Seen It (Again): The Hired Hand (1971)

Quite a bit of what little time I do spend "watching" television consists primarily of my flipping through service provider menus looking for something (anything!) to watch.  It's been a few years since I last came across it on Netflix, but was happy to see Peter Fonda's directorial debut (and follow-up to his iconic turn as "Captain America" in Dennis Hopper's Easy Rider (1969)), The Hired Hand (1917), turn up on STARZ this past week.

In many ways, this quiet, meandering movie is the perfect palette cleanser for today's loud and obvious cinema. Suggesting Fonda learned from Hopper and cinematographer Lazslo Kovacs while Easy Rider, The Hired Hand retains many of the stylistic flourishes and meditative imagistic qualities that were so uniquely presented in Easy Rider. Overlapping fade-in transitions, languid, poetic montages, and the camera's tendency to patiently follow character interactions--all which stand in sharp contrast to modern film making's sped up shaky cams and "tell me now" storytelling. The Hired Hand was also the first feature for future Academy Award winning cinematographer Vilmos Zsigmond (1977s Close Encounters of the Third Kind), whose ability to capture the spirit of the American Southwest is suggested here.

From the opening scene, a somber, reflective tone is established. Our two protagonists, Harry Collings (Fonda) and Arch Harris (actor Warren Oates, probably best remembered by my generation as Sgt. Hulka in Stripes) are resting by a river as their younger traveling companion, Dan Griffen (Robert Pratt) is seen frolicking in the water. Much is made of Harry's displeasure with Dan's silliness, though he is reminded by Arch that this is likely as the younger man is very much as Harry was in his youth. Arch and Harry two have been traveling the American Southwest together for seven years, and despite making plans to head to California, it becomes clear that Harry is tired of life as a saddle tramp. After catching something on his fishing line (the significance of which is revealed shortly thereafter), Harry decides to change course and return "home" to the wife he left behind to travel with Arch.

Along the way, as often happens in Westerns, the three stop in a dying desert town for a drink and run into some tough locals. When Dan is framed for some unseemly behavior, he stumbles into the hole-in-the-wall bar and drops dead. After exacting some painful revenge on a group of locals for the role in the death of their friend, Arch and Harry skip town. Of course, their actions will come back to haunt them later. If there is an external conflict in the movie, and one complaint about The Hired Hand has been that it lacks a clear narrative, this is it, though it only returns for resolution in the final 15 minutes of the movie.

In The Hired Hand, however, it is the internal conflicts of the two leads, which come to the forefront once the two reach Harry's old homestead and his estranged wife, Hannah Collings (Verna Bloom), is introduced. Still angered and hurt by Harry's withdrawal from her (and their daughter's) life, he convinces Hannah to allow him to stay, not as her husband, but as the hired hand of the film's title. Arch, ever the loyal partner, stays with Harry in order to help his partner repair this damaged relationship. In the end, however, it becomes clear that Harry will need to end his seven-year  relationship with Arch if he is to embrace a new domestic life with Hannah.

Of the things that make The Hired Hand recommended viewing, it is Warren Oates performance as Arch that is foremost. As played by Oates, Arch is the only character that is provided with the opportunity, by virtue of his sincere and honest humor, to develop beyond the somber, sad realities depicted here. Arch has clear affection for those he chooses to include in his life, a quality clearly expressed in his easy going manner with Hannah's daughter, who has lived her life thus far with the understanding that her father is dead.

Aided immensely by Bruce Langhonre's haunting (and critically acclaimed) score and cinematographer Zsigmond's picturesque vistas, The Hired Hand (1971) works best as a character study, albeit one with with some good ol' fashioned gun play thrown in for good measure. An unusual Western that embraces (much like fellow neo-Western Easy Rider)  the platonic, romantic relationship between Arch and Harry, it subtly, and beautifully, depicts the strong hold friendship can have on those involved. 

The Hired Hand is an odd movie that rewards carefully viewing (and re-watching). It is also very likely not for everyone, but, if you dig 1970s movies and film-making, or neo-Westerns, I recommend you give it a try.  Once available on Netflix, and now on STARZ, many finer public libraries may also have an old copy waiting on it's shelves waiting to be rediscovered.

The Old Order Changeth!

My very first short box circa 1984... and yes I was the person who actually 

bought DC's Guy Gardner Warrior!

Some comic book collectors have spinner racks (lucky!) while others have beautifully designed shelving to display their collections. I am old school, and no carpenter, so even 40 years into my fandom, I still use long, and as I have become more "seasoned", primarily short, boxes for storing and organizing my collection. This requires quite a bit of space and, fortunately, we have a sort-of finished third floor attic where I read and store them with other collectibles.

Shazam! #1 variant 

cover by Gary Frank. 

It is during these winter months when we are "trapped" inside for the majority of the day that I will shift the organization of my collection. Often it is a change in publication the prompts a change, For example, DC's recently introduced Geoff Johns and Dale Eaglesham joint, Shazam! (2019, $4.99 per) title necessitates the movement of Jerry Ordway's incredible The Power of Shazam (1995-99, cover price $1.50 per issue) series into an active box. Though represents a significant departure from the characters as depicted in Power, with all pre-New 52 continuity erased, I like having access to previous narratives.

