Y: The Last Man, Book 10: Whys and Wherefores

Y's final volume doesn't end the story in a way that I expected or could really be totally happy with, but it did it in its own way, fitting with how the whole comic has gone, and well enough to make being disappointed hard. It really just doesn't compromise for the sake of typical story expectations. It ends a lot less violently and action packed than I would have thought, and in some ways the resolution of all the characters makes a lot of the story seem like a waste of time, at least initially. One result of everything that goes down in particular was just weird and unsettling. But it works. After the five issue final arc, there's a longer epilogue in the future that does a solid job of tying up all the loose ends, even if you're not a fan of how they get tied, although I'm not a fan when epilogues try to shove information about characters into dialogue instead of just showing what happened. I guess it saves time, but it's rarely natural. Either way, Y doesn't do it too poorly and the last few pages are a pretty perfect way to finally finish one of the best stories I've seen in this form.

Y: The Last Man, Book 9: Motherland

The penultimate volume of the last man on earth's attempt to reunite with his old girlfriend is the most exposition-heavy yet, as we learn a ton about what happened leading up the plague, although it still isn't really clear what exactly caused it. Although what is clear is that that's not the important part, what matters is how society manages to keep going after the fact. Besides the main storyline, there are a couple issues returning to secondary characters from earlier in the series, and those go into how the world is continuing to deal with the loss of half of its workforce, including most of the people with real power. The main story is why I'm reading the damn thing though, and it's a nice mix of bizarre science fiction-esque twists, solidly done action, and genuine human emotion. A couple moments made me roll my eyes, but a few lines also reminded me that the whole thing was written with the tongue at least a little inside the cheek. It's still a really entertaining book, and I couldn't help but tear through the last one before I sat down to write this.

Y: The Last Man, Book 8: Kimono Dragons

In the second half of this series, Goran Sudzuka has done about as much pencil work as co-creator Pia Guerra, but it's hard to even notice, as his style meshes perfectly with hers. The art continues to look great, and remains a huge part of the comic's appeal. But I'm not reading for the pictures, the story's still the most important part. The eighth volume manages to develop the plot further while still featuring some entertaining action and humor, something that haven't quite happened perfectly earlier in the series. In addition to the main plot about recovering a monkey, there are a couple more issues with backstory on supporting characters. They've done a pretty good job of developing all the interesting people that pop up and keeping it relevant to the point of the story. It's a unique tale, with lots of strange elements, like ninjas, pleasure robots, and a mob run by a Canadian pop star, just in this book. But behind the outlandish cover, there's a lot going on. I might just be reiterating myself, but it's basically the perfect encapsulation of comic books as a medium. Only two more volumes left, and I can't wait to see how this ends.

Y: The Last Man, Book 7: Paper Dolls

Y has been enjoyable all the way through, but for a few volumes in the middle it seemed like I was only getting snippets of the real story in the background while the main characters were content to get kidnapped and fight people a lot. You could tell there was more there, Vaughan just hadn't shown it yet. But Paper Dolls is the first book in a while where we start to get a good look at the (wo)man behind the curtain and get a much better taste of why this is all happening. A lot of the details about why everything that's happened has happened the way it did, and it's made the story a lot more gripping. I've lost some sympathy for Yorick for various reasons, but I got some of it back seeing his renewed devotion to his personal mission and some more of his character. It's important in a story like this for him to be a really interesting character, and for better or worse, he is. 355 also gets her own flashback issue, and it's certainly worth reading. The most important issue is one about a monkey though, explaining how Ampersand came to be Yorick's monkey. Everything's starting to come to a head, and I hope to see how it ends as soon as reasonably possible.

Y: The Last Man, Book 6: Girl on Girl

Girl on Girl is one of the shortest volumes so far and not much happens in it, but that doesn't make it not as entertaining as the rest of the book. The story jumps forward in time quite a bit, skipping periods of travel to show the important confrontations that happen in between. But the main story here happens while the characters are traveling across the ocean by freighter, and quite a few things occur on the way to keep it exciting.

I like how Y plays to a lot of the cliches of the action genre, either playing it straight or subverting them, like when a character shoots an explosive tank, causing it to blow up of course, and another asking her incredulously how she managed to hit such a small primer charge. Yorick's willingness to get physical with people he meets bothers me a bit, since his whole motivation for going on this journey is to find his girlfriend, but given the circumstances it's understandable and it's clear they're setting up something with some teases at what could happen. There's another bit of backstory to his relationship, and I often find the flashbacks to be the most interesting part of the story. The writing and great art continue to drive me towards the conclusion. Did you know Vaughan has been a writer on Lost since late in season 3? That's pretty cool.

