make fun of his naiveté and idiocy, it’s believable to me whereas it was less so in the comic (I know Scott’s friends in the comic treated him much the same way, but I often felt there was too much implicit approval with regard to Scott’s behavior and we were supposed to be cheering him on. I realize it’s personal, but I’ve known guys who were like Scott at this age, and well, they weren’t people I wanted to celebrate).

In the movie, Scott’s relationship, however chaste it is, with Knives is given a slightly more distasteful overtone. Scott’s too weak to be predatory, but he does come across as more unintentionally opportunistic. Likewise, all the supporting characters, especially Anna Kendrick as Scott’s sister Stacey and Kieran Culkin as Scott’s gay roommate Wallace, provide the voices of reason and are two of the more interesting parts of the movie.

I don’t think the movie quite did Ramona justice, though. Even in the comic, it did take a while for readers to learn much about her, but here, she mostly remains a mystery. Mary Elizabeth Winstead does play her with some pathos, but there’s not much to work with. I can understand what Scott sees in her — she’s cool and cute — but as for what she sees in Scott, I really don’t know (but unlike the comic, the movie only takes place over a handful of days, rather than a year, so it’s still a very young relationship).

If nothing else, Scott Pilgrim vs. The World is incredibly entertaining. All in all, I think this movie is fated to play in dorm rooms for the next decade or so, and definitely shows what it feels like to be young in the early part of the 21st century. And it does have something to say about relationships and their baggage (although I think the movie does sacrifice a lot of the deeper issues of the comic for the sake of fun, which is understandable, but doesn’t make it as meaningful as it could’ve been).

It’s also wonderful in that it reveals what else comics have to offer other than “superheroes” or “serious autobiographical.” Whether or not that will have a lasting impact, I don’t know. Ultimately, I like this movie for what it is, and what it represents. I had fun, even if, in the end, I still feel a little ambivalent about the plot overall.

That’s right — a triple feature. Because as I’ve been telling virtually everyone who will listen, with varying levels of annoyance, I am very much lacking money right now. While all my bills are paid, I have enough food to eat and enough gas in my car to get me to and from work until I get paid again, I have no money for extras. Like entertainment or other things that may involve leaving the house. But since Netflix is paid for another month (hey, it’s only $15) and offers unlimited streaming, it seems like an excellent time to lie around on my bed and watch movies.

I’m currently on a documentary kick and Netflix does have a few streaming that focus on comics or comic book culture. I figured this would be good for a laugh. Or at least a way to waste a few hours.

Comic Book Confidential
Even though this documentary was made in 1988, it still feels very relevant now. The primary focus is on alternative comics — works and creators outside the superhero genre, although those are definitely acknowledged — and I think that’s a side of comics that rarely gets enough attention historically. Yes, we all know about the rise of DC and Marvel, the stories of superheroes, all of that, but these underground creators contributed more than I think most people realize to the look and feel of comics today.

I was delighted to see how many of them are still working today — creators like Lynda Barry and Charles Burns are featured here, along with Jaime Hernandez and Art Spielgman. I also think the sight of an awesomely long-haired Frank Miller at the end being all self-important is quite incredible.

But really, if you want to know the history of comics and side of that history that doesn’t get nearly enough attention, this is a good place to start. I have no idea why more people haven’t told me to watch this documentary before. Nor do I have any idea why I haven’t watched it until now.

Starz Inside: Comic Books Unbound
This is from 2008, and already seems a bit dated (in contrast to Comic Book Confidential, which doesn’t), especially since it was made before the economy tanked and Spider-Man got rebooted and the manga market took a downturn. And it definitely shies away from any criticism of the movies covered here, even when it’s probably deserved.

