Here are a couple more Crossed Plus One Hundred images from artist Gabriel Andrade’s Facebook page. Above is a comparative image showing his process from pencils to inks to final colored comic page (click on any image to enlarge.) As much as I am really enjoying Andrade’s excellent work, that comparison image makes me more appreciative of Digikore Studios coloring job – especially the sky. And below is another Andrade piece, Read the rest of this entry »
Readers solved many of the comics annotation reference mysteries I put out in this February 2015 post. A couple more issues of Alan Moore and Gabriel Andrade’s Crossed Plus One Hundred have hit the stands; I have posted annotations for No.3 here and No.4 here. But there are things I haven’t figured out, so I am going to toss out some more questions to readers.
1. What does the Chooga movie marquee say?
In Crossed Plus One Hundred No. 3, there’s a movie marquee in the human settlement in the year 2108 Chattanooga that has some letters left over from when it last showed films in the year 2008. It’s clear that one of the films was “Mama Mia!” which was released July 18th, 2008. On the right side of the marquee it says “_WR__R_” and “_LO_REI_” which should also be partial names of 2008 films. The “LO_REI” one could more-or-less be “Cloverfield” released January 2008, and suitably apocalyptic to match the CPOH world. I haven’t found anything else these might stand for. They’re probably the names of 2008 films, though they could say something like “coming soon,” “double feature,” “air conditioned”, or “eat popcorn”. Any ideas?
2. Are these The Surprise scenes from earlier Crossed comics?
Crossed Plus One Hundred No.4 opens up with three pages showing what was happening a hundred years ago during “The Surprise” – the initial 2008 Crossed epidemic outbreak. The first panel shows Andrade’s version of an airplane crash that took place in the very first Garth Ennis / Jacen Burrows issue of Crossed. The subsequent panels show fairly specific scenes (in snow, in Japan) that I suspect are from other Crossed comics that I haven’t read yet. Any Crossed readers out there recognize these images?
3. Outstanding questions from earlier issues Read the rest of this entry »
I’ve been meaning to post some recent images of our daughter… but between work and parenting and doing a little art and writing about comics on the side, I don’t post often enough. Maeve is 20 months old, and, of course, growing and changing daily. Over the past couple months it seems like she’s been more active, more coordinated and more fearless about climbing up things, especially at the park. Read the rest of this entry »
With four issues of six out, and plenty of ominous foreshadowing, Crossed Plus One Hundred is nearing the end of Gabriel Andrade’s and Alan Moore’s run. I was alread a big Moore fan, and am really enjoying Andrade’s art too. I’ve been annotating the CPOH issues and covers out so far, and reading through some Crossed comics antecedents, and exploring Moore’s Lovecraft-inspired works in advance of Providence.
I was happy to spot a couple of photos on Gabriel Andrade’s Facebook page that are pretty clearly nearly-completed artwork for an upcoming issue of Crossed Plus One Hundred. Enough to tide us CPOH fans over until the next issue appears, No. 5, probably in May or June 2015. Read the rest of this entry »
I just finished reading Hugo Gernsback’s early science fiction novel Ralph 124C 41+: A Romance of the Year 2660.
As of a couple months ago I hadn’t heard of this book, though it was initially serialized beginning in 1911.
I found out about it by reading the comic book Crossed Plus One Hundred (CPOH) by Alan Moore and Gabriel Andrade. The first issue of Crossed Plus One Hundred is titled “124C41+”. On the first read through, I didn’t even notice the title, located at the bottom of a splash page with a narrator introducing a steam-punk skeleton-piled future world. Ralph 124C 41+ is mentioned a few times in the issue. I later began annotating CPOH, and in the process Googled “124C41+” and that lead me to understanding what the reference was, and, later, heading to the L.A. Public Library to check it out and read it.
Let me say here, that I am going to do a spotty review of Ralph 124C 41+, mostly as it relates to CPOH and Alan Moore. If you’re looking for a good thorough review of Ralph 124C 41+ maybe read SF Site, The Economist, or Twenty First Century Books, or see its instructive page on Wikipedia.
The author Hugo Gernsback (1884-1967) is the eponymous Hugo behind science fiction’s Hugo awards. According to Wikipedia, he was an inventor, a radio and electronics enthusiast. He went on to publish the first science fiction magazine. Reading Ralph 124C 41+, it’s clear that Gernsback is more taken with science than he is with fiction. Gernsback more thoroughly imagines and describes technological advances than he does plot or character. It’s not bad, definitely worth reading, but it’s not great literature.
In fact it seems to me that this is one of the works that gives the science fiction genre its name. It could have been called future fiction, speculative fiction, super fiction, etc. In CPOH, Moore calls it Wishful Fiction. Not all science fictions is about science, the way Ralph is. Sci-fi authors I’ve read, including Octavia Butler, Ursula K. LeGuin, Ray Bradbury, and Robert Heinlein, seem more interested in what sci-fi says about humanity than what it says about science.
There were earlier pieces written in what would become the sci-fi genre (Frankenstein, Twenty Thousand Leagues Under the Sea) but it is Gernsback’s science-infatuation that ends up giving us the name of the genre. Gernsback, as an editor/publisher, came up with the name “scientifiction” which later became science fiction.
The title character Ralph is “one of the greatest living scientists” hence of ten great men (yah, no girls allowed in 1911’s 2660) allowed to put a “+” after their names. Ralph “the scientist, man of action” is the star, who can seemingly invent anything at the drop of a hat, and “[b]eing a true scientist, Ralph wanted to make his own dangerous experiments.” Read the rest of this entry »
I never got around to posting these excellent photos we took last year – September 30, 2014. Carrie used them for our holiday cars last December. The photographer is Matt Grashaw, who we met on a Glendale bakery walk hosted by Walk Bike Glendale. He is great, and highly recommended. (We just did another shoot with him, and I’ll post some more photos soon.)