Y: The Last Man, Book 5: Ring of Truth

The fifth volume begins with a couple shorter stories, including a nice, deeper look at Hero, Yorick's troubled sister, before jumping into the meat of perhaps my favorite little story arc so far. Ring of Truth combines all the best aspects of the comic, with great writing, nice action, some big plot revelations, and more good character stuff. I don't like going into much detail about any of the stories because Y is such a fast read that doing so would take away from part of the appeal. Everything is so concise and efficient that the only thing you'd get out of reading it if you knew the important plot points is the style. That could come off as a put down, but it isn't, the comic just simply gets things done without nonsense. This volume does explain more about Yorick's survival, and as could be expected, it's not without a sense of humor or irony with regard to the real reasons for things. If Y took itself completely seriously it would be utterly preposterous, but as it is, it's a sometimes poignant comic that's usually just a hell of a lot of fun. And I still really, really like Guerra's art. It's not flashy, but that's never what I liked about comics. I'm a little past the halfway point now, and there's no turning back.

Y: The Last Man, Book 4: Safeword

Volume 4 contains two stories, the titular "Safeword", which reveals a lot more about Yorick than we ever knew before, and "Widow's Pass", penciled by Goran Parlov. You can always tell when a drawing wasn't done by regular artist Pia Guerra because Dr. Mann's features are way more obviously Asian. Anyway, the two stories are pretty different, focusing on two different aspects of the tale. The first is cerebral, and the second is action movie stuff. They're both really good, although the first was more interesting to me because it's not something you see a lot in comic books.

"Safeword" is as adult as the comic's gotten, at least in our culture's puritanical view of sex as more inappropriate for children than violence. It doesn't really get close to exploitative, but it's a little out there. I don't know why I keep bringing up the fact that Y is written for adults. It's kind of hard to make a full blog post about just six or so issues of a comic within a larger story. Anyway, the book's still on track. "Widow's Pass" is a pretty solid example of the comic's less subtle side, and it also has an important moment for Yorick. There's a pretty iconic image of him I've seen before, and seeing the scene that inspired it was pretty interesting. The book ends with another tease of what's to come, and I'm still on board.

Y: The Last Man, Book 3: One Small Step

I just found out the co-creator and penciler of Y, Pia Guerra, is a woman. It kind of makes the whole book make a little more sense. The Last Man, written by Mary Shelley, author of the original Frankenstein novel, has basically the same premise as Y and clearly served as inspiration. It is referenced in the second, smaller storyline contained in this third volume, which is drawn by guest Paul Chadwick and features the first nudity in the series, and is about a troupe of actors that decided to make a play based on the same idea, again. Certain elements of the play they make caused me to wonder if a woman had any input on this story, which focuses so much on the differences between men and women in society. The fact that one did makes me feel a little better, I guess.

That storyline was mostly a small break from the heart of Yorick's strange and fun trip through a woman-filled apocalypse, though. The third book properly introduces another important, tough Government operative who happens to be beautiful, and she joins the first we met as they fight against the second over control of the last man in existence. He might not be though, as we learned in a teaser at the end of the last volume. It's more pulpy, clever entertainment, although it's not the comic book that's going to convince the world that comic books are high art. It's an extremely well done action movie that may or may not actually work as a film when they get around to making the adaptation soon. They're also doing a film of Shelley's Last Man, which could cause some confusion whenever these things come out. The social commentary is a little obvious, but at least it's branching out from just women's rights to things like the purpose and necessity of war. Firefox' spellchecker is now telling me that "women's" is not a word, which is fucking preposterous. In any case, Y: The Last Man is still a good comic and I will continue to read it.

Y: The Last Man, Book 2: Cycles

It's been a while since I read the first volume, but the summary in the beginning brought me back up to speed, and I quickly ran through the five issues of Cycles in less than an hour. Vaughan's writing is so good and Pia Guerra's artwork so clean that it's hard not to just burn through the pages. I got two volumes at once this time to hold me for a little longer, but I'm already about to grab a couple more to satiate me. I may already be addicted after less than a year's worth of stuff. I like experiencing things as they're released, but there are advantages to waiting until they're finished and going at your own pace.

