2

Issue 7, August 2014

Editor Talk

Welcome to (what I’m going to term) our comics issue!

That’s right—there’s plenty for the comic fiend in this bad

boy of an issue. From the Johnny Canuck Kickstarter

campaign, to Russ Dobler’s hilarious suggestions for

Marvel’s next big screen comic book adaptations, through to

a new comic recommendation engine for Edmontonians,

founded by Wizard’s Comic’s own Brandon Schatz. It’s

sweatpant an’ reading time, people.

We’ve also got a great new column by Allan Mott called “One

Too Many.” He’s going to give you a breakdown of sequels

and prequels and superfluous films that make you think

“enough already!” There may be some merit to a few of

these movies, though, so stay tuned.

Also in this issue, Kelsey Beier muses on people-watching

and the performative nature of modern day crowds. When

you know you’re being watched in public (and even when

you don’t), do you act the same as when you’re in private?

And, of course, we’ve got your fashion tips at the ready with

this month’s column by Teresa Simmons. Bowties, anyone?

Enjoy our comics issue…and don’t forget to buy your

Edmonton Expo passes. It’s next month!

Cheryl Editor-in-Chief

thepulppress.com

The People of the Hour!

Cheryl Cottrell-Smith, Editor-in-Chief

Writer/editor. Loves comics, Fable/Dragon Age, and Futurama. Hopes that one day they’ll bring back Playdium. @CottrellSmithC

Kelsey Beier, Musings Columnist

Lover of music, writing, traveling and working with kids. Teacher by day; unpublished author by night (and sometimes on the weekends).

Teresa Simmons, Fashion Columnist

Fashion writer/blogger at Simmons On Style. Can’t live w/out little black dresses, seafood, Indie music, and lip gloss. @simmonsonstyle

Russ Dobler, Editorial Contributor

Known as "Dog" to friends and weirdos; wannabe scientist; beer lover. Blogs at thoughtfulconduit.com/whatdoesthismean.

Allan Mott, Editorial Contributor

Film enthusiast and blogger at vanityfear.com. Can be found giving opinions on films and other cultural paraphernalia @HouseofGlib.

magazine

3

Issue 7, August 2014

CONTENTS

comics + graphic novels

4 Heat Check: The top four

oddball properties Marvel

Studios should try next –

Russ Dobler

11 The resurrection of Johnny

Canuck – Cheryl Cottrell-

Smith

16 Looking for comics? Ask

Variant Edition. – Cheryl

Cottrell-Smith

lit + film

19 One Too Many: Graffiti

Bridge (1990) – Allan Mott

fashion + cosplay

14 How to wear: Bowties –

Teresa Simmons

musings

8 Are you being watched? –

Kelsey Beier

14 4

8

4

Issue 7, August 2014

Heat Check: The top four

oddball properties Marvel

Studios should try next

Comic feature

Written by Russ Dobler | Images courtesy of Marvel Comics

5

Issue 7, August 2014

In a recent interview with the website Comic Book Resources, Marvel Comics senior vice

president of publishing, Tom Brevoort, reminisced that when Marvel Studios decided in 2004 to start

financing its own films, rather than licensing its properties to other companies, most pundits

predicted failure. The agreements that brought the X-Men to life via 20th Century Fox and saw

Spider-Man swing across the silver screen thanks

to Sony—put into place in a diversification bid to prevent a repeat of the comic company’s 1996

bankruptcy—prevented the nascent studio from itself using the most iconic of all of Marvel’s

characters. What could they do with the dregs that were left?

Of course that was before a stuck-up billionaire in a tin suit revitalized Robert Downey Jr.’s career

and showed proof positive that the right people could spin B-list straw into critical and

commercial gold. In 2008, Iron Man made nearly $100 million on its opening weekend alone and

ultimately grossed almost $1 billion worldwide. As

the first film in what would become the integrated “Marvel Cinematic Universe,” it paved the way for

Thor, Captain America and the eventual superhero jam session The Avengers, which became the third

highest-grossing movie of all time. Then again, contrary to what some outsiders

might have thought, the Avengers weren’t exactly the dimmest of prospects. “Earth’s mightiest

heroes” were one of Marvel’s first super teams in the 60s and endured through the decades to

eventually take their place at the top of the

publishing charts shortly before their movie counterparts captured the hearts of filmgoers.

When the announcement came that the studio’s next would-be franchise was comprised of a

motley assortment of cosmic-themed characters not brought together into their current form until

2008, similar critical voices wondered if this would be Marvel Studios’ first major misstep.