Conversely, the conclusion of the most recent Suicide Squad (Volume 5, 2016-19, Issue #1 was $2.99 and the final issue, $4.99) series means that title will shift to an "inactive" box, stored in the back part of the attic, until the teams eventual return to action. Then, once again, the old order will changeth!

Local comic book shops organize titles on the "New Releases" table, as well as on "Recent Releases" racks and their own "Back Issues" long boxes, first by publisher (Marvel, DC, Image, Dark Horse, etc.) and then alphabetically by title (Action Comics, Aquaman and so on). Decisions regarding the specific organization of titles in collections are more personal. When it comes to "Big Two" titles (DC and Marvel for the uninitiated), putting these titles by character families (Wolverine alongside Uncanny X-Men or Justice League Dark next to Justice League Odyssey). There are families in the smaller publishers as well, most notably (and expansive) the "Mignola-verse" titles from Dark Horse. These are comic books set in the world of Hellboy, a universe of titles created by Mike Mignola that includes Abe Sapien, Lobster Johnson, Witchfinder and many others.

Zeke Deadwood: Zombie Lawman 

cover by Thomas Boatwright.

Those smaller publishers beyond the Big Two, though given quality and quantity of titles it's past time to start thinking of Image Publishing as a "Big Three", are much more willing to take creative risks with creator owned titles, especially those in the Horror, Western and Science-Fiction genres. Because of this, many of my shorts boxes are organized alphabetically by genre families rather than publisher or creator.

For example, I currently have five boxes which are organized as "Westerns" that include a wide variety of characters from large and small publishers. This means that DC's Jonah Hex extended series (2005-10, 70 issues) is organized with the now-defunct Topps Comics Lone Ranger and Tonto miniseries (1994, 4 issues), IDW's 3 Devils (2016, 4 issues) and SLG Publishing's Zeke Deadwood: Zombie Lawman (2009-11, 2 issues) series of one-shots in my short boxes.

Interestingly enough, this brief post about organizing my comic books also has me organizing y thoughts. The inclusion of Zeke Deadwood among more traditional Westerns alone has me considering my next reorganization project to further disaggregating Westerns into a Horror-Western Mash-up section. That project, however, will have to wait for the next snowstorm...

Run Reader: Rawhide Kid (2003)

Reintroducing Rawhide Kid in Issue #1.

My introduction to the Western comic book genre came late in my collecting life in the rugged guise of the 2005 Jonah Hex, Volume 2, written by Jimmy Palmiotti and Justin Gray. The most familiar Western hero from DC Comics, I eventually found that because of its excellence, I craved more adventure from "those thrilling days of yesteryear."

Cover to Issue #2 by Terry Dodson
and Kaare Andrews... subtle, right?

My experience with Marvel Comics' Westerns began with more modern iterations of two key characters, The Rawhide Kid and the Two-Gun Kid, among others. Together they starred in the four-issue miniseries Blaze of Glory (2000), by writer John Ostrander and artist Leonardo Manco and its sequel, Apache Skies (2002). Both The Rawhide and Two-Gun Kids were presented in fairly traditional Western fashion, consistent with the earlier roots of each character. The Rawhide Kid character originally debuted in 1955 from Marvel Comics's 1950s predecessor, Atlas Comics. Described as a "diminutive yet confident, soft-spoken fast gun constantly underestimated by bullying toughs, varmints, and crooked saloon owners," the Rawhide Kid (Johnny Bart) was the template from which later super-cowboys sprang. While the Rawhide Kid of Blaze of Glory/Apache Skies was grittier than the original, both interpretations were very different than what would come next.

With a faint recollection of a news story about the Rawhide Kid being re-envisioned as homosexual in the early 2000's, I bought the individual issues of  Rawhide Kid, Volume 4 (2003) for cheap to see what the hubbub was all about. At the time, I missed the red flag that the subsequent trade paperback collection of the mini-series, bore the title of the story arc from the miniseries, "Slap Leather." From the start, the tone is sophpomric and most of the updated characterization is played for "laughs."

Clue 1 from Issue #1: Rawhide Kid
likes celebrity gossip!

As written by Ron Zimmerman, this Rawhide Kid (who inexplicably prefers the nickname "Trey"?!) is much more of a caricature of homosexual stereotypes than a fully realized character with a (presumably) less-than-common sexual orientation for the Old West setting. The inherent potential of exploring the challenges of such a character in the Old West are ignored for the sake of probing the intricacies of how two of the Cartwright Boys from Bonanza could be placated by alcohol and potentially tricked into "extracurriculars" with Trey. I can't make this stuff up. Zimmerman sprinkles various literary and historical figures throughout the proceedings and even creates historical analogs for modern figures (for example, the dim-witted town leader, Mayor Bush) in an effort both ground his story in history and possibly, satire.

The flirtation begins in Issue #2.

