Saturday, July 24, 2010

Comic-Con Tweets

If you have an iPhone to give away, you can get thousands of people at Comic-Con to tweet anything you want.  Next year, I’m buying a couple dozen for:

Didio looks like he’s aged 30 years since September. 

Twilight fan panel canceled after CosPlay mishap.

Comic-Con fun: ordered a Cattitude at the Marriott bar in front of Matt Idelson.

Unless you’re dressed as an Imperial Storm Trooper, DO NOT go in Room 26AB.

Grant Morrison has the cursed monkey’s paw.

Three things that should never go together: IMAX, vampires and nachos.  I’m just sayin’

Jim Lee is HOT.   
(Not giving away a phone for that, it’s just a personal observation.)

Bride of the Demon was only written to make editor O'Neil get past the Bat/Cat and settle down to do his effing job.

No, seriously, my Uncle Larry was dead for 3 days and he looked better than Didio looks now.

Just saw a Xena, a real Catwoman and two Hulks beating up a goggle-whore in Ballroom 3.  WIN!

Comic-Con fun: ordered a DEE-vious at Hilton bar in front of Will Pfeifer.

Javier Grillo-Marxuach is HOT.
(No giveaway.  Again, just a personal observation.)

Those were the droids you were looking for.

Unless that hazmat suit is real, DO NOT go in Room 8.

Ferregamo, Manolo Blanik and Jimmy Choo recognize DC Comics w/ special merit award.

There is no such thing as a Lego Amazon.

Chris Dee
www.catwoman-cattales.com 
cattales.yuku.com
cattales.wikispaces.com

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Monday, July 12, 2010

Harvey Pekar Dead at 70

One of the real annoyances with the fustercluck that is DC Comics of the last decade-plus is the scope of their wrong ideas.  It wasn't just a particular writer here or a specific storyline there.  It was an all-encompassing atmosphere of WRONG, a virtual monsoon where ALL decisions and attitudes were doomed to fail because they were built on core principles that were faulty.  

A perfect example was Will Pfeifer's passive-aggressive attempt to paint any alterntaive to the East End goggle-whore excrement as boring.  It went something like "Panel 1: Selina pours coffee.  Panel 2: close up on the handle."

Telling example, as that cup of coffee is certainly an emblem of real life, an aspect of storytelling which eludes the year long crossover crowd.  "Realism" is not making everyone a psycho, a pedophile, a prostitute, or a serial killer. Realism is drawing those links between the fictional creation on the page and the living people reading it.  Bruce Wayne shaves in the morning.  It doesn't negate the fantastic larger-than-life stuff, it grounds it in something we can all relate to.

Harvey Pekar is dead at 70.  He wrote the autobiographical comic American Splendor, but more than that, he saw potential in the comic medium to tell stories beyond pulp horror and fantasy.

Pekar felt that the medium could be put to wider use, and he played with panels as a storytelling vehicle for more than a quarter of a century.

Without men like him, we'd be nowhere.  Without those who stretch and explore, who fiddle with the dials and see what something can actually DO beyond whatever we've been doing, without those guys, we'd be absolutely nowhere.  We'd still be in the trees.

Chris Dee
www.catwoman-cattales.com
cattales.yuku.com
cattales.wikispaces.com

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Tuesday, July 6, 2010

A Tale of Two Press Releases

Last week saw some big news from both comics giants. Let’s compare, shall we?


Marvel is forming a TV division to develop its properties into live action and
animated offerings for that enormous television audience. They named Uncle Jeph
(that’s Jeph Smallville-Lost-Heroes-The Long Halloween-Hush Loeb to the uninitiated) to head it. Back
when Disney first bought Marvel, I said “Now we got us a fair fight.” I meant
that Disney had the synergy of a multi-national corporation that has its fingers
in many, many pies, a depth and breadth that Marvel lacked, and a knack for
getting all those diverse operations working together to make the most of their
properties. I know some of us wrinkle our noses when we hear our beloved
characters described as “assets” or “properties,” but honestly, as a fan as well
as a stockholder, I am all in favor of Disney’s efforts to get every dime they
can out of every character they own. A higher ROI for me as a stockholder means MORE
STUFF for me as a fan. It really is a win-win if the company knows what
it’s doing.