But it’s actually a pretty decent overview of the history of comic book movies. While there’s plenty of typical studio talking heads, it does feature interesting creators like Paul Pope and Mike Mignola as well as director Richard Donner. The overall tone here is completely flattering, even when they touch on some of the goofy live-action projects Marvel did in the ’80s and ’90s (but no mention of the TV movies for Nick Fury or Generation X, even though the Spider-Man and The Hulk series got passing mentions. I think some things are better off forgotten). But case in point: There was no acknowledgment that Marvel is still making bad movies (Daredevil? Elektra? I somewhat like Elektra, but I’m not going to tell you it’s good).

Still, I like that they do pay some attention to non-superhero comic book movies like The Road to Perdition and A History of Violence as well as American Splendor. And although the “looking into the future” predictions aren’t quite accurate now, I still think it’s clear that comic book movies are big business. I was surprised by this. I wasn’t expecting too much from it, but underneath the breathless tone of “these movies are awesome!” there is something of substance here.

Confessions of a Superhero
This 2007 documentary isn’t so much about comic books, except in the most abstract of ways. Rather, it’s about four people who dress up as superheros (Superman, Batman, Wonder Woman and The Hulk) and let tourists take photos of them for tips.

Christopher Dennis loves Superman a little too much — he has an overcrowded apartment full of merchandise and memorabilia and rarely takes the costume off. Maxwell Allen has inflated claims of his past as a supposed mob enforcer (as well as his resemblance to George Clooney) and seems to take being Batman a little too personally.

On the other hand, Jennifer Wenger, who dresses as Wonder Woman, and Joe McQueen, who dresses as The Hulk, both seem to understand this is just a way to make money in between acting jobs.

Wenger comes across the best of all four — she’s the most down-to-earth and genuinely sweet. McQueen also seems to understand his limitations and has overcome hardship (he was homeless for a while).

The other two? They both have obvious problems. Dennis claims to be the son of Sandy Dennis, but her family says he’s not. His obsession with Superman comes across as a compulsion (and his apartment is nearly something out of Hoarders). Allen is charming enough, until his outlandish stories begin to pile up (he claims to be great at various martial arts, but one scene in a martial arts studio would say otherwise. Perhaps not surprisingly, both seem to think dressing up as superheroes will provide them with their big breaks.

It’s a little painful in parts and it’s more about these four lives than any deeper message. But there’s still something sad and fascinating about how people are delighted and happy to pay money to get their photos taken with someone — anyone — dressed as their favorite heroes. There’s some power there.

Maybe this time next year, I’ll have the Comic-Con documentary that Joss Whedon, Harry Knowles and Morgan Spurlock are making this year. I suppose we’ll see how that turns out.

“What’s the point of being famous if the people that hated you in high school don’t want to kiss your ass?”
–Wyatt Frame, Josie and the Pussycats

“God, just think — we’ll never see Dennis again. No, really, think about that. It’s actually totally depressing.”
–Enid, Ghost World

That’s right. It’s back after a very long absence (and yes, I know this is going up early Sunday, but I got started watching the movies late). Tonight, we have a pair from 2001 that both deal with what it was like to be a young woman right at the turn of the century. Or something. It does make sense.

I graduated from high school in the very late ’90s, which put me in college just as the new pop revolution was occurring. Even when we made fun of them, Britney Spears, Christina Aguilera, the Backstreet Boys and *NSYNC were omnipresent. We watched TRL even if it was just to mock it. We may have acted like we were so much cooler than this music, but we all knew it.

Josie and the Pussycats (2001) really wants to be subversive. It really wants to criticize the pop culture of the time — the blatant consumerism, the Millennials’ tendency to buy first, think later (see also, The Merchants of Cool, an episode of Frontline from the same year). I wanted to like it and I definitely liked things about it, but I don’t think it quite worked.

I am operating under the assumption that other than the key characters, this bears very little resemblance to the comic that shares its name. Our three leads are likable — Josie is played by Rachael Leigh Cook, who I don’t think we get to see enough of; Rosario Dawson is her awesome self as Valerie; and Tara Reid plays the ditzy Melody (cue sarcastic comments about how Reid is basically playing herself).