Guardians of the Galaxy would go on to make more money in its opening night than the

acclaimed Captain America: The Winter Soldier,

would be Marvel Studios’ first major misstep. Guardians of the Galaxy would go on to make

more money in its opening night than the acclaimed Captain America: The Winter Soldier,

before completing the biggest August weekend ever. Possibly emboldened by its apparent Hulk-

like invincibility, rumors now swirl that the studio will next test audiences’ credulity with the

genetically-altered Inhumans. Although, really, if

we bought a pirate raccoon and a talking tree, are a king whose voice levels mountains and a queen

with prehensile hair that much of a leap? At this point, I think Marvel should just dunk its

hot hand in a bucket of ice water to find out if they even can screw up. In

that spirit, here are five whacked-out ideas from comic history that, if

brought to the masses, could once and for all show if the brand is merely

mortal or truly bulletproof.

1. The Great Lakes

Avengers The Marvel Studios juggernaut has

done a good job of making the word “Avenger” synonymous with

“superhero,” creating a genre trademark that almost sells itself.

Why not stretch that concept to its limit and see if it snaps?

The Great Lakes Avengers first

appeared in 1989 in a series that was already a spin-off, “West Coast

Avengers.” And you know what they say about making a copy of a copy. Or

a copyright, as the Wisconsin-based wannabes were once issued a cease-

and-desist order by the Stark Foundation, telling them to change

their name or else. But in this time of corporate

synergy, couldn’t the Avengers use a

Foundation, telling them to change their name or else.

But in this time of corporate synergy, couldn’t the Avengers use a little local publicity? Or would

guys like Mr. Immortal—a regenerating reject who was shot in the head during his very first mission

– tarnish their public image? What about Big Bertha, with the power of being really large, or

Flatman, who can terrify evil by resembling a

piece of paper? Surely there’s marketing potential in Dinah Soar, the high-flying, pink

pterodactyl-woman. That name’s a triple pun, goddamnit; can’t you see the dollar signs?!

2. Beta Ray Bill

Comic fans take ownership of their characters seriously, and historically don’t like to see them

deviate much from their status quo. The July announcement that the current Thor would

become unworthy, leaving a more virtuous woman as wielder of the mystical hammer Mjolnir, was

met with less skepticism than it might have been

in times past, but it still had its detractors. Imagine what Walt Simonson must have put up

with when he jobbed the mighty Asgardian out to a buck-toothed, horse-headed monster back in

1983.

Beta Ray Bill, of the Korbinite alien race, set off into space after the fire demon Surtur nearly

annihilated his people, and stalemated Thor upon encountering him near Earth. After the battle, Bill

became the first other individual judged worthy of

Mjolnir’s might, as he traveled to Asgard and fooled Odin himself into thinking he was Thor. Odin

later pit his son against the impostor in a death match to decide who would carry the legacy going

forward. Thanks, Dad. Beta Ray Bill won, but let Thor live and thus

gained the Asgardian’s respect. Together they brought the hammer down on Surtur and the two

have been big time bros ever since. Some say Bill’s appearance in the MCU is pre-ordained, as

the strangely horsey skeleton of a humanoid can

6

Issue 7, August 2014

2. Beta Ray Bill

Comic fans take ownership of their characters seriously, and historically don’t like to see them

deviate much from their status quo. The July

announcement that the current Thor would become unworthy, leaving a more virtuous woman

as wielder of the mystical hammer Mjolnir, was met with less skepticism than it might have been

in times past, but it still had its detractors. Imagine what Walt Simonson must have put up

with when he jobbed the mighty Asgardian out to a buck-toothed, horse-headed monster back in

1983. Beta Ray Bill, of the Korbinite alien race, set off

into space after the fire demon Surtur nearly annihilated his people, and stalemated Thor upon

encountering him near Earth. After the battle, Bill

became the first other individual judged worthy of Mjolnir’s might, as he traveled to Asgard and

fooled Odin himself into thinking he was Thor. Odin later pit his son against the impostor in a death

match to decide who would carry the legacy going forward. Thanks, Dad.

Beta Ray Bill won, but let Thor live and thus gained the Asgardian’s respect.

Together they brought the hammer down on Surtur and the

two have been big time bros ever

since. Some say Bill’s appearance in the MCU is pre-ordained, as the

strangely horsey skeleton of a humanoid can be seen in the

opening moments of Guardians. If it happens, I’d replace Surtur as a

foil with another nemesis, Ego the Living Planet. Because his name is

Ego. And he’s a LIVING. #@!%ING. PLANET.

7

Issue 7, August 2014

3. The Fabulous

Frog-Man He is the terror that leaps in the night! He is

Eugene Patillo, son of minor Daredevil villain Leap-Frog, who dons his father’s costume and attempts

to fight crime to clear his dad’s name. “Attempts” being the key word there, as Patillo clumsily

crashes his padded, cybernetic suit into equally farcical antagonists like the Alice in Wonderland-

inspired White Rabbit and the super-strong Walrus, who I’ll guess owes his origins to some

Beatles records and a couple tabs of acid. His accompanying nonsense notwithstanding,

couldn’t the MCU use a crusading, guilt-ridden

vigilante like Frog-Man? Spider-Man is still lost behind enemy lines, after all; although the film

rights to Punisher have reverted back from Lionsgate. Come to think of it, how about a classic

Marvel team-up movie? Punisher could use a new partner since Archie’s been gunned down.