And this is where I planned a contrast with Time Warner, which has that
diversity in terms of the divisions listed in its balance sheet: there’s a movie
studio and television as well as music and publishing, even if some are on life
support.  But they’ve never been able to get it all working together very
effectively. Even
after Martha Stewart gave them a humiliating billion dollar tutorial on the
process, they just don’t get the click going: strip the old science fiction
series that had a cult following, build a new
audience for new merch and a season-by-season DVD release, soundtrack, new novels, games, and
then potentially a new series or feature film. As I said, that’s the compare and
contrast I had planned, until *koff* the Amazon made her appearance. Thursday,
DC announced their plan to give Wonder Woman a new origin and costume. They
announced in the mainstream media, which is usually an indicator that they know
their readership is long gone and they have to venture out into the world beyond
Wizard, CBR and IGN to get a message through. (c.f. previous week's Superman article in USA
Today.)


It’s not the nature of the Diana news that interests me, however. Like West
Wing’s Bruno Gianelli, I only have so much RAM in my head. I have to prioritize.
I have to throw some things overboard. One of the things I've chosen not to care
about is whether or not Diana of Themyscryra gets a new outfit. The thing about
this episode that did get my attention was the contrast with Disney/Marvel’s
announcement in, well... scope. The latter is moving with a sure hand into new
waters where movies, video games and even theme park attractions feed into each
other, creating a capital-F Franchise that is more than the sum of its parts.
And the reactions to the news are a beautiful illustration of reaping what you sow:
“OMG, he wrote Teen Wolf? I didn’t know that!” and “Wasn’t Heroes great!
Remember those viewing parties we had? Did you know Tim Sale did the paintings
for that show?” “Long Halloween was the best comic I have ever read in my life.
10 years later, it’s not dated either.”


Meanwhile DC is creating this tempest tiara in a teapot, working a shrinking
readerbase into a lather over a “controversial” new costume. The only people bothering
to fight over this are that 1% of 1% of 1% that didn’t write this guys off by
2007. And in contrast to the Jeph news, reactions include the phrases “latest
atrocity” “You read it for me, I’m afraid to look,” and “Oh good God, what are
they doing now?” Says to me that 1% of 1% of 1% who haven’t jumped ship aren’t
exactly enthusiastic. Is it possible the only reason they haven’t jumped is they
don’t know how to swim?


Maybe it’s not a fair comparison. I would probably be the first taking the new
regime to task if they tried moving forward without setting their house in order
first. There are too many sins unadmitted and unatoned, so much so that if a
typo slips into one of these articles: “Superman is Daily Planet reporter Bark
Kent” everyone’s first assumption is that they’re replacing Clark in a new
campaign to stick it to the old school fans. That is a problem that should
probably be addressed before trying to weave the comics into the movies,
cartoons, and gaming worlds where these characters thrive. But they better do it
fast because Jeph is getting a head start, and history has shown us when he
comes out of the gate strong, there’s no stopping him.


Chris Dee
www.catwoman-cattales.com
cattales.yuku.com
cattales.wikispaces.com

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Monday, June 21, 2010

*Discreet cough* Oh Mr. Nolan, A Word in Your Ear

There’s an ad out right now for Netflix or some similar outfit that talks about the different levels a good children’s movie should have: accessible to kids but with more going that speaks to adults. The Toy Story universe is a perfect example, it has its own analogy for
Death, for God's sake. While the toys can cease to exist by being utterly destroyed, that’s not it. They might fear winding up on Sid’s worktable and having fireworks strapped to their ass, but that’s not a fate that is going to befall every toy. There is a different reality, a painful one that every one of them will have to face sooner or later: the children who play with them will grow up. They all know it, and like us living folks and the Grim Reaper, they try not to think about it. There is a REASON the staples of our popular storytelling revolve around heroes who can die but don’t, who come through dangerous situation after dangerous situation and always come out triumphant and unscathed—and that reason isn’t because car chases are cool or explosions look awesome on the big screen. It’s because we are all food for worms and we know it. As always, those who understand the moving parts that make a story work will keep on pulling off these amazing hits, while those grasping desperately at stunt after stunt will keep on failing.