The Pussycats make it big, after a chance meeting with a sleezy record producer Wyatt (is there any other type in movies?) played by the always game Alan Cumming. His employer is the hilarious Parker Posey. In case you haven’t noticed so far, it’s really the quality of the casting that carries this movie. With others in these roles, it would be far less interesting.

And as it is, it’s not particularly interesting, honestly. Once you get the joke — Pop music has subliminal messages! That tells teenagers to buy stuff they don’t need! — it’s pretty easy to get bored. And considering you’ll get the joke about 20 minutes into it (if not sooner), that’s kind of a long time to be bored.

Then there’s the product placement. Look, I’m pretty much a fan of blatant product placement (I personally think Lady Gaga’s use of it in the “Telephone” video is hilarious) but this beats you over the head with it. There’s a fine line between “Ha ha, we know how goofy it is to have products in movies!” and “This is a commercial.” And this movie kind of crossed that line for me.Yes, a plane with a Target-branded interior is initially funny, but once there are hotel rooms covered in Revlon logos and a McDonald’s-themed bathroom, the joke becomes less and less funny. No matter how knowingly it’s done, it begins to feel like it’s just trying to sell you things, which is the very concept this movie claims it’s against.

It’s kind of cute and kind of funny (and I think the beer I drank while watching it helped on those accounts) but in the end, it’s not much better than disposable culture it’s mocking (and I couldn’t help but notice that Revlon’s Street Wear brand, which was featured prominently in a couple of scenes, is no more, as is MTV’s TRL. And what happened to Carson Daly anyway?

On the opposite end of the spectrum, but also from the same year, is Ghost World. Based on Daniel Clowes’ comic, the movie’s teenage girls are untouched by current pop culture and basically go as far to outright reject it.

We first meet Enid (Thora Birch) as she’s graduating from high school (well, almost — she’s told she still needs to take an art class). She’s the sort that’s too smart for her own good. To me, it’s not so much that she believes no one is worth her time as much as it is she just sees through all the pretense everyone else has. She doesn’t much care what anyone else thinks, or at least that’s what she wants everyone to believe. But Enid, undoubtedly, loves being herself.

As the summer progresses, she finds conflict with her best friend Becky (played Scarlett Johansson, before she was getting all sexed-up to be Black Widow), who wants to move on with her life and grow into adulthood, and friendship with an older, music-obsessed loner named Seymour.

I like this movie. But then that should come as a shock to absolutely no one (in fact, several coworkers have said to me “You’ve seen Ghost World” as if it’s a statement of fact rather than a question when they had no way of knowing otherwise). It’s the sort of story about teenage girls that doesn’t get told. Enid never got any sort of makeover or “taming.” Nor did she end up with a boy. She just got to be herself. She captured the sort of listlessness that comes with not quite being sure who you need to be, and director Terry Zwigoff lets her shine, and lets this be her story.

I do feel like the movie didn’t quite know what to do with Seymour in the end. His fate maybe isn’t cruel, but it does feel a little undeserved.

Still, that’s a pretty small complaint about the movie overall. I like the comic too (although it’s been a good while since I’ve read it) but in some ways, I think I prefer the movie more.

Do you realize how crazy the short title sequence makes you when you see it a bunch of times in a row? If an orchestra tuning up — which is basically what the “theme” sounds like — can get stuck in your head, then this has.

(I’ve never really watched Lost before, which is because I have an awesome tendency to start watching shows right before they end. I blame Netflix’s “watch now” feature for this. I will likely be caught up for the new season, if I can manage to see all of Season 5 before then.)

I am delighted to see all sorts of comic book people in the credits, beyond J.J. Abrams (who is more just a fan/sympathizer at this point). Maybe that’s a post for another time, though. Something about how TV and comics are very much related, at least more so than movies (I think comic books and theater are more related, but well, that’s completely a post for another time).