To be honest, I found the actual content of the main plot in this book to be a bit silly, and I was disappointed to see Yorick stray from the right path so early in his journey, but I still found it entertaining and smartly done. The quality of the dialogue and pacing just make the slightly kitschy plot work very well. There's an edge to the one-liners and repartee that's just unlike any thing else I've read. They reference a lot of pop culture, and it's not cheap jokes about things everyone knows, they're often obscure lyrics or quotes that just add a lot of enjoyment for people who catch them. There's a lot of cursing, but it never seems gratuitous, and neither do the other adult elements. Cycles hints at future developments and has some good twists here and there, including one that appears to be the subject of the next book, which I'll be reading shortly.

Preacher

Preacher is what got me back into comics. When I was younger, I read some random things and followed The Spectacular Spider-Man, but it got into a strange storyline which you could only follow if you read all of the different books (which I didn't) and then was canceled because Marvel was bleeding money. Both of those things turned me off the medium for a few years. But then, for some reason, I heard about Preacher, and it sounded interesting enough to pick up the first volume, so I did. I learned two things: trade paperbacks are a cheap and good way to read a comic, and stuff written for adults can be awesome. It took me a couple years, but I slowly gathered the whole series and enjoyed nearly every moment of it. It's extremely vulgar, violent, and blasphemous, and I think a completely faithful film adaptation would have to make some cuts just to get an R rating. But that stuff is just flavor for what I really like, the brilliantly written characters and unique storyline.

To quickly summarize the beginning, Jesse Custer is a washed up, drunk priest who becomes possessed by Genesis, the unholy offspring of an angel and demon that was able to escape Heaven after God abandoned it. Given the ability to command others to do his bidding, Jesse goes on a mission to confront God, accompanied by an Irish vampire and his ex-girlfriend. If that doesn't sound a little interesting, then I don't know what to say. A whole lot more happens from there, and it's always funny, interesting, and shocking while the twisted plot unfolds. There are also several specials sprinkled around that reveal more about secondary characters, often satirizing or paying homage to various genres of entertainment, including the excellent Western origin story of the Saint of Killers. The characterization might be the most impressive part; especially how Ennis can take a character you love, make them do a single thing, and make you strongly despise them instantly, without it seeming unnatural. Steve Dillon's art isn't the most immediately pleasing to the eye, but he still draws everything so it's easily understood and fits the tone. Some sillier aspects like Arseface are overplayed in the public, but it's really a great book that any fan of comics should read.

Y: The Last Man, Book 1: Unmanned

I've pretty much grown out of super heroes, but I can still appreciate a comic with a good story. Vertigo, which is owned by DC, publishes more mature, unique books, including my favorite, Preacher. I heard about the unique Y: The Last Man, checked out the first issue online which immediately interested me, and got the first trade paperback. It's a bit skimpy for my tastes, including only the first five issues, but it's still the beginning of a truly interesting story.

One day, every male mammal on the planet drops dead, except for two: a guy named Yorick and his pet monkey. Much of the planet is devastated, as the women who are left to struggle to bring order to a world that's seen disaster and is now filled with a lot of crazy people. Just in the first book, Yorick has run-ins with militant Republican wives demanding their husbands' government seats and radical feminist extremists. There are multiple plotlines going on at once as he tries to help figure out what happened and how humanity can be saved while hoping to eventually reunite with his girlfriend who was in Australia at the time of the incident. The art's pretty attractive and it's definitely the beginning of a tale I'm probably going to want to see through to the end.

Movie Update 2: 2007 In Theaters

Here's what I went to see so far this year, in chronological order.

Ghost Rider


This was a stupid movie, but the people making it knew that, and they benefited because of it. It never takes itself too seriously. It's not exactly campy, it just has the right tone to it. I like Nicolas Cage a lot, I just think he's had a really weird career. He always plays odd characters, and he's rarely spectacular, but usually plays his part well and enjoyably. He makes a lot of bad movies, but it's hard to care because he makes just enough good movies to keep you on his side.