Pixar is one of those who understand. They succeed more often than is statistically possible, and a huge part of that is drop-dead perfect storytelling. When they made Toy Story 2, there were exactly two sequels to spectacularly popular movies which were recognized as better than the originals: The Godfather Part II and The Empire Strikes Back. John Lassiter, et al STUDIED those movies, not in a dumb superficial way but by delving into their structures and content: how much of the first films were referenced, how much was built on, how much was new. Not just churning out more of the same. Not trashing everything that made the originals what they were. Theme and variation, theme and recapitulation. It was a magnificent effort, and the results were amazing. Toy Story 2 is a damn good movie. So is 3, btw, but I’m talking about first sequels for a reason.

There is now a third movie sequel that is significantly better than the original. It’s
The Dark Knight. The difference is that the original was no Godfather. Batman Begins was not a great movie. It was good, but it was seriously flawed—and while certain fanboys may start to howl at those words, Christopher Nolan and his band are certainly not among them. They know their first film was flawed because they set about fixing every single one of its shortcomings in the second. They even TOLD US that’s what they were doing. What was it Bruce said stitching himself up? “I learn from my mistakes.”

NOW, not in 2005 but now, today, Christopher Nolan is in that same position as Francis Ford Coppola, George Lucas and John Lassiter. He’s made the perfect Batman movie. How in the name of Robert Abraham Kane do you top it? I say take a page from Toy Story and analyze those two great sequels: Godfather II and ESB, and also--this is important--forget Batman Begins ever happened. Calm down, I’m not saying scrap its continuity. I know that kind of talk makes the fanboys heads explode. I’m saying for sequel-writing purposes, Batman Begins is no foundation. Approach B3 as a second movie with the goal of surpassing
TDK as if it was the only Batman movie ever made. All Begins had to do was be better than Schumacher. The aforementioned Netflix ad can do that much. The video for the Batman rollercoaster at six flags that instructs you how to use a seatbelt—better than Schumacher. So making Begins posed none of those expectations challenges. Then, making
TDK, begins left you with a nice checklist of errors to fix. That isn’t the case here.
TDK was perfect. It was PERFECT. So this is terra incognita, Mr. Nolan, and it’s time to turn our attention to Pixar’s approach, looking to the great sequels and cracking the code of what made them work. That done, that formula achieved, apply it to the “original” --but that original to be drawn upon and built upon is
TDK.

One woman’s opinion, of course. Your mileage may vary, except in Wisconsin. Batteries not included.

In other news, not a lot of writing happened last week. The triple release of the visitor center, the cocktails, and the new website burned up a lot of purple kitty energy. But not to worry, ground is broken on Chapter 7, and now that The TBA that Ate Tokyo is TBA no more, everything will be going a lot faster.


Chris Dee
www.catwoman-cattales.com
cattales.yuku.com
cattales.wikispaces.com

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Monday, June 14, 2010

The week... Oh for Bast Sake! NOW WHAT?

Okay then, so much happened in Cat-Tales last week I didn’t even manage to get a blog out. I had another chance to play my friend’s Lego Batman game, and as Classic Catwoman, I opened a can of whoopass the goggled pretender—not once but many times, shocking my friend with the violence of a purple cat crossed. It would have been a very cute and entertaining entry, but nobody got to read it because I was more than occupied prepping for the big rollout over the weekend. In case you haven’t seen it:

  • The website got a makeover, including some spiff video wallpaper that did not shoot or edit itself.
  • Armchair Detective and Not My Kink are out for Kindle and Mobi. 
  • Cat-Tales opened a virtual Visitor Center in Second Life (otherwise known in these parts as the TBA that ate Tokyo).
  • Shane Sahr, the rockstar bartender at Seattle’s famous Tini Bigs Martini Bar, released a quartet of Cat-Tales Cocktails that are too sinfully indulgent to be believed. 

Now, that’s a lot to get ready, particularly when one of my clients had a press thing and needed a little extra web-work himself. Pulled it off though, got everything together, produced the triple launch without a hitch. Got some nice screenshots of the visitor center, got a new headshot of myself as a pixilated person IN the visitor center, got pictures of the criminally indulgent Cat-Tales Cocktails that should have you all on a plane to Seattle just to order one of these babies. I was all set to get up this morning write up a killer entry about the whole thing when…



Sean Hayes… dressed as Spiderman… singing Don’t Rain on My Parade

Picture a close-up on Chris with a strange little twitch above her right eye. "That’s… Sean Hayes… That’s… Radio City Music Hall… That’s…"


