Way back in my senior year of high school, my friends and I took full advantage of our senior year freedom to go see The Forbidden Kingdom in theaters several times. As far as we were concerned, The Forbidden Kingdom was the long-awaited team-up of Asian action stars Jackie Chan and Jet Li—it didn’t matter to us that the plot included some white guy as the main protagonist. In fact, we were pretty happy about it—we thought the white protagonist would make the movie much more attractive to Americans and thus make more money at the box office, thereby proving that Asians could sell movies. And to be fair, The Forbidden Kingdom did rank #1 at the box office in its opening weekend. But nearly a full decade later, it’s pretty apparent that The Forbidden Kingdom’s flaws in 2008 are the same flaws that Hollywood still has today.
After hearing the news that James Cameron would be helming a film adaptation of Battle Angel Alita next year, I decided to take a dive into the series and see what the fuss was about. I’d never actually read it, but after 15 years of anime convention-going I was sure I’d heard the name before. And since I like to be an informed critic, and am already strapped in and ready to critique the movie (with its tragically predictable almost-Asian-less cast) I figured there was no harm in familiarizing myself with it for dragging’s sake.
Well, after reading all nine volumes of the series, I can confidently say that while I can explain the story, I have no idea what the fuck it is about.
There’s an oft-problematic sub-genre of superhero comics I’ve always had a particular affection for nonetheless. It’s a genre I have a difficult time even coming up with a name for; one where the nigh-incomprehensibly complex nature of a sci-fi/superhero setting and the gritty humanity inherent in “real life of superheroes” type content collide. Series like Transmetropolitan, Astro City, andPowers fall into that category, and those are some of the greatest comic series of all time. But there is one that I tend to forget about and, as a result, don’t often go back to: Alan Moore’s Top 10.
As a police drama set in a city where literally every resident is some sort of superhero, robot, mutant, monster, goddess, or alien, Top 10 hits a lot of zany-but-dark notes. But unlike the (truly brilliant) series Powers by Brian Michael Bendis, Top 10 is much more lighthearted in its take on “how do you do policework when suspects are superpowered beings,” and tends more towards “comics continuity gone wild”-type jokes and narratives.
Top 10 features a dazzlingly diverse cast in an almost unimaginably complex multiverse, but the stories that it tells are surprisingly relatable, due in no small part to the character-focused writing by Alan Moore. The art by Gene Ha crams nearly every page with enough Easter eggs and references that they sometimes come off as being from a Where’s Waldo book. But the comic also, like many of Alan Moore’s greatest works, tackles some very controversial issues in ways that can be (sometimes subversively) heavy-handed and trope-y. Though much of the more problematic content in these books does offer a nuanced and honest look at things like racism, sexism, homophobia, and police corruption, it also sometimes comes off as playing for pure shock value.
Note that this article is about the original 2000-2001 run of Top 10 (and to a lesser extent its prequel The Forty Niners) rather than the 2008-2009 run by Kevin and Zander Cannon (who also worked on the original).
It’s been ages since the last time I read the Seventh Tower series by Garth Nix, but I’d been meaning to read it again, so this weekend I sat down and blasted through all six volumes. (At around 200 middle-gradey pages each, they’re not a heavy read.) I did remember enjoying the series when I read it the first time—probably way back around when it was published between 2000–2002—but very little else. All I remembered was that I liked them enough, so they’d survived several cullings of my ridiculously large book collection until such time as I could reread them and rejudge.
Having finally done just that, I am happy to report that the series is definitely an enjoyable read, although I probably won’t be holding onto them for another round a decade into the future. I was impressed to see that The Seventh Tower uses magic and worldbuilding in a fascinating way that allows for a deconstruction of privilege that feels organic to the story, while providing us with a strong female touchpoint character as well. Although, given that it was Garth Nix writing, I probablyshouldn’thavebeensurprised.
Throwback Post Pick is a weekly feature where I fling open the vaults of past works – no matter the naivete they reflect – and revel in the making of progress! So come, TBT with me!
The nature of emotion. That’s something that compels my thoughts, fuels my writing, and intrigues my observation.
Watching people express themselves, hold back from expressing themselves, how they seem to interact…
Throwback Post Pick is a weekly feature where I fling open the vaults of past works – no matter the naivete they reflect – and revel in the making of progress! So come, TBT with me!
Identity crisis.
This is something that I have struggled with since I was first in my double digits. Perhaps it’s because I was a well behaved middle child second girl that made me predisposed to feel a need to…
Throwback Post Pick is a weekly feature where I fling open the vaults of past works – no matter the naivete they reflect – and revel in the making of progress! So come, TBT with me!
This week’s “piece” of good news is Silver Spoon Consumed. A piece who’s style – at least to me – reflects that classic type of social commentary that brings to mind black turtle-necks, small round frames, plenty of…