4. MODOK’s 11 When it became known that the villains in Iron

Man 3 would be operating at the behest of

Advanced Idea Mechanics, the nefarious science terrorists more often referred to simply as A.I.M.,

many thought the organization’s most well-known member, MODOK, would be the one pulling the

strings. Sadly, as Captain America sequel screenwriter Christopher Markus recently

pointed out, you can’t really include a giant, floating head with near-vestigial arms and legs

without building the entire tone of the movie around him.

So do it! Fred Van Lente wrote a 2007 mini-

series focusing on the Mental Organism Designed Only for Killing and his vendetta against a one-

time hook-up, the woman mild-mannered George Tarleton tried to impress by volunteering for the

evolution-accelerating procedure that turned him into a highly intelligent, physically grotesque,

living computer. The story—which in NO WAY borrows from a

film with a stunningly similar name—sees MODOK assemble a team of sympathetic ne’er-do-wells to

perform a complicated heist that will net him a weapon instrumental for his revenge. Selling a

supervillain team movie might sound far-fetched,

until you remember that’s exactly what Sony is doing with 2016’s Sinister Six, in response to

flagging Spider-Man receipts. Unfortunately, precedent isn’t the only way

Sony could scuttle a potential MODOK’s 11 movie, as several of the cads Tarleton assembles are

presumably tied up in the Spider-Man licensing. The film would likely have to proceed without the

Spot, the double-crossing teleporter whose only power is to create holes in space through which

he travels, and Rocket Racer, a brilliant young

engineer who supports his family by robbing banks with his souped-up skateboard.

Might I suggest some possible substitutions from Marvel’s deep bench of bizarre bad guys?

How about the Orb, a motorcycling Ghost Rider

banks with his souped-up skateboard.

Might I suggest some possible substitutions from Marvel’s deep bench of bizarre bad guys?

How about the Orb, a motorcycling Ghost Rider

villain with a giant eyeball for a head? Or Ruby Thursday, a scientist whose head is a malleable

plastic sphere that can form tentacles and fire force blasts?

Wait, that’s too many weird-

headed villains. Better add

Thursday’s occasional

partner, Arthur

Nagan, who has a normal human

head…but the body of a gorilla.

You know, for balance.

8

Issue 7, August 2014

Are you familiar with the term “people-watching”? This is

a term thrown around quite often within my own circle of

friends, and it refers to the act of consciously observing

people in a given setting or situation.

Urban Dictionary defines people watching as:

While conducting a very academic Google search on the

term, a detailed Wikipedia entry came up, as well as a 9 Step

wikiHow on how one might “begin people watching.” I

couldn’t help but find this page redundantly hilarious as you

would think the name itself is self-explanatory.

The idea of people-watching has existed ever since the

1920s and is derived from the French spectacle, meaning “a

show,” and the Latin spectare, meaning “to view, to watch.”

In 1967, French philosopher Guy Debord published a work

entitled The Society of the Spectacle, in which he argues that

authentic social life has been replaced with representation.

In other words, as humans we are knowingly aware that we

are being watched and therefore our actions and our self-

portrayal may not always be completely authentic. Consider

this idea in the modern realm of social media where we are

obviously aware that we are being watched and, in actuality,

portrayal may not always be completely authentic. Consider

this idea in the modern realm of social media where we are

obviously aware that we are being watched and, in actuality,

we crave the attention.

The best people-watching in my opinion occurs when a

created social setting attracts a variety of people from

diverse backgrounds and throws them all together in a

single arena in order to interact with each other and their

surroundings. Although these situations are constantly

happening all around us in any public setting, the

inspiration for this article stemmed from my attendance of

the many festival arenas that Edmonton has to offer over the

summer. Saying this, here is my list of the top three summer

festivals and events for people-watching:

Number Three: The Edmonton Street Performers Festival

Although this festival is very entertaining, you can’t help

but feel a little awkward at the end of each performance

when the inevitable money-hat is being passed around,

inviting the public to financially rate their experience. As an

avid people-watcher, it’s interesting to see people’s

reactions during this part of the show. Do they leave

suddenly trying not to be noticed? Do they hum and haw

about how much they should give? (The latter is what

people-watchers would observe myself doing.) How does

the performer ask for money? Is this part of the

performance or can you actually see a glimpse of a troubled

low-paid entertainer trying to make a buck?

Are you being

watched?

Written by Kelsey Beier | Images courtesy of Kurt Bauschardt and ephotozine.com

9

Issue 7, August 2014

Number Two: Canada Day at the Legislature Grounds

This public event is a completely free, no strings attached

public arena. In turn, this means that the people-watching

crowd is likely to consist of a very diverse group. At this

event, I enjoy watching how families interact, especially

with sprinkles of tipsy teenagers and adults, with the river

valley locals mixed in. I watch how parents manage their

children (or don’t), how young love blossoms as flirty

tweens gawk over each other, and how about 90% of the

population are watching the world around them through

some type of electronic device. Wait, hold that thought…I

just have to interrupt this experience by posting a status

stating that I’m currently at the legislature grounds with

some friends, about to watch the fireworks.

