“The 10 Weirdest ‘Alice in Wonderland’ Adaptations”: It would have been easy enough to fill all ten of those slots on the list with comics, but this tonic.com article only uses two, looking to film, television and prose for the rest of them. Can you guess which two writer John R. Platt chose before clicking the link? The answer may surprise you.
“I was actually considering just dropping out and trying to go get a job at the Jim Henson Creature Shop making puppets”: So says Mouse Guard creator David Petersen, in this feature story about him, his signature series and the fact that he’ll be contributing to Archaia’s Fraggle-featuring Free Comic Book Day offering
“The Anthrax of Comic Books”: I’ve read a lot of reviews and reactions to the seventh and final issue of Justice League: Cry For Justice this weekend (And I do mean a lot. When Fangirls Attack alone has at least 30 of ‘em up). All of the reviews I’ve read have been extremely negative. Many of them involved a lot of swearing. I think the most damning one was offered by blogger Scott of Polite Dissent, who titled his post on the subject “The Anthrax of Comics” and called it the worst comic he’d ever read (Not sure if he’s read Ultimates 3 or not; that’s the worst one I’ve found so far). Johanna Draper Carlson only wrote two paragraphs about the issue, but I think she did a great job of distilling why killing the character they killed is so incredibly depressing in that relatively short space (Essentially, DC took something with unique potential and many idiosyncratic story choices and cashed it in for something that was cliched 25 years ago).
Is DC listening to reader reaction to Cry?: Superman is. And what does he have to say about it? Cheryl Lynn has the answer.
“One of the strange characteristics of contemporary bourgeois life is the sheer pleasure we take in inverting it”: Check out this New York Times review of Museum of the City of New York exhibit Charles Addams’s New York (Did I just break a rule for how many times you can say “New York” in a single sentence?) There’s plenty of great art there, and, I would imagine, in the exhibit itself.
“Amongst all of this blurring and borrowing, however, the one television concept that simply does not work for comic books is ‘the season’”: I really enjoyed this piece on some of the differences between television and comics by Avi Santo, which focuses on Buffy The Vampire Slayer Season 8 (the comic book) in relation to Buffy The Vampire Slayer, the television show.
Here’s a sample:
Seasons imply definite temporal boundaries. There is always an end in sight and part of the pleasure as well as the pain of viewing a season’s worth of TV is knowing that it will wrap itself up, well or poorly, within a finite number of episodes. Yes, serialized TV may leave viewers sweating through a season-ending cliffhanger or eight, but viewers still know that at a certain point the season will end, whether things are resolved or not, and that anticipatory foreknowledge is essential to the TV viewing experience.
It’s a smart piece, and given that comics folks sometimes talk about comics that have nothing to do with TV in terms of “seasons” (Marvel’s Runaways, Young Avengers and Agents of Atlas spring to mind), probably well worth a read, whether you care about Buffy at all or not.
You know who should draw Wonder Woman?: Jaime Hernandez.