The visual effects are decent, but yet again, we have a super hero/comic book movie that has nice looking action scenes that don't have enough action. The transformation from actor into flaming skull head is well done thanks to the computer effects and Nick's acting, but once he's changed he just drives around quickly on his motorcycle and gets in very short battles with half-baked demonic enemies. They aren't that interesting as foes, and they don't get a chance to make a case for themselves because they get dispatched within moments of confronting the hero. The final bad guy makes more of a stand, but the way he's defeated is still a cop-out. The X-Men and Spider-Man movies are still the only series in this decade's wave of super-hero movies to have decent fights in them. Ghost Rider is enjoyable, but definitely a few rungs below the better stuff Marvel has done in film.

300


I think I should read some Frank Miller comics if they're really as interesting as the movies based on them. I thought Sin City was awesome, and 300 is just as visually interesting. I have to wonder how much of it is Frank's source material and how much is Zack Snyder's direction. Regardless of how good a comic is, putting something to film is different. I don't think Snyder's a bad director, but his remake of Dawn of the Dead, while decent, wasn't nearly this good looking. Considering that all of the sets are digitally constructed and a lot of the beauty comes from slow motion, it's possible neither are chiefly responsible for the look of the movie.

It starts off slow, but once it gets to the battle scenes, 300 really takes off. It gets made fun of, but it uses quick transitions between slow and quick motion to great effect. It adds a lot of style to the fights, and they're a ton of fun to watch. The movie is really bloody too, filled with detailed decapitations and cartoony blood spray. The movie itself is a little contrived plot-wise, but it's a satisfying backdrop for the violence.

Grindhouse


What's interesting is how different the two main features of Grindhouse are while still maintaining the tone and atmosphere they were going for. Planet Terror is a ridiculous, over the top zombie movie filled with guns, gore, disgusting bodily functions, and horror cliches. Robert Rodriguez doesn't make brilliant movies, but he is noteworthy for how cheaply, quickly, and well he puts together his productions. His part is funny and action-packed, and his trailer segment, Machete, with Danny Trejo, is comic gold.

Death Proof is much slower paced and scaled back, but still very entertaining. The first half seems kind of pointless, as it spends a lot of time developing characters that just get killed. It's fairly enjoyable as it's happening, since Quentin Tarantino still knows how to write good dialog, but you kind of wonder afterwards why it was there. The second half starts similarly, with a bunch of girls talking about nothing, but gets better when Kurt Russel tries to do his vehicular manslaughter thing again. It's easy when you do it like he did the first time, but a little harder when two of the three girls in the car are professional stunt people. It leads into a long car chase, that's still a little quiet compared to Planet Terror, but quite good in its own right. It comes to an end a little abruptly, but it's still funny how it happens. Combining the two features with the scratchy film, hilarious fake trailers, and missing real jokes, and Grindhouse is a very fun, long experience at the movies.

Aqua Teen Hunger Force Colon Movie Film For Theaters


I was curious how the makers of a show that lives off of random absurdity would stretch that into a full length movie, and it turns out, they just made a long episode. Aqua Teen was always weird, but it was funny because the characters were well acted and had a lot of good lines, so it really isn't that hard to translate. All of the most popular recurring characters return, and none of them feel wasted. There are also some funny new additions, particularly a pair of government agents who seem convinced their enemies are invisible. The movie does a good job of finally explaining the origin of the characters which is hinted at in the show's background and end credits, and while it gets convoluted, it's for comedic effect.

The best part of the movie is the beginning, where movie theater food items sing a song about how you should act at the theater. It doesn't sound great, but believe me, it's hilarious. The makers finally had free reign to have the characters say and do anything they want, and there's plenty of great stuff there without going overboard. The movie works, it's funny, and you should see it if you like the characters. It has a pretty good soundtrack too. If you do see it, make sure to stay after the end credits.

Best of 2006 Redux: V For Vendetta

I somehow forgot about this movie when making my list of the best movies from last year, and it definitely would have made the cut. I guess that's what happens when you make a list over a year since that year began.

Anyway, V is yet another movie based on a comic book. The writer came out publicly against the film, and I'm not sure why. It may not be quite as good, but it maintains the spirit of the book while updating it for the modern age. Hugo Weaving proves he can be more than a good villain, as he expertly speaks the poetic lines and manages to make a character interesting without the use of his face. The movie's evil fascist regime obviously has some parallels to Bush's administration, and the fact that some of them noticed it shows they did what they wanted. It's a smart action movie that has a good story and doesn't rely on violence, which makes the superb final fight a complete bonus. It's one of the best stylized pieces of choreographed combat I've seen in a while. A well done movie with a strong message.