The plot is standard: gunman (The Rawhide Kid) comes to town beset by criminal types. While there, gunman teams-up with local lawman, previously humiliated by criminals, to save town, and the lawman's shaky relationship with his young son. It's in the execution and detaisl that things get awkward: gunman drops numerous romantic hints to the lawman about things like French fashion while parading around without his shirt. Lawman's son, embarrassed of his pa's failure, publicly and verbally emasculates dad while hero-worshiping the gunman who (wink-wink) is homosexual.

Though subsequently billed as "the first openly gay comic book character to star in his own magazine," the Kid's openness is almost entirely comedic in its presentation, limited to obvious campy humor, puns and double entendre.  Used as simply a way to differentiate the protagonist from those around him (and as a subtle reasoning behind his colorful attire), the Kid's homosexuality fails to add a level of depth to the characterization or by extension, the title's proceedings.

As seen here in issue #3, the Kid is
always on the cutting edge of fashion.

The artwork by John Severin, a long time comic book artist who also provided art for Image Comics' modern-Western title Desperadoes: Quiet of the Grave (2001), is excellent. While the detailed setting clearly established as Old West vibe, the accompanying story, by Ron Zimmerman, is surprisingly ham-handed and stereotypical in its reveal and depiction of the Kid's sexual orientation. It could be said to border on parody, but just what was being parodied is up for debate. The multiple references to literary (the leads of Lonesome Dove get name-checked early on) and historical Western figures, as well as the beautiful artwork were not enough to carry me past the borderline offensive stereotype's of homosexuality that drove the story.

Even typography choices made by the writer and letterers, Rich and Wes @ Comicraft, seem to purposely reinforce the stereotypical depiction of our hero. As you can see from the pane at the top of the page, wherein the Rawhide Kid makes his first appearance wit the phrase "Oh, stop..." which when read aloud with the proper emphasis applied for the bold lettering sounds somewhat affected. Upon my own internal reading an inflection was intended, as it is through out the series.

So, is it worth checking out? As a snapshot of the misguided attempt by a mainstream publisher to take an older character and re-boot him in such a way, yes. Despite the somewhat clumsy effort, Severin's art (and the ability to analyze the hell out of the whole package) is just enough to recommend it. Both The Rawhide Kid: Slap Leather (2003) and it's sequel, The Rawhide Kid: The Sensational Seven (2010) are available as trades at your local comic book store (or in the back-issue bin).

Happy trails, Trey! from Issue #5.

Ornament Nostalgia, Day 1

"John Wayne in The Searchers" from the
Hallmark 2012 Keepsake collection. (12/13/14)

After spending the evening hanging ornaments, and briefly considering the origination of the Christmas tradition of hanging ornaments on trees in the first place, I was reminded that most of our ornaments (like your's, I'm sure) have a story to them. While not every one carries a sleigh-load of nostalgia, each is on our family's tree for a reason.

It was then that I decided to post some quick pics and thoughts about our ornaments in the days leading up to December 24.

First up, was an ornament that I blogged about two years here. As is often the case, it was the first of what was, I believe, intended to be a longer series of Hallmark ornaments as the following Christmas I was gifted with its pardner, a second John Wayne collectible. The original ornament, as described in the aforementioned post, "John Wayne in Rio Bravo" is a Hallmark Keepsake from 2012. "John Wayne in The Searchers," from 2013 joined the tree this year after waiting for the holiday season to come back around (we never put the ornaments on the tree immediately after receiving them, but reserve them for the following year).

The affection I have for Wayne is tied to my love for my late grandfather, and I owe my appreciation for the western as a genre to him. Though I did not recognize it at the time (sadly, who really does at 10 years of age), my grandfather introduced me to numerous American archetypes familiar with his generation, the "greatest generation," indirectly as my brother and I watched with him on Sunday afternoons. While the Hallmark "series" seems to have ended as only a pair with the release of only two ornaments. Placing both on the tree again this evening, and recounting the memories they cumulatively evoke, I look forward to unwrapping them from their plastic shell casing and box each year for hanging for many years to come.

"John Wayne in Rio Bravo" from the  Hallmark 2013 Keepsake collection. (12/13/14)

Comic Bookshelf: Young Blueberry 2

Though we pick up Young Lt. Blueberry's story in progress, it
does read well as a stand-alone, too.

With DC Comics' All-Star Western starring Jonah Hex facing imminent cancellation and Dynamite Publishing's solid Lone Ranger series having recently ridden off into the sunset, the traditional Western is once again becoming something of a rarity on the new comic book table. This is unfortunate as, while not many Westerns are currently being offered by readily accessible mainstream publishers, my thirst for them remains unquenched.

So like a thirsty fanboy, I have found myself digging through the online back issue bins in search of something along the lines of dusty trails and two-gun action. As fate (and fortuitous availability) would have it, I came across an English translation published by Comcat Comics in 1990 of a French graphic novel first published in 1969. Talk about a roundabout way to get at graphic novel with an Old West setting!