Number One: K-Days

I was the last one of my friends to get a cell phone. I always

thought: I’m either at home or out with one of my friends if

anyone ever needs to get a hold of me. And it was nice

Number One: K-Days

I was the last one of my friends to get a cell phone. I always

thought: I’m either at home or out with one of my friends if

anyone ever needs to get a hold of me. And it was nice

knowing that sometimes people wouldn’t be able to get a

hold of me, even if they wanted to. This all changed one

summer when I was 14 years old and making plans to go to

K-Days with some friends. “But how will I find you if I come

later? Where and when will we meet?” Alas, I purchased my

first pay as you go cell phone and avoided the unwanted

complications of the unsuccessful teenage rendezvous. This

was the first summer I ever sent a text message.

To me, K-Days is a festival for the youth. Rides, games, and

warm, late summer nights. These things are appealing to

many, but it’s the teenage crowd that swarms over the arena

that makes K-Days what it is. I watch them trying to impress

each other by winning various prizes on the midway or

conquering the scariest rides in the park while exclaiming,

“It’s not even scary! I didn’t even want the safety belt on!”

10

Issue 7, August 2014

that makes K-Days what it is. I watch them trying to impress

each other by winning various prizes on the midway or

conquering the scariest rides in the park while exclaiming,

“It’s not even scary! I didn’t even want the safety belt on!”

They’re often dressed in clothes and shoes that are fairly

inappropriate and likely uncomfortable for flying around

and upside down at fast speeds. I know these things to be

true, as this used to be me. I would try on outfit after outfit,

wondering which one screams “K-days!” My feet would

always be so sore by the end of the night, since my shoes

were chosen for aesthetics and never functionality.

Now, I wish I could be as free-spirited as my teenage self

when attending the festival. If one were to people-watch me

in the present day at K-Days, they would find me in

comfortable and practical attire, a little too timid to try

many of the rides, and hating the long lines and crowds

more than ever before. If anyone dare try to butt into the

line at any point, I would become extremely upset, shocked

at the ignorance of a ground rule developed in

Kindergarten.

To me, people-watching is like watching a live

performance unfold before your eyes, and never knowing

what you might see. It forces me to ask questions about life

and think in new ways while considering the respective

stories of those you are observing. More than anything, it

forces me to ask the question: who’s watching me and

what’s my story?

comfortable and practical attire, a little too timid to try

many of the rides, and hating the long lines and crowds

more than ever before. If anyone dare try to butt into the

line at any point, I would become extremely upset, shocked

at the ignorance of a ground rule developed in

Kindergarten.

To me, people-watching is like watching a live

performance unfold before your eyes, and never knowing

what you might see. It forces me to ask questions about life

and think in new ways while considering the respective

stories of those you are observing. More than anything, it

forces me to ask the question: who’s watching me and

what’s my story?

11

Issue 7, August 2014

A comic book historian and archivist, Rachel

most recently co-headed the project to republish

the Nelvana of the Northern Lights comic series;

the Kickstarter campaign for this initiative gained

full funding within five days of its launch.

This time, Rachel has her sights set on a much

more subversive character from Canadian comic

culture: a superhero originally based on a political

lumberjack-inspired cartoon man that is still

recognized as one of the logos for the Vancouver

Canucks. The Johnny Canuck comics, created by

Leo Bachle, were intended to be reprinted by a

third party in 2010 and unfortunately never made

the cut.

“In my head, I began this campaign and others

several years ago when I discovered these comics

had never been reprinted,” says Rachel.

“It wasn't until Kickstarter came to Canada that

there really seemed to be a chance.”

A Toronto resident, Rachel’s passion for comics

led her to any and all kinds of work related to the

industry, from comic book retail, to documentary

research, to blogging about comic books. She has

A Toronto resident, Rachel’s passion for comics

led her to any and all kinds of work related to the

industry, from comic book retail, to documentary

research, to blogging about comic books. She has

also spent time working with the comics collection

at Library and Archives Canada (LAC), where she

assisted in documenting, cataloguing, and

researching for Canadian comics such as Alpha

Flight, Nelvana, and, of course, Johnny Canuck.

“I got involved in comics when I discovered the

collection at LAC had not been catalogued,” says

Rachel.

“I all but begged them to give me a job, and

when they did it was like I was in a crash course in

Canadian comic history! (Thank you John Bell, I tip

my hat to you.) When I came to Toronto, I got a job

working with Kevin Boyd at the Comic Book Lounge

and got further education in the world of comics.

It kind of just keeps snowballing! Now I'm

primarily focusing on publishing Johnny Canuck

and other Golden Age comics.”