More pictures after the jump. Read the rest of this entry »
People actually publish books (and, more often these days, create websites), that are basically companion volumes, pointing out all of the references he has crammed into his most highly referential series including The League of Extraordinary Gentlemen, Top Ten, and Watchmen.
Below are two examples of the latest references I’ve been tracking down for Crossed Plus One Hundred (CPOH), a new comics series written by Alan Moore and drawn by Gabriel Andrade. Crossed are basically depraved zombies. Not my favorite genre, but in Moore and Andrade’s hands, it works. CPOH is a look at what a post-apocalyptic future might look like after a hundred years from now. See this earlier post for three more CPOH references.
There are a series of CPOH variant cover images called “future tense.” Each image is a homage to a science fiction book. Below is Gabriel Andrade’s future tense cover for CPOH4, and the book cover it references A Canticle For Leibowitz.
Even after scouring the internet, reading, and re-reading each issue, there are still quite a few references I can’t figure out. At the time of this writing, there are only two (of six) issues released (plus future covers at Avatar Press.) These references may be made clearer as other issues come out… and there will probably be a whole raft of new references I am looking to track down as new issues hit the shelves.
Readers – take a look a the list below and see if you can help me figure these out. Read the rest of this entry »
I don’t usual post popular musical stuff at this blog, but my wife and I were driving (yes, driving) last week, and a Richard Thompson song (I Feel So Good) came on the radio, I think KCRW. We both started talking about Richard Thompson, who she’s seen live, and how much we liked his 1991 album “Rumor and Sigh.”
Especially the song 1952 Vincent Black Lightning. (Video below)
So, this being the 21st century, I found a recording of it on youtube. It brought tears to my eyes to listen.
I am a bicyclist… with little to no affinity for motorcycles… but this song still really appeals – love, tragedy, a sweet humanly-strained vocal, arranged very simply, and plenty of clever rhymes including this, slightly awkward, slightly wonderful one:
that’s a fine motorbike
a girl could feel special on any such like
I like that the policeman ultimately looks out for the dying outlaw, too – in that the police sergeant contacts his wife when he’s dying. Read the rest of this entry »
(Spoiler Note: very minor Crossed Plus One Hundred spoiler after the jump)
I enjoy exploring the story-telling vocabularies that are unique to comics. Many of these are explored in Scott McCloud‘s comic Understanding Comics: The Invisible Art and his follow-up books, also Will Eisner‘s book Comics and Sequential Art. Those books are excellent, and look at broader sweeping subjects like time; I can get into seemingly trivial panel-by-panel detail, though.
Earlier I’ve written about comics multi-panel pans (also called a polyptich or super-panel – which I compiled a hundred year index of examples), fixed-camera sequences, how covers work, and even how Art Spiegelman plays tricks with comics vocabulary.
Lately I’ve been geeking out annotating Alan Moore comics: recently Splash Brannigan and underway now Crossed Plus One Hundred. In the first two issues of CPOH, Moore has been using a clever trick that plays with the action of turning the page.
I am going to call this comics vocabulary a “Page-Turn Reveal.”
How a page-turn reveal works: At the bottom right of the first page, there’s some hint of what’s coming. Generally some character sees something that the reader doesn’t see yet. Then the reader turns the page and sees what the character has already seen. For a full-on page turn reveal, the first page is an odd page, so the bottom right panel precedes a page-turn. Often the second (even) page is a larger panel, or even a full page panel or a 2-page spread.
Note that these reveals are a three-dimensional experience a little bit difficult to convey clearly via the two-dimensional computer screen blog. I guess I could film turning the actual page to really tell this story better… but I’ll do the best I can here.
These page-turn reveals seem unique to comics. In other page-turning media, say novels (non-graphic – just text), the pagination is such that the author doesn’t really know where the page turn will occur. The exception to this is chapter-to-chapter transitions, which are sometimes page-turn reveals.
In some ways, maybe page-turn reveals are slightly analogous to a cliffhanger to-be-continued ending in any episodic media: comic books, comic strips, serialized literature, TV, radio, probably others. But it’s a somewhat low-stakes version of a cliffhanger-episode-ending, because the reveal comes just a page later; the comics reader doesn’t have to wait for the next episode. They’re slightly reminiscent of the way a TV show might do something suspenseful just before an advertising break, in order to keep the audience tuned in, then reveals something after the break.
Though these page-turn reveals have probably been around a while, I suspect that they’ve been fairly sparse. One big reason for this is commercial. The comics of my 1970s youth had plenty of advertisement pages. In many cases, comics artists and writers probably couldn’t count on a given page-turn to not be rearranged by re-pagination in a case where a publisher decided to make some change to the way the ads were inserted.
I suspect that the interspersed ads also inhibited 2-page layouts that span the central page fold. Though those are also somewhat limited by printing technology that couldn’t assure that the left and right images would line up precisely. The exception to this would be the fold in the very middle of the issue.
The exceptions to these historic pagination uncertainties are the first three pages. Page one of an issue is traditionally a full-page single-panel splash page. Pages 2 and 3 typically did not include ads. So, occasionally, earlier comics creators used page 1-3 for a page-turn reveal.
As I wrote about in this earlier post, I’ve been going through Alan Moore‘s new comic Crossed Plus One Hundred and annotating it. For folks interested in the details of CPOH, see my annotations and glossary pages. I thought I’d post three of the more visual gems I found. Click on any of the images to see larger versions. Read the rest of this entry »