Young Blueberry 2: A Yankee Named Blueberry is written by Jean-Michael Charlier with art by a young Jean (Moebius/Gir) Giraud. The second in a series of English translations, this particular volume collects chapters 4 through 6 of the creative team's original story. While a fan of Moebius' more contemporary science-fiction works (such as the Eisner award-winning Marvel's Silver Surfer: Parable mini from 1988), my only previous engagement with the Lt. Blueberry character is through the mystic-Western film Renegade (2004) starring Vincent Cassel, based on the graphic novels featuring a more world-weary iteration of him.

Written as part of a larger tapestry of stories providing background for the already popular character, I had access to only the single second volume. Because of this, I read Young Blueberry 2: A Yankee Named Blueberry as an isolated adventure without the benefit of previous characterization.

Despite this disadvantage, this collection worked fine as a singular traditional adventure of Rebs and Yankees during the Civil War. Picking up "three days after successfully completing a mission" behind enemy lines, Blueberry, at this point in his military career described as being "primarily a bugler," attempts to rejoin his Yankee squadron. The first two chapters, "Death Ride" and "Man Hunt" tell the story of Blueberry's efforts to return to his squadron as well as his being hunted by an adversary introduced (I assume) in the previous volume. What follows is a tale of mistaken identity and unclear alliances wherein Blueberry finds himself once again thrust into a dangerous mission requiring he play both sides of the war.

The final chapter in the album, "Private Mike S. Blueberry", finds our protagonist still caught between the Rebs and Yankees. Given what has preceded, Blueberry is forced to prove his allegiance to the Blue Coats. (Apparently the mission that set all of this in motion was a mission so secret, no one knew that he was in fact a Blue Coat infiltrating the Confederacy ranks.) While the conclusion of this volume finds Blueberry successfully foiling the Confederacy's plans, he is also in pretty much the same predicament as at the onset: trapped behind enemy lines unable to prove his allegiance to either side.

Blueberry's character, as written by Charlier  is easily discernible without having read what preceded, especially as he is presented as an archetypal soldier, if only slightly more conscientious, attempting to fulfill his patriotic duties while staying alive. Because of this, there is always a level of narrative tension at play that allows our main character to consistently reveal (or reinforce) the traits to the reader. Within the context of a larger story, though, I could see this continuous plot strategy becoming somewhat repetitive.

This is also not the Moebius artwork of which I am familiar. Lacking the graceful clean lines and huge vistas of his later work (including the aforementioned Silver Surfer series), this Moebius is more constrained as the "camera" is pulled in tightly. According to the brief forward, the panels were also originally published in black and white, and were colored and reformatted for this edition, which may impact my reading of the art. There are, however, a few hints of the artist's style as it will eventually develop, particularly in the closing panels which feature a massive train derailment (one panel of which is spoiled on the  back cover).

Based on the level of difficulty that exists with acquiring Moebius books, even reprints such as this, with any degree of affordability, I am unsure when I might have the opportunity to take in any further adventures of Lt. Blueberry. My guess would be that some used bookstores or older local comic shops might have some hiding on their bookshelves. Some public libraries might also have a few in the Graphic Novels section. Should my travels bring me across additional editions, I would definitely continue following the adventures of Lt. Blueberry.

Roadie: Old Sacramento

Sun sets on Old Sacramento. (7/12/14)

On the second day of my recent trip to California, we went to Old Sacramento, an eight block section of downtown Sacramento, as a way for me (in the words of my friend/host) to "get my cowboy on." Based on the pictures posted here, it would be understandable for you to incorrectly assume that Old Sacramento is a ghost town. While reviewing these pictures, I was surprised how poorly they reflect the pedestrian activity and foot traffic that occurred while we were there. Though it does carry a slight "tourist trap" air (always difficult to accept modern restaurants and chochki stores at historical venues), Old Sacramento is in fact a national historic landmark. Among the things to do there, in addition to checking out some great Western architecture, are shopping, eating (both of which we engaged in) and chances to ride on trains, riverboats and carriages.

Old Sacramento. (7/12/14)

Old Sacramento. (7/12/14)

Foreground is the site of the New England Seed store, source of what would
become the state flower, camellia. (7/12/14)

Sacramento Southern in Old Sacramento (7/12/14)

Sacramento Southern in Old Sacramento (7/12/14)

It's not an official historical town without the obligatory re-enactors! (7/12/14)

Central Pacific Rail Road depot in Old Sacramento. (7/12/14)

Myself (left), Noah and Jerry in Old Sacramento's Visitors Center. (7/12/14)

Carriage on display in Old Sacramento Visitors Center. (7/12/14)

Section of a large painting on display in Old Sacramento Visitors Center. (7/12/14)

Sign at base of Pony Express statue in Old Sacramento (7/12/14)

Interesting facts California State Parks website about the Pony Express statue sculpted by Thomas Holland: The Pony Express rider’s clothes were based on a paragraph in Mark Twain’s book Roughing It, published in 1872. Rider’s saddle and Mochilla (what they carried the mail in) were modeled after originals that are in the Santa Barbara Historical Museum. Bit and bridle were designed after military “tack” of the 1850s. The sculptor gave him a wide brimmed hat instead of a skull cap, which the riders usually wore. Statue took over 2 years to design and build, including 9 months casting and finishing by Vianello Art Bronzes.

