Comics

MAD Magazine: Flesh Garden: The Empty Rocketship

Wally Wood's refusal of celebration offers a magnificent statement on the potential of the comics medium.

Perhaps more so than any other artist, Wally Wood has come to symbolize the frustrated genius of comics, bowdlerized and ultimately defeated by mass medium publication. What could his lasting contribution have been if the comics industry of the '50s had been primed for creator-ownership like the industry of the '90s? Or more to the point, what innovations might the creator of Daredevil's red suit have given audiences, had he found that acknowledgement he sought from Marvel and DC and gone on to work with classic superheroes?

While Wally Wood's will always remain as visionary inventor of the '32 Panels That Always Work', the lack of his fuller impact on established superhero characters is sorely lamented. Perhaps the happiest time of his productive life was to be had at the carefree studios of MAD Magazine. Despite his frustration by mass-media corporations Wood's genius deserves to be recognized, even celebrated.

In an example of his work from that period, Wood pens the closing panels to 'Flesh Garden' a parody of Flash Gordon. In an unexpected twist readers discover that Flesh did not return to earth. Instead, he chose to remain on Planet Ming. Once Dale exits, the rocketship is empty.

Wood's empty rocketship provides a strange and unwitting reply to compliment made by the visionary Will Eisner. Speaking to Frank Miller in their book-length conversation, Eisner/Miller, Eisner appraises Wood as, 'Wally was a genius. In 1950, he did spaceship interiors that were valid in 1980! I mean thirty years ahead of his time!'.

With 'Flesh Garden' Wood presents his audience with an alternative recognition; the idea of potential. Just as the empty rocketship is an exhortation to venture beyond the planet, Wood's refusal to draw a (no doubt genius) interior reminds readers that like science fiction, comics is ultimately germinal of the world we deserve.

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

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Electronic music is one of the broadest-reaching genres by design, and 2017 highlights that as well as any other year on record. These are the 20 best albums.


20. Vitalic - Voyager (Citizen)

Pascal Arbez-Nicolas (a.k.a. Vitalic) made waves in the French Touch electro-house scene with his 2005 debut, OK Cowboy, which had a hard-hitting maximalist sound, but several albums later, Voyager finds him launching into realms beyond at his own speed. The quirky, wallflower vocals and guitar snippets employed throughout Voyager drop a funk that brings to mind WhoMadeWho or Matthew Dear if they had disco-pop injected between their toes. "Levitation" is as pure a slice of dance floor motivation as theoretically possible, a sci-fi gunfight with a cracking house beat sure to please his oldest fans, yet the album-as-form is equally effective in its more contemplative moments, like when Miss Kitten's vocals bring an ethereal dispassion to "Hans Is Driving" to balance out its somber vocoder or the heartfelt cover of "Don't Leave Me Now" by Supertramp. Voyager may infect you with a futuristic form of Saturday Night Fever, but afterwards, it gives you a hearty dose of aural acetaminophen to break it. - Alan Ranta


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Film

Hitchcock, 'Psycho', and '78/52: Hitchcock's Shower Scene'

Alfred Hitchock and Janet Leigh on the set of Psycho (courtesy of Dogwoof)

"... [Psycho] broke every taboo you could possibly think of, it reinvented the language of film and revolutionised what you could do with a story on a very precise level. It also fundamentally and profoundly changed the ritual of movie going," says 78/52 director, Alexandre O. Philippe.

The title of Alexandre O. Philippe's 78/52: Hitchcock's Shower Scene (2017) denotes the 78 set-ups and the 52 cuts across a full week of shooting for Psycho's (1960) famous shower scene. Known for The People vs. George Lucas (2010), The Life and Times of Paul the Psychic Octopus (2012) and Doc of the Dead (2014), Philippe's exploration of a singular moment is a conversational one, featuring interviews with Walter Murch, Peter Bogdanovich, Guillermo del Toro, Jamie Lee Curtis, Osgood Perkins, Danny Elfman, Eli Roth, Elijah Wood, Bret Easton Ellis, Karyn Kusama, Neil Marshall, Richard Stanley and Marli Renfro, body double for Janet Leigh.

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Rather than once again exploring the all-too-familiar territory of Dickens' A Christmas Carol, Samantha Silva's debut novel contextualizes the work's origins and gets inside the mind of its creator.


Charles Dickens' A Christmas Carol has been told and retold so many times over the years that, by this point, one might be hard-pressed to find a single soul evenly glancingly familiar with western culture who isn't at least tangentially acquainted with the holiday classic. This is, of course, a bit of holiday-themed hyperbole, but the fact remains that the basic premise of A Christmas Carol has become so engrained in our culture that it would seem near impossible to imagine a time prior to its existence. It's universally-relatable themes of the power of kindness, redemption and forgiveness speaks to the heart of the Christmas season – at least as it has been presented in the 174 years since it was first published in 19 December 1843 -- just in time for Christmas.

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6

Following his excellent debut record Communion, Rabit further explores the most devastating aspects of its sound in his sophomore opus Les Fleurs du Mal.

Back in 2015 Rabit was unleashing Communion in the experimental electronic scene. Combining extreme avant-garde motifs with an industrial perspective on top of the grime sharpness, Eric C. Burton released one of the most interesting records of that year. Blurring lines between genres, displaying an aptitude for taking things to the edge and the fact that Burton was not afraid to embrace the chaos of his music made Communion such an enticing listen, and in turn set Rabit to be a "not to be missed" artist.

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