Basically, this is saying if you don’t hear from me for a while, you know what I’m doing. I’m keeping a Lost diary at my LiveJournal, if you’re interested.

Tick: The Complete Edlund Buy at tfaw.com

The Tick was my first indie comic.

Back in the early ’90s, I had a couple of letters published in a couple of issues of a title I will not name, and this being the era when they would actually include your home address (it was before the Internet reached saturation, OK?), some people wrote me back. One became a very good friend. And he, among other things, sent me The Tick Omnibus and a few issues (I think I had at least through issue #9, if not through issue #12).

All of this was before the cartoon, before the live-action TV show, before creator Ben Edlund was writing and producing alongside Joss Whedon (all of which I’ll get to in a bit).

Edlund’s broad parody of superheroes, following an insane asylum escapee in a blue suit calling himself the Tick, still works pretty well. The Clark Oppenheimer bits in the earlier issues are a little obvious (who hasn’t made fun of Superman’s secret identity? Before or since?) but The Tick’s utter cluelessness is still fun.

Some of the references are a little dated — Oedipus serving as a stand-in for Frank Miller-era Elektra, the obsession with ninjas — but it’s still self-consciously delightful (and probably no more dated than Watchmen is now and people still love that). This was what comics were like in the 1980s and early ’90s. There was a lot to laugh at.

I was honestly surprised to see how well-paced this was. It’s not a gag-a-minute but it actually does tell a story (what it is, of course) and The Tick is fun to watch. Oedipus, even as a broad parody, is a likable heroine, and the ninjas are so goofy that they’re not much of a threat. The final issue in this volume, “Villians, Inc.” where superheroes hire bad guys to fight to create a reputation for themselves, does point to the preposterous nature of most comics and lets Edlund play with some bigger ideas.

It may not necessarily be the most relevant comic now, but it still works. It’s still fun. I was greatly entertained.

So back to all the other things.

Yes, in 1994, The Tick became a Saturday morning cartoon on Fox. At the time, I thought this was really cool but I don’t think it quite registered how bizarre it was to have this happen. I’d known about The Tick for a couple of years, after all, and it felt pretty much like common knowledge to me, even if it wasn’t.

In some ways, I think the cartoon worked better than the comic series. It was pretty faithful to the spirit of the series but it removed some of the darkness and just allowed the goofiness to shine through. It still had characters like Chairface Chippendale (and the Man-Eating Cow. I never got my Man-Eating Cow action figure, though, and I am still sad about that) but took away characters like the Chainsaw Vigilante, who always felt a little out of place to me. It gave us such villains like The Evil Midnight Bomber and awesome Galactus parody Omnipotus. The Tick cartoon was good stuff.

Here’s the opening:

The Tick live-action series started in November 2001 and ran for 8 episodes. People didn’t watch it because I don’t think too many people were in the mood to laugh then. I was one of the 10 people who liked it. Patrick Warburton was born to be The Tick and I liked that the series focused more on the mundane issues of every day life than the whole fighting crime aspect (because, after all, part of the point of The Tick was that none of the characters was really that good at being a superhero). It’s available on DVD or you can watch the entire series on Hulu.

This is my favorite episode, mostly because of the always-awesome Ron Perlman, but because of the hilarious gracefulness they handle the innuendo of superheroes and their sidekicks:

Like I mentioned, Ben Edlund went on to produce a few episodes of Firefly (and wrote one of my favorite episodes of the series, “Jaynestown”). He also co-wrote and directed the “Smile Time” episode of “Angel,” where our title character turns into a puppet. Sadly, neither are online. But I love that Edlund was able to take his sense of humor and translate it into these shows. He’s also worked on some episodes of The Venture Bros., which is highly appropriate.

I suppose none of that has much to do with The Tick as a comic, though, but I’ve loved following Edlund as a creator over the years. I still enjoy The Tick in all of its incarnations, sure, but I think it’s cool the diversity of projects Edlund is doing now.