Kickstarter, in all of its crowdfunding glory, has

been Rachel’s fundraising tool of choice from the

The resurrection

of Johnny Canuck Not all Kickstarter campaigns are winners. The global crowdfunding platform states that they “bring creative projects

to life,” which is all fine and dandy until someone raises $40,000 to make potato salad. Or gets $67,000 to build a Robocop statue in

Detroit.

Rachel Richey’s project, unlike many Kickstarter campaigns, has a selfless cause at its heart. Her goal was to raise $23,000 to reprint

and publish Leo Bachle’s 1942 Canadian comic book series, Johnny Canuck.

A comic book historian and archivist, Rachel most recently co-headed the project to republish the Nelvana of the Northern Lights

comic series; the Kickstarter campaign for this initiative gained full funding within five days of its launch.

This time, Rachel has her sights set on a much more subversive character from Canadian comic culture: a superhero originally based

on a political lumberjack-inspired cartoon man that is still recognized as one of the logos for the Vancouver Canucks. The Johnny

Canuck comics, created by Leo Bachle, were intended to be reprinted by a third party in 2010 and unfortunately never made the cut.

“In my head, I began this campaign and others several years ago when I discovered these comics had never been reprinted,” says

Rachel.

“It wasn't until Kickstarter came to Canada that there really seemed to be a chance.”

A Toronto resident, Rachel’s passion for comics led her to any and all kinds of work related to the industry, from comic book retail,

to documentary research, to blogging about comic books. She has also spent time working with the comics collection at Library and

Archives Canada (LAC), where she assisted in documenting, cataloguing, and researching for Canadian comics such as Alpha Flight,

Nelvana, and, of course, Johnny Canuck.

“I got involved in comics when I discovered the collection at LAC had not been catalogued,” says Rachel.

“I all but begged them to give me a job, and when they did it was like I was in a crash course in Canadian comic history! (Thank you

John Bell, I tip my hat to you.) When I came to Toronto, I got a job working with Kevin Boyd at the Comic Book Lounge and got further

education in the world of comics. It kind of just keeps snowballing! Now I'm primarily focusing on publishing Johnny Canuck and

other Golden Age comics.”

Kickstarter, in all of its crowdfunding glory, has been Rachel’s fundraising tool of choice from the very beginning.

“For a comic that's been essentially relegated to anonymity for 70 years, Kickstarter is the perfect venue to bring them back! It

forces people to talk and that's just what Johnny needs!”

And, apparently, Johnny got what he needed. Fourteen days before the end of the campaign, Rachel reached her goal amount.

of Johnny Canuck

Comic feature Written by Cheryl Cottrell-Smith | Images courtesy of Rachel

Richey, Leo Bachle, and Adrian Dingle

12

Issue 7, August 2014

primarily focusing on publishing Johnny

Canuck and other Golden Age comics.”

Kickstarter, in all of its crowdfunding glory, has

been Rachel’s fundraising tool of choice from the

very beginning.

“For a comic that's been essentially relegated to

anonymity for 70 years, Kickstarter is the perfect

venue to bring them back! It forces people to talk

and that's just what Johnny needs!”

And, apparently, Johnny got what he needed.

Fourteen days before the end of the campaign,

Rachel reached her goal amount.

“I feel relieved!” she says.

“I mean, Johnny's really cool, and I know that,

and you know that, but it's a race to let everyone

else know and now I can breathe easy knowing that

there will be books I can put into people's hands.”

The campaign will run until August 31, so

interested comic-lovers can still put their dollars

towards the project. Incentives include items such

as a touched-up edition of the very first issue ($10

pledge) or a Special Edition Hardcover package,

which includes a screen print of an original Johnny

Canuck splash page and a companion issue with

pledge) or a Special Edition Hardcover package,

which includes a screen print of an original Johnny

Canuck splash page and a companion issue with

photos, interviews, and more ($100 pledge). Big

spending retailers can also spring for a full page ad

in the single issue comic at a pledge of $1000 or

more. Pledges have now passed $25,000, so each

Johnny Canuck funder will be thanked in the

book; at $30,000, all softcover books will be

upgraded to hardcover; and at $35,000, all mail

incentives will also include the first issue of Doc

Stearn/Mr. Monster.

Now that this campaign’s a success, Rachel has

no plans to remove herself as Canadian comic book

champion. She wishes to see a full archive of

Canadian comics to which creators, independent or

mainstream, can send their work. She also wants

to see more reprints of great comics created after

the 40s.

“I myself am starting a publishing company

named for my blog, Comic Syrup Press,” says

Rachel.

Johnny Canuck funder will be personally thanked

in the book. At $30,000, all softcover books will be

upgraded to hardcover and at $35,000, all mail

incentives will also include the first issue of Doc

Stearn/Mr. Monster.

Now that this campaign’s a success, Rachel has

no plans to remove herself as Canadian comic book

champion. She wishes to see a full archive of

Canadian comics to which creators, independent or

mainstream, can send their work. She also wants

to see more reprints of great comics created after

the 40s.