Old Sacramento (7/12/14)

Classic coach carriage rides in Old Sacramento. (7/12/14)

Your's truly and Noah on an Old Sacramento carriage ride. (7/12/14)

And on the other side: Jerry and his wife, Angie. (7/12/14) 

Old Sacramento. (7/12/14)

Front of another statue in Old Sacramento. (7/12/14)

Old Sacramento. (7/12/14)

Summer Reading: The Big Sky

Among my favorite genres of literature is the Western, and each summer I try to find one or two that satiate my desire for tales from the yesteryear. Summers past have yielded hours of enjoyment in Larry McMurtry's Lonesome Dove (#1 on nearly every online list--and rightly so), Shane by Jack Schaeffer, and others. Recently, While searching online for "Best Western Novels," I came across The Big Sky by A.B. Guthrie Jr.,a novel I had not previously heard of other than having seen on more than one such list. While less a traditional cowboy western, The Big Sky tells the story of a trio of friends (Boone Caudill, Jim Deakins, and Dick Summers) who head west, each for their own reasons, in hopes of becoming mountain men. One list properly singles The Big Sky out as being unlike any other book on Top 10 Westerns, an assertion that proves valid.

Published in 1947, The Big Sky seems to have more in common with the modern neo-Western than with the romanticized vision of the West in the more recognizable genre standards of Louis L'amour. As one might suspect given the title, the romantic elements of the novel do focus primarily on the descriptions of the environments, as well as the main characetrs' interactions with the changing scenery. For example, as the trio travel up the Missouri River while working on a French keelboat, the Mandan, Guthrie uses the smaller moments to bring the West to life:

...Summers lying above the big bend with a handkerchief flying from a stick and an antelope dancing and circling and coming closer, out of curiousness, until Summers' bullet knocked it over; sandbanks and sandbanks, and prairies and prairies and always the strange hills and the big sky. (126)

During this leg of their journey, the men encounter of a variety of different "adversaries," ranging from Indians, competing "businessmen," and their own primal urges. Much of the narrative is driven by the experiences of Boone Caudill, who serves the role of de facto protagonist despite some of his actions being less-than-savory. It is in the author's descriptions of the smaller challenges of frontier life faced by young Boone that my own interest as a reader was piqued. The character background and nuanced experiences of the group Guthrie supplies is unique on many fronts.

One example would be in its depiction of the potential pitfalls of poor hygiene in the Old West. As realistic a depiction as McMurtry's novels appeared to be, they never addressed the real likelihood of venereal disease. (Even as I type this, discussing this topic in the context of a Western novel does seem odd, but when one thinks about the lack of personal hygiene, it makes sense.) In fact, the contracting of the clap is described as a badge of honor without which one is unable to "shine as a man" (87). The dialogue between the three main characters as the two more experienced travelers (Dick and Jim) as they diagnose Boone's condition is surprisingly frank especially given the publication date of the novel. These sorts of asides are not, however, gratuitous or shocking, but rather serve to bring to life some of the very real issues faced both on the pathway West as well as in the lives of the mountain man.

One of the more challenging, and presumably realistic, elements of the novel is the diction employed in crafting the dialogue of characters from a variety of cultural and educational backgrounds. This is most noticeable in both the dialogue used to characterize the uneducated Boone and the French captain of the Mandan, Jourdonnais. With a historical starting point of the 1830's, much of the general vernacular of Boone and others is full of dropped "g's," for example in "runnin'", and unique regional dialectic flourishes such as "figger" for "figure." Jourdonnais and his fellow Frenchman (who are painted in stark contrast to the rough and tumble Americans), speak with patois that one would suspect is fairly accurate. Though dense in some parts, especially until I became familiar with the conversational ebb and flow, this sophisticated dialogue also add an additional level of differentiation between superficially similar characters.

While incredibly interesting, and somewhat educational, The Big Sky was not an entirely enjoyable read in the way that say, Lonesome Dove is, in large part because I  had difficulty connecting with any of the main characters beyond the thrill of being a bystander. As a reader, I carried on through the book, appreciating the detail and quality of well-turned phrases and occasional action set-pieces, but was not drawn in as much as I had hoped. While I would recommend it to those who have an interest in early American history and are seeking a fairly unromanticized depiction of life on the trail West, this does not seem to me an ideal "beach book." Any weakness in the readability of a classic book though more likely reflects a lack of depth or understanding on the part of this reader (me), it is after-all one of the 10 best Westerns, and I'm just a goofy blogger doing some summer reading!

The Mariner Books edition of The Big Sky that I read opened with a fascinating foreword by Wallace Stegner. I had only read Stegner in quotes and excerpts relevant to Jon Krakauer's Into the Wild, and  my reading of this essay along with The Big Sky did add an additional level of heft to the loss of space theme that Guthrie was imbuing his work with. Again, while very interesting to me, and perhaps those who appreciate the literary analysis of American Westerns, likely not all that entertaining for the general reader.

Atomic Robo Goes West

Doc Holliday (top left panel) also appear in Atomic Robo: The Knights of the Golden Circle #1.

