Comics

Ultimates Volume 2: 'Gods and Monsters': Dropping In

The bright lights of New York City's Times Square below him, Captain America jumps anonymously from a S.H.I.E.L.D. designated military helicopter. In a single panel writer Mark Millar and artist Bryan Hitch offer a compelling argument for the necessary but also unnerving confluence of military and superhuman prowess in the media-saturated reality of the 21st-century.

Could it ever have been any other way?

In The Ultimates, writer Mark Millar offers a radical inversion of a popular Marvel theme; superheroes and the media. Spider-Man, Daredevil, the Fantastic Four and even mainstream Marvel Avengers have never been strangers to media scrutiny, but with The Ultimates, Millar provides something of a reversal in a team that relish media attention. The media often being cast as an antagonist in Marvel stories, always seemed to foreshadow a moment when a superhero, or group of superheroes, would actively embrace media attention. The other side of visual equation, the collaboration between superheroes and military intelligence has similarly been a Marvel mainstay, with such heroes as The Hulk, Wolverine, Iron Man and even Captain America himself either confounding or aiding in military operations.

The power of this Millar-Hitch image comes by way of a number of vectors, not least of which is the image's resilience at imbricating the reader in the act of storytelling. Does Captain America somehow belong among the bright lights of Times Square? Is his joining the vibrant bustle of NYC nightlife a foregone conclusion? And if that reading is imposed, does it signal the presence of the military as somehow sinister? Or could an entirely different narrative arise from the panel? Is the bustle of city life at night somehow unsafe? Is the encroachment of advertising the means to subliminal control of the populace? Is the government, in an effort to intervene and protect the lives and property of its citizens, correct in enlisting the aid of superhumans?

Does the true danger lie with the military sworn to protect citizens, or with the city that despotically organizes the minds of civilians? The true power of this panel lies not in its search for an answer to this question, nor in the visual of the superhuman dwarfed by both military and media, but in Millar and Hitch's skill in posing the question.

To be a migrant worker in America is to relearn the basic skills of living. Imagine doing that in your 60s and 70s, when you thought you'd be retired.


Nomadland: Surviving America in the Twenty-First Century

Publisher: W. W. Norton
Author: Jessica Bruder
Publication date: 2017-09
Amazon

There's been much hand-wringing over the state of the American economy in recent years. After the 2008 financial crisis upended middle-class families, we now live with regular media reports of recovery and growth -- as well as rising inequality and decreased social mobility. We ponder what kind of future we're creating for our children, while generally failing to consider who has already fallen between the gaps.

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Very few of their peers surpass Eurythmics in terms of artistic vision, musicianship, songwriting, and creative audacity. This is the history of the seminal new wave group

The Rock and Roll Hall of Fame nominating committee's yearly announcement of the latest batch of potential inductees always generates the same reaction: a combination of sputtering outrage by fans of those deserving artists who've been shunned, and jubilation by fans of those who made the cut. The annual debate over the list of nominees is as inevitable as the announcement itself.

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Barry Lyndon suggests that all violence—wars, duels, boxing, and the like—is nothing more than subterfuge for masculine insecurities and romantic adolescent notions, which in many ways come down to one and the same thing.

2001: A Space Odyssey (1968) crystalizes a rather nocturnal view of heterosexual, white masculinity that pervades much of Stanley Kubrick's films: after slithering from the primordial slime, we jockey for position in ceaseless turf wars over land, money, and women. Those wielding the largest bone/weapon claim the spoils. Despite our self-delusions about transcending our simian stirrings through our advanced technology and knowledge, we remain mired in our ancestral origins of brute force and domination—brilliantly condensed by Kubrick in one of the most famous cuts in cinematic history: a twirling bone ascends into the air only to cut to a graphic match of a space station. Ancient and modern technology collapse into a common denominator of possession, violence, and war.

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This book offers a poignant and jarring reminder not just of the resilience of the human spirit, but also of its ability to seek solace in the materiality of one's present.

Marcelino Truong launched his autobiographical account of growing up in Saigon during the Vietnam War with the acclaimed graphic novel Such a Lovely Little War: Saigon 1961-63, originally published in French in 2012 and in English translation in 2016. That book concluded with his family's permanent relocation to London, England, as the chaos and bloodshed back home intensified.

Now Truong continues the tale with Saigon Calling: London 1963-75 (originally published in French in 2015), which follows the experiences of his family after they seek refuge in Europe. It offers a poignant illustration of what life was like for a family of refugees from the war, and from the perspective of young children (granted, Truong's family were a privileged and upper class set of refugees, well-connected with South Vietnamese and European elites). While relatives and friends struggle to survive amid the bombs and street warfare of Vietnam, the displaced narrator and his siblings find their attention consumed by the latest fashion and music trends in London. The book offers a poignant and jarring reminder not just of the resilience of the human spirit, but also of its ability to seek solace in the materiality of one's present.

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Canadian soul singer Elise LeGrow shines on her impressive interpretation of Fontella Bass' classic track "Rescue Me".

Canadian soul singer Elise LeGrow pays tribute to the classic Chicago label Chess Records on her new album Playing Chess, which was produced by Steve Greenberg, Mike Mangini, and the legendary Betty Wright. Unlike many covers records, LeGrow and her team of musicians aimed to make new artistic statements with these songs as they stripped down the arrangements to feature leaner and modern interpretations. The clean and unfussy sound allows LeGrow's superb voice to have more room to roam. Meanwhile, these classic tunes take on new life when shown through LeGrow's lens.

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