“I myself am starting a publishing company

named for my blog, Comic Syrup Press,” says

Rachel.

“I plan to [publish] several more Golden Age

heroes, including Thunderfist, The Wing, The

Penguin, and Mr. Monster.”

You can find more information or contribute to

the Johnny Canuck Kickstarter here. You can also

follow Rachel on Twitter or check out her blog.

Rachel’s Twitter profile photo

13

Issue 7, August 2014

issuu.com/thepulp

14

Issue 7, August 2014

Bowties

Written by Teresa Simmons | Images

courtesy of galleryhip.com,

esquire.com, and

loboandco.wordpress.com

How to wear:

Fashio

n

15

Issue 7, August 2014

Bowties. The elegant and sophisticated bowtie is a style force to be reckoned with. It has taken the place of the usual, hum-drum neck tie. Oozing personality, the bowtie isn’t afraid to put itself out there and stand proud amongst a sea of neckties at a gala or black tie event.

Don’t be fooled or misled: the beloved bowtie is completely androgynous. Women can rock the bowtie look just as well as (or better than) any man. All you need is a little attitude to pull it off.

For men, the bowtie is best worn with a fitted button-down shirt at weddings, black tie events, and even at work. There’s something about this look that exudes a debonair style and classic taste.

Women can also sport the same look with a feminine blouse that has a unique, bright pattern. Mixing a neutral accessory like the bowtie with a lady-like touch is highly recommended.

The bowtie is so fantastically uncomplicated. There’s no fuss or muss. With a necktie, you practically need to take a course on how to tie it so that it doesn’t end up looking bunched or bumpy. In this day and age, who knows how to properly tie a tie? And who has the time to make sure it comes out looking nice and smooth?

For those who are stumped by neckties and those who simply don’t have the time, you can rest easy with a bowtie and stop stressing about tie techniques. One clip and you’re done.

When worn correctly, the bowtie can be as sophisticated as they come. People pay more attention. They stop and stare. It’s admired and appreciated because of its one-of-a-kind, unexpected nature.

By wearing a bowtie, you’re making a fashion statement that tells on-lookers you’re not afraid to stand out and look different. You’re not one who wants to blend into the background. You want to be seen.

I don’t think that anyone can go wrong with wearing a bowtie. It’s the perfect accompaniment to any outfit that you want to dress up and wear to a more formal event or occasion.

The bowtie won’t fail you and your personal style. It will be there whenever you’re ready to make that grand entrance.

16

Issue 7, August 2014

Comic feature

Variant Edition is something else. The new Edmonton-based comic book recommendation

engine is led by Wizard’s Comics whiz and Comics! The

Blog co-founder, Brandon Schatz. Comic enthusiasts can

check the site for daily recommendations, using tags to

hop between other related content on the site.

Rather than the tired critique or the negative review,

which we see all too often on comic review sites, Variant

Edition opts for the challenge of putting forward different

comics for public approval. It’s a risk, but the people

behind it know what they’re doing—they live in the industry

of comic books and they have a damn good chance of

knowing what you’ll like.

We chatted with Brandon about his goals for the

website, his industry background, and his latest

recommendations for all you comic book fanatics out

there.

Looking for

comics? Ask

Variant

Edition. Written by Cheryl Cottrell-Smith | Images courtesy of Variant Edition,

Brandon Schatz, Ales Klot, Marvel Studios, and Bryan Lee O'Malley

17

Issue 7, August 2014

What is Variant Edition?

Variant Edition is a comic book

recommendation engine designed to

help anyone discover comics they are

going to love. In the fall, it will also

include a local calendar of nerdy events

that will be curated by the community.

How is it connected to Comics! The

Blog?

Comics! The Blog is a joint venture I do

with my writing partner, James Leask.

We created the site because we were

tired of going around the internet and

reading about how upset people were

about comics on blogs and in comment

sections. These were all clearly people

who were and are passionate enough

about the product to read and comment

on it, so why was there only negativity?

Why did every “I enjoyed this book” have

to be followed with a “but”?

We decided to create a site dedicated to

talking about what we love about comics

and, as extension of

that, how the industry

could be better, using

constructive

arguments. Variant

Edition is definitely in

the same vein, but

where C!TB skews

towards the things WE

love, Variant Edition is

a place built to

discover what YOU’LL

love. Basically, I read

a lot of comics, boil it

down to the

essentials with as

little editorial

commentary as

possible, and present

it to you as a potential

comic of interest.

What's your background with comics?

What's your

background with

comics?

I’ve been a reader

for…wow, over two

decades at this point?

And I’ve been working

at a comic shop going

on eight years now.

I’ve spent four as Mr.

Manager, where I’ve

been trying my best to

match people with

their new favourite

comics pretty much

every weekday. In my

off-time, I write for

Comics! The Blog and

Variant Edition, and

have picked up a gig writing about

comic book retail at Comics Beat, which

is crazy and humbling.

How are you involved in Edmonton’s

comic scene?

Well, the shop I

manage is Wizard’s

Comics on 109th, so

I do a lot of my comic

scene business

there. You can also

always find me on

twitter

@soupytoasterson,

where I recommend

comics. And you can

also find me in real

life, where I

recommend comics

to anyone even

remotely interested.

That said, Variant

Edition is really going

to be my way of

pushing out further

into the community

and helping MORE

cinto the community

and helping MORE

people get into the

medium. For

starters, there’s into

the community and

helping MORE

people get into the

medium.

For starters,

there’s going to be

a comic swap

happening in the

fall where I’ll be on

hand giving away a

bucket full of Image

Firsts to anyone

interested. These

are dollar versions

of a bunch of first issues that Image has

published recently, and the cost is

nothing when compared to someone

catching onto something they’re going to

flip out over.

What do you hope to achieve with

Variant Edition?

Well, the hope is to have a humming

and whirring recommendation engine

that you can type any kind of search into

and pull out some cool comics to read.

Genres, creators, television shows,

movies…plug in anything, and you’ll be

able to find something amazing that

you’ll love.

Basically, I’m just hoping to get more

people into comics. Does that help out

my job as a comic store manager?

Almost definitely, but that is far and

away secondary to the cause, which is

why you don’t find mention of where I

work at Variant Edition. Really, it’s all

about getting people reading, with a bit

of community building on the side.

Why do you think this site is needed in

Edmonton?

After working in the comic mines for eight

18

Issue 7, August 2014

Why do you think this site is

needed in Edmonton?

After working in the comic

mines for eight years, I’ve

noticed that the geek

community in Edmonton has

some pretty weird divisions in

it. It’s partially the result of

how the comic stores carved

up the city like some low

stakes version of Game of

Thrones and…whelp, I’ve

probably said far too much

already.

The important thing is this:

things have happened in the

Edmonton nerd community

that have fractured the

audience and caused people

to be fairly negative towards

one another for reasons that

don’t really apply to loving

comics and media. Add to that

the seemingly natural

predication that we all have to

swing negative when we talk

about things on the internet

and you have something that

needs a bit of mending. I’m

hoping to

do a bit of that with Variant

Edition for sure.

Is there anything else you'd like

people to know about this website?

One of the features we’re going to start

running on the site (instead of on my

Twitter) is a game where folks give me

the names of any three books and/or

movies and/or TV shows that they like,

and I’ll mash them together into a comic

recommendation for them. Basically,

there’s a comic book for everyone and

every taste. I recommend people try this

by tweeting @VariantEDmonton

(keeping in mind that answers and

Twitter handles will end up on the site).

by tweeting @VariantEDmonton

(keeping in mind that answers and

Twitter handles will end up on the site).

What are your top recommendations

at the moment?

I’ll give you the names of a few things

I’m personally enjoying right now. If you

want something just for you (this goes

for everyone!), our Twitter is always

open, and I’ll tweet you back as soon as

possible with something cool you’ll enjoy

and where to find it.

But as for me, the first book I read this

week was a series called ZERO. It’s a

beautiful spy series that features bits of

magical realism by Ales Kot. He works

But as for me, the first book I

read this week was a series

called ZERO. It’s a beautiful

spy series that features bits

of magical realism by Ales

Kot. He works with a different

artist on each issue, so you

get to explore the characters

and the comic from every

possible angle as you run

through different artistic

takes. The look of the series

remains consistent through

the work of colourist Jordie

Bellaire and designer Tom

Muller. It’s a fantastic series

and the first five issues are in

a collection for just $10.

Otherwise, if you’re looking

for something a bit superhero

without wanting to deal with

too much universe baggage, I

suggest Ms. Marvel—a series

about a new teen superhero

that has really caught the

industry by storm. Kamala

Khan is a wonderful new

character in the tradition of

Peter Parker, with a strong

voice and sense of self,

mixed in with the angst of

being a teenager and the fun

of punching the crap out of bad guys in

New Jersey. The first issue is going into

its sixth printing and a collection should

be arriving any week now!

And one more before I stop (because I

can seriously do this forever): SECONDS

by Bryan Lee O’Malley. It just came out a

few weeks ago and takes everything he

learned from making Scott Pilgrim and

puts it into a Hayao Miyazaki movie

about food and house spirits and

growing up. It’s astounding.

You can check out the website at

varianted.com.

19

Issue 7, August 2014

Some films sprout fully formed into the culture and are instantly hailed as beloved classics whose

reputations only improve over time. This new series isn’t about those films. No; it’s about their

bastard, forgotten offspring—the ne’er-do-well

products of pure commerce that were forced to exist in a world where they were not wanted.

I’m talking about the sequels and remakes that time forgot—the part 2s, IIIs, Lives, and Returns

that not only failed to recapture the success of their originators but have actually been lost to time and

whose existence is likely to surprise all but those of

us who spent our youths’ reading Leonard Maltin’s Movie Guide like it was the most compelling novel

ever put to paper. To inaugurate this series, we shall begin with a

ridiculous musical fantasy that was begat by an

only-slightly-less-ridiculous musical fantasy—but one whose excesses were made much more

palatable due to the fact that it featured THE GREATEST SOUNDTRACK IN THE HISTORY OF

THE CINEMATIC ARTS. Released in 1984, Purple Rain is a film people love and

remember less for its actual plot than the fact that it contains nine of the best songs ever recorded (and that’s not even counting the songs performed by The Time and Apollonia 6). It was the film/album that turned Prince from a critical admired prodigy to a culturally-beloved musical icon. The film’s look helped to define the excesses of 80s fashion and the album (perhaps the best ever example of the term “All killer no filler”) pushed so many boundaries that one track (“Darling Nikki”) directly led to the creation of the infamous record content warning, known as the “Tipper Sticker.”

As a film, Purple Rain is many things, none of which

could be reasonably considered “good,” but for all of its casual misogyny, unnecessarily dramatic sub-plots and cardboard character motivations, it nonetheless succeeds because all of this nonsense is fueled by the

Written by Allan Mott | Images courtesy of Prince and imdb.com

One Too Many:

Graffiti Bridge (1990) Graffiti Bridge (1990)

20

Issue 7, August 2014

As a film, Purple Rain is many things, none of which could be reasonably considered “good,” but for all of its casual misogyny, unnecessarily dramatic sub-plots and cardboard character motivations, it nonetheless succeeds because all of this nonsense is fueled by the sounds of “Let’s Go Crazy,” “When Doves Cry,” “Take Me With U,” “I Would Die 4 U,” and the title track—which in the film allows for perhaps the only truly believable example of a climactic scene, where a song’s performance proves so transcendent that it instantly transforms the fortunes of the protagonist.

In terms of plot and actual execution, both versions of Purple Rain serve as perfect representations of the idea that the truly talented CAN collaborate without also compromising who they really are. In the film, “The Kid” (Prince’s character is never given an actual name) risks breaking up his band because he refuses to listen to a tape provided to him by Lisa and Wendy, his keyboardist and guitarist (played in the film by Lisa Coleman and Wendy Melvoin, who were in his band, The Revolution, at that time). When circumstances conspire to finally get him to relent and listen to the tape, the result is the performance of “Purple Rain” I rhapsodized about in the previous paragraph.

This was not a wholly fictitious construct. Prior to the

recording of Purple Rain, Prince was famous for taking responsibility for all aspects of his recordings—writing, producing and performing every instrument. This, his defining album, marked the first time he let other performers play on his record and, most significantly, share song-writing credit. Purple Rain itself succeeds as much as it does because of Wendy’s signature guitar sound, which is unlike anything heard on Prince’s previous albums.

For the first time, Prince allowed himself to be a part of a group and collaborate with others in the hopes of creating something unique and special and he succeeded. And what did he learn from this?

That he really didn’t like it. The problem with collaborating with others when you’re a

he learn from this? That he really didn’t like it. The problem with collaborating with others when you’re a

genius who CAN do it all, is that it’s very difficult to get out of your own head and listen to them when they tell you you’re heading someplace that just doesn’t work or could be better. At a certain point, this just gets really annoying, so you replace those folks with people who don’t do anything but tell you how awesome you are—which is so much less stressful, even if it means your killer to filler ratio starts to suffer in the process.

Which is where Prince was six years after Purple Rain came out and made him. By then “The Revolution” were no more and he had proved how indomitable he was by turning his Batman soundtrack album into one of 1989s biggest hits with multiple charting singles, despite the fact that it was mostly terrible in all

the ways his music could be when his experimental genius hat was on and he ceased caring about anything other than pleasing himself.

This, then, was probably the worst possible time for him to decide to write, direct, and star in a sequel to Purple Rain but, if anyone tried to tell him that, he clearly didn’t listen because, in 1990, Graffiti Bridge was released.

And, just like Under the Cherry Moon, his previous attempt at cinematic auteurship, it vanished without a trace.

The question is, did it deserve to be so quickly forgotten and dismissed?

Probably, but I still kinda like it. But I’m weird. I mean, I love

Xanadu, which is a film Graffiti Bridge has a lot in common with. Both involve supernatural muses, nightclubs and tasteless displays of fashion only marginally related to the eras in which

For the first time, Prince

allowed himself to be a part of

a group and collaborate with

others in the hopes of creating

something unique and special

and he succeeded.

“

21

Issue 7, August 2014

Probably, but I still kinda like it. But I’m weird. I mean, I love Xanadu, which is a film Graffiti Bridge has a lot in common with. Both involve supernatural muses, nightclubs and tasteless displays of fashion only marginally related to the eras in which they were created. But the songs in Xanadu are so much better, which is Graffiti Bridge’s true Achilles’ heel.

It’s a musical about an artist who insists on producing art that doesn’t sell, which would seem more noble if it wasn’t the product of