In the next 2-3 months, a number of the Western comic books that I have collected regularly for the past few years (Oni Press's The Sixth Gun , Dynamite Publishing's The Lone Ranger, DC Comics' All-Star Western to name three) will be concluding their current run. Fortunately, it would appear that another titles that I have occasionally dabbled with, Red 5 Comics' Atomic Robo, recently kicked off a five issue arc with a Western theme.

Atomic Robo strikes an iconic
Western pose... with poncho!

It was the Western hued pose of the title character on the cover (and a desire to show support of Western-themed comic books) that prompted me to once gain dip my toe in "The World's Greatest Science Adventure Magazine!".Created by writer Brian Clevinger and artist Scott Wegener, the series of Atomic Robo minis tell the adventure s of the eponymous main character who is a self-aware robot built by a fictional version of Nikola Tesla.

Atomic Robo and The Knights of the Atomic Circle #1 begins with our hero trapped back in 1884 Colorado, with a quickly expiring supply of nuclear fuel. When gunshots lead Atomic Robo to intervene on behalf of an elderly man, he finds himself setting off a turf war between notorious outlaws and a quiet Western town. Much like the Man With No Name (which the protagonist's outfit is clearly meant to reflect), Atomic Robo becomes the de facto leader of the town as he tries to protect them while escaping the wrath of the bad guys. There are broader plot points that contribute to Atomic Robo's larger story (apparently he or someone like him bearing the moniker Ironhide, has been "then" before), but past understanding of this greater story does not inhibit the enjoyment of the Western interlude.

As often happens in Western fiction, events transpire which place Atomic Robo in the path of far more familiar historical characters, in this case, go-to icon Doc Holliday. In addition to serving the purpose of recognizable historical figure for the reader, Holliday is also recognized by Atomic Robo, who is quick to recognize the necessity of adhering to the time honored time travel dictum of Star Trek, Sound of Thunder and Back to the Future: "Don't do anything. Preserve the timeline."

More than the start of a new adventure, the larger plot (and mystery) thickens!

While Atomic Robo and The Knights of the Atomic Circle #1 of  is primarily set-up for next issues confrontation between Atomic Robo's new acquaintances and Butcher Caldwell's gang, it remains a very entertaining all-ages read. As there is not much new ground covered here for the Western or science-fiction enthusiast, it is the clear affection and respect of Clevinger and Wegener  for both genres (and their character) that contribute greatly to the reader's enjoyment of the comic book. Best of all, in addition to having found a short-term Western to add to my pull list, I at the same time have happened upon a solid all-ages sci-fi title to both both follow and catch up with in my local comic shop's back issue bins.

New Comic Book Wednesday: August 21

The second-to-last New Comic Book Wednesday before I return to school full time (I'm only coaching in morning's now), and my excellent run of early morning comic pick-ups will be over for another school year.

As is too often the case, I find myself returning to a character for whom I have not collected a title in a lo-o-o-ong time, this time due to her kicking off a miniseries that kind-of-sort-of dips its toes in the Western genre. When Vampirella: Southern Gothic came out last week, I made the mistake of spending a couple bones on two issue of her main title just to get a taste. Though (at least initially) not as satisfying as my last experience with the character in Harris' 1997 title Vampirella Monthly, it was promising enough to convince me to dig through the racks for a couple of back issues and to request a pull of this week's Vampirella #32.

Given the recent addition of Gale Simone's Red Sonja to my pull list, I am rounding out my comic collection with newly reinvigorated pulp heroines to go along with Warlord of Mars, The Lone Ranger and Lady Rawhide (who was not a pulp-era creation but certainly fits the bill creatively). These types of characters offer the classic narrative that is so often missing (in my estimation) from the majority of the Big Two's titles. These smaller presses also just seem intent on being entertaining action and adventure and not so concerned with aligning every past depiction of a character or serving another market like action figures and movies. Even Dynamite's The Lone Ranger, with a new issue out this week, has stayed true to the character, even going so far as to offer superior storytelling to what was offered up this past summer by Disney.

This week also saw the release of two of my very favorite comic books reading experiences: 2-3 times monthly Dark Horse Mignola-Verse titles (this week B.P.R.D. Hell on Earth # 110 and Lobster Johnson: Scent of a Lotus #2) and the wonderful (and occasional) Bela Lugosi's Tales From The Grave from Monsterverse Entertainment.

Happy reading!

Run Reader: The Man with No Name (2008)

From The Man with No Name #1 by Christos Gage and Wellington Diaz.

It has been almost two years(!) since I last wrote about a complete run of issues I have in my comic book collection. Veteran fanboys will  recall that a "complete run" occurs when a collector has all issues of a specific comic book title. In recent years, having a complete run of any given title is not as unusual as it once was, due to titles regularly being started over with a new issue 1, and therefore, a new volume. While I would not confider myself an ultra serious collector, mostly because I don't spend too much money on rare and unusual titles, I do have that OCD that requires me to do my best top acquire all issue in a series that I really enjoy, especially those with a high re-readability level.