I’m a theatre-gal, folks. Remember
Reputation?  It takes a certain kind of mind to come up with an idea like "Cat-Tales: An Evening with Catwoman", and that’s a mind who’s spent an awful lot of time backstage. I’m also hip deep in comic book superheroes. Sean Hayes hosting the Tony Awards, covering Streisand, dressed as Spiderman, that’s not something someone like me can me can just IGNORE!  For the love of God and Stan Lee, that’s like… for 30 years we’ve all assumed the ’66 Batman was lightning in a bottle, a product of time and place that, if there is justice in the universe, should never be attempted again. But Sean Hayes? Don’t Rain on My Parade? CAMP LIVES, folks. Superhero Camp is alive and well and heading for the Lunt-Fontane.

And y’know what? I’m fine with it. Perhaps the most resilient aftereffect of Miller on the Bat mythos and comic books in general is this overblown seriousness. Maybe it’s not as corrosive to the soul as the other stuff, but it is every bit as damaging to the genre as a whole. It simply isn’t necessary to take this all so f-ing seriously 24/7/365.  It is permissible to lighten up and have a little goddamn fun, and by NOT doing so, a lot of people who would be fans are shoo'd away - because unlike the fanboys who keep enabling this crap, we demand our our entertainment make us FEEL GOOD. The new Brave and the Bold cartoon gets that.  The DC vs Marvel guys on YouTube certainly get it.  Hell, even the uber-realistic Nolan movies get it.  Look at Liam Neason’s face when Bruce finally makes his costumed entrance in Batman Begins. They get it.  They ALL get it.

Perhaps that's why Batman can thrive in movies, in cartoons, in games, and (humbly) in prose fiction, in everywhere EXCEPT the comics medium where he began, is because those guys are the only ones locked into this mindset that Batman is a serious-fucking-business. Maybe if we can just get them to unclench, to embrace the lip twitch and all that it implies, there’s hope.  If not, we can just keep showing this:

and get days of free entertainment watching them try to prevent their heads from exploding.  That could be fun too.

Chris Dee
www.catwoman-cattales.com 
cattales.yuku.com
cattales.wikispaces.com

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Monday, May 31, 2010

The week in Cat-Tales – Lego Catwoman sold separately

Wow. Just… WOW. Chapter 6 of Don’t Fear the Joker – RELEASED! Yippie! Unfortunately, I missed this Remidar’s release of this stunner from Something Old by about 2 hours…


So even though it didn’t get into the newsletter, it is up in the fan art gallery, and if you haven’t paid a visit recently, GO, lots of lovely new pieces are there.

I also get to do a Josh Lyman victory lap calling VICTORY IS MINE, VICTORY IS MINE! (Bring me the finest bagels and muffins in the land.) My victory? I beat the editing software into submission, which wasn’t nearly the torture test I was expecting, and then got the damn thing exported – which was completely the torture test I was expecting.

Rounded off the week by getting to play some Lego Batman. Now this game is not new, and it’s certainly not in the Arkham Asylum league for eye candy and general Batty goodness, but then it’s not supposed to be, they’re LEGOs. And they’re fun! As Game Radar put it:
"[Lego Indiana Jones] was about paying homage; Batman is about embracing the dizzying, if essentially silly scope of his universe. Sure, it may not revolutionize the LEGO formula, but if this is the price to see Batman finally done some virtual justice, then so be it."
I know the big disappointment in the original Dave School Lego Batman was the goggle-whore. Lego Batman: The Game has the workaround. The default is still the regrettable biker-chick get-up that is an insult to the good name of Catwoman, but a simple code unlocks a variety of additional characters, including a properly purple Classic Catwoman.

Go to upper level of Batcave
Go to bat computer
Step through to "Enter Code"
To unlock the Classic Catwoman enter: M1AAWW

After that, select her for your first mission, and if she is in the right position among the characters (I think it’s the #4 slot), she’ll be featured on the splash screen introducing the mission. The text gives background on the villain to be faced in that mission, which is Clayface. Ignore that and watch her – let’s just say all the sass and attitude CT readers have come to recognize as the real Catty.

A couple touches that I really enjoyed – in a number of those intro shots, Batman has a twitch smile. Okay, technically it's an asymmetric mouth (See above, they’re LEGOs) but it LOOKS like a lip-twitch. I also had to laugh when Robin the circus kid walks the batline like a highwire while Batman has to pull himself across underhand.

Happy Cat-Play everyone. See you next week.

Chris Dee
www.catwoman-cattales.com
cattales.yuku.com
cattales.wikispaces.com

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Monday, May 24, 2010

Lost in Cat-Tales

The Lost finale was last night, and considering the number of comic book writers who took a turn on the island, I figured it was worth an evening of my time, if only for blogging purposes today. I hadn’t watched for the past few years. The one time I looked in, I saw some kid (who I think might have been the French woman’s son) strapped into the eyelid-propper torture chair from Clockwork Orange. “Yeah, okay…” and I went on my way. For the past few years I have been very nicely holding up the show as an example for non-comic friends to see what most comic writers do: take everything that brought the audience in in the first place and wreck it.

So I went into last night’s viewing in pretty much the same spirit that I went to see the first Iron Man film: not expecting to have a wildly good time. Like the first Iron Man, I was pleasantly surprised. First, ABC did what they learned in that very first season with Lost and Desperate Housewives: shows that had too many secrets, mysteries, and half-told backstories for the average viewer to keep track of, particularly over the mid-season mini-hiatus. As I said back then, it wasn’t a case of thinking the audience was stupid, it was a simple acknowledgement of the fact that this is just a TV show and people have lives. For every person who can identify all the record albums in the hatch, there are 100,000 who have to remember to pick up the dry cleaning. So those recaps were very important, but there was a downside. Every time they necessarily began with the plane crash and the introductions, so every time they necessarily reminded you how good the show was in the beginning, why you came to like it, and that automatically drew attention to how far it had drifted off course.

Last night’s recap had none of that subliminal trouser-dropping. It wisely edited out as much of the dross as it could, so if you didn’t know any better, you’d think the show had never lost its way. One of the execs proudly declared “The mystery of the show is ‘Who are these people?’” as if they’d known it all along. Daniel Dae Kim (the actor who plays Jin) smilingly remembers that Season One was his favorite.

With that recap bringing the rest of us up to speed, so we could enjoy the finale alongside the die-hards who never left, the last chapter of this 6 year story commenced. I found it to be extraordinarily well-written. /spoilers follow/ Little structural touches like the “Sideways” Jack restoring Loche’s legs at the same time Jack is gearing up to kill Loche in the main timeline, that isn’t something we see very often in this arena. I was also impressed by the theme explored. Scratch that – I was impressed by the writing chops they brought to the task. I’m sorry if this offends anyone, but in my experience, comic writers as a breed don’t do too well when they tackle the big meaning of life stuff. As for the theme itself as a resolution for the series, I find it strangely fitting. Yes, we all die, but in the world of Lost there was an actual rule to that effect. Honest to god mandate of the writers room: you could snuff anybody except the dog.

The USA Today commented that the finale “like anything that is earnest and hopeful” will attract mockery in certain quarters. While I don’t feel it deserves it, I would like to submit the following to the Millerites and misanthropes who are currently firing up their 2-cycle weedwacker intellects for the task: We all die—except for the golden lab.

As for Cat-Tales… Okay, briefly: Seriously productive week. Chapter almost done. One possible additional scene I may tag on after the proof and polish run. I figured I’d decide later and sent it out to the betas for some pre-proofing commentary. That’s an unusual practice for me, but schedules (mine and theirs) are like the tides: they wait for no man, and they don’t stop for oil spills. I finished some video capture and cataloging that video for a TBA. Editing is next. Followers of the Dark Knight ARG know that I’m no stranger to simple video and not-so-simple Flash, but that was two laptops ago and, more to the point, there’s a new generation of software to contend with. Kitty is a little intimidated by an interface that looks like the cockpit of a 747 compared to the stuff I was using, but hey, gotta take the leap sometimes, right? We also had a little upheaval with the old forum problem. The All-Seeing Oracle could post regular messages but not create polls, so I had to step in there, just for the week. And it looks like we’ll be on a Wednesday-to-Wednesday schedule for a while with the caption contest. Got some stuff in for one of the summer projects—YAY—and what’s unbelievable is, as much as I was looking forward to seeing what this person came up with, it completely exceeded my expectations. I’ve said it before, it’s going to be a very purple summer. Meow.

Chris Dee
www.catwoman-cattales.com
cattales.yuku.com
cattales.wikispaces.com

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