Cover to MwNN #8 (2008)
by Richard Isanove.

About three years ago, I was bitten by the "Western-comic book bug," and found myself searching through back issue racks for modern series with a Western bent. In digging through longboxes at my local comic shop I came across the short lived Dynamite series, The Man with No Name (MwNN). Based upon the character and film aesthetic developed by Clint Eastwood and Sergio Leone in their collaborative Spaghetti Western series of films, this series lasted only eleven issues that follows the continuing adventures of the characters and plots of the original MGM film series, serving as a sequel of sorts. This link is even clearer when I looked into purchasing the issues online and realized that they often bear the subtitle The Good, The Bad and the Uglier, added following a title ending colon. Despite the short length of the run (it was eventually continued as a follow-up series entitled with the likely more recognizable title of The Good, The Bad and The Ugly), completing it did take some doing.

From MwNN #5 by
Christos Gage and Wellington Diaz.

Unlike more visually recognizable (and therefore more marketable) characters such as the Lone Ranger and Zorro, both of whom have current or recent series published by Dynamite, MwNN was not as highly ordered in its initial run and therefore not all the back issues were easily available at my local comic shop. Another "challenge" was the fact that many issues had variant covers, most with pin-up style depictions, so I had to be sure not to purchase too many duplicates of existing issues already in possession. (I know it would make sense to maintain a list of numbered issues, but one never knows when they may come across a stack in some small shop without a the list in hand.)

The entire run consists of two storylines, both by different  creative teams. Issues 1-6, entitled "Saints and Sinners," is a direct sequel to the original film that follows "Blondie" (the name by which the original Eastwood charter was referred to in The Good, The Bad and The Ugly (1966)) as he deals with the repercussions of his actions in the classic Spaghetti Western. Written by Christos Gage with art from Wellington Diaz, these dangling plot threads are tied up in comic book and woven into another redemptive opportunity for the character.

The second arc introduces to an earlier adventure of Blondie and Tuco Ramirez, "The Ugly" of the film's title, brought to life so memorably by the late Eli Wallach. "Holiday in the Sun," this five-issue arc was written by Luke Lieberman and Matt Wolpert, with art by Diego Bernard.

Both arcs attempt to duplicate some of Leone's film-making style by employing a slightly more minimalist approach to dialogue as exposition. Blondie does, however, "speak" more in a single issue than in any single Leone film, a concession that must be made for a medium that, while highly visual in nature, does require a degree of expediency. Both Bernard and Diaz offer depictions of the characters in a way that is consistent with the films, though much of the reader's ability to discern Blondie from other similar characters is dependent on his iconic poncho and not-so-iconic mullet-style hair. As a fan of Wallach's Tucco, it is good to see the character brought back to life. Tucco (along with Van Cleef's Angel Eyes) did not appear in any other of Leon's Eastwood movies, so the back and post stories provide the reader and fan a chance to revisit the character. (Angel Eyes does not make an appearance in either, though *SPOILER* the character's death at the end of The Good, The Bad and The Ugly would have made that difficult.

Dynamite's The Man with No Name was followed up immediately after issue 11 the following year with another eight issue miniseries featuring the Man With No Name character. Both series, The Man with No Name (2008) and The Good, The Bad and The Ugly (2009) are available in trade paperback at fine local comic shops everywhere. If you're a fan of single issues (as I am), I'd bet if you were diligent you could collect a complete run of both series for yourself.

The final panels from MwNN #11 (2008) by Luke Lieberman and Matt Wolpert,
with art by Diego Bernard.

Yippee-FRY-Yay!

Though hardly a valuable collector's item,
yet, this is still a pretty cool little memento.

Last year at this time, my stepson, wife and I travelled to Washington, D.C., and Boston to make some college visits. While he ultimately decide to go elsewhere (Columbia), we did greatly enjoy our time touring around the sites and monuments each city had to offer. While cleaning out some shelves in my office today, I came across an odd "memento" that had been stashed away from our road trip: a Roy Rogers Round Up French fry holster.

Because Roy Rogers Restaurants are incredibly rare in upstate New York, relegated to only a few thruway food courts, I'd had no prior experience with fries packed into a holster. While it certainly did not seem very functional beyond its primary purpose, and though I quickly thought better of my initial inclination to strap the holster to my belt, I did like the Western flair of the packaging.

On the History Guffaw website, I also found the Rogers specific term "holster fries" that appropriately captures the product-packaging synergy of the Rogers fries. Resembling a child's toy holster, with details right down to rivets and stitching (befitting a clear allusion to the popular Roy Rogers Flash-Draw Holster outfits such as the one seen here from the 1940s), the fry holster itself definitely offers a visual reminder of yesteryear. Perhaps because, as one blog I came across suggested, this was the manner in which the restaurant's namesake ate his own french fries, directly from a holster, this gimmick seems to have stuck.

One has to wonder though, with the politicized nature of gun ownership and perceived influence of "violent" first and third person shooters (video games), how much longer Roy Rogers' will pack their fried taters this way. Despite the fact that this particular holster is only intended for use as a french fries delivery system (rather than a firearm), clocking in at 546 calories does seem to suggest the contents therein may pack a strong dietary wallop and, if eaten in large amounts, could also be fatal!

Seen It: Vengeance (2009)

Recently the unusual sub-genre of film that is the Asian (Korean/Japanese/Thai/Chinese) thriller has joined the (Spaghetti) Western as one of my favorites. Once in a blue moon, I get lucky and come across a movie which actually draws on elements of both "genres" effectively. How can can a Chinese movie starring a Frenchman set in modern Hong Kong be a "Western"? While a film such as Vengeance (2009) has a very definite Eastern setting, the movie's tone, characterization and aesthetic are, to this viewer, have an unmistakeably Western flair.

Directed by Johnnie To, from a script by Wai Ka-Fai, Vengeance (2009) stars French music icon Johnny Hallyday as Francis Costello, a grieving (and brooding) father who's daughter is victimized by three home invaders. To add to the trauma, his son-in-law and two young grandsons are also murdered in the pre-title assault.

A chef and restaurateur from France, Hallyday's character, with a suitably "secret past," is very much a fish out of water in the Chinese cities of Macau and Hong Kong. Relying on help from some unlikely allies, Costello seeks revenge for the senseless and brutal attack on his family. Further adding to the outsider dynamic, common in the majority of spaghetti westerns, is the revelation that Costello suffers from periodic memory-loss, a condition that necessitates his taking Polaroid pictures of the faces he needs to remember lest he forget them completely--and therefore re-meeting them throughout the film. Cognisant of his health condition which is the result of a previous "secret" activity, Costello acknowledges that at some point in the near future he will not even remember his daughter even as avenging her pain and loss becomes the focus of his existence.

As teased in the film trailer above, Chicago Sun-Times film critic Roger Ebert has called Vengeance "A Classic Western," and further wrote that the film had "certain parallels" with Clint Eastwood's 1992 film Unforgiven. The film has just as many parallels with some of Eastwood's much earlier westerns. Very much a "Man With No Name," Costello, as played by Hallyday (who at one point was culturally seen as France's equivalent to Elvis Presley), says little while ingratiating himself to the "locals" (translation: Chinese hit men) with whom he develops a deep bond. This bond is further developed when their shared history, and code, are revealed toward the middle of the film. Later, Hallyday is also befriended and assisted by a young women with many children who sees the good in his hear, despite his grisly mission of vengeance.

One thematic cornerstone of the Western present in Vengeance is the depiction of a society organized around codes of honor and personal, direct or private justice. Some other important production choices seem influenced by a desired western motif such as the dramatic staging of key showdowns, as well as the accompanying soundtrack written by Lo Tayu.

Part Western, part Asian Thriller, part character study, more than anything, Vengeance is a well-produced thriller with a number of twists, none of which are novelties, as each further enhances the story of Costello's drive toward revenge. This film is currently available for on-demand viewing on Netflix.

Sources:
Wikipedia

Seen & Read It: Django Unchained (2012)

I may have missed this small exchange in the movie, but its inclusion in the comic book adds
a level of depth to both Dr. King Schultz's characterization and Django's comment later in the film that has
been widely featured in the television ads.

As a Spaghetti Western fan and appreciator of Quentin Tarantino's film aesthetic, I have been awaiting the Christmas Day release of Django Unchained (2012) for quite some time. After seeing the reviews (both positive and negative) there is not much else to say that hasn't already been offered by more cultured reviewers worldwide, though I will say that among Django Unchained's greatest accomplishments is that it made me like both Jamie Foxx, Leonardo Dicaprio and Samuel L. Jackson as incredibly gifted actors, rather than as simply celebrities. I also appreciated the bravery Tarantino showed in adhering to his vision of the film, which given overly sensitive studio (and societal) tastes, cannot have been easy. The film is violent, bloody, angry, raw, and thoroughly engaging as a piece of visual art. That being said, it is also definitely NOT for children or those who are unwillingly to see a filmmaker at his unflinching best.

Django Unchained is an unabashedly irreverent homage to the old school Spaghetti Westerns and, as such, it is only right that it, like many old traditional Western television shows of the past, have a comic book adaptation hitting the stands at the time of its release. Given the content of the film, and therefore the comic book, it is safe to say that few publishers could offer to present a "Director's Cut" of the film in comic book form like DC Comic's Vertigo imprint.

Featuring art by RM Guera (who recently concluded his run on the popular neo-Western-tinged Vertigo series Scalped), The first issue of the comic book came out two week's ago and has been sitting in my "To Read" pile until after I could see the film. In his foreword to the comic, Tarantino reminds the reader of his love of Western comic books and that the ability to do a comic book adaptation allows him to share with the fan the "ENTIRE SCRIPT," which if it were to be filmed would be almost "four hours in length. For fans of the film, Tarantino and just the editorial process, Django Unchained the comic book offers a view "the very first draft of the script." An excellent companion to the film, I enjoyed reading what Tarantino had not included in the film, but suspect some of it may turn up in a Director's Cut or as a Special Feature in some future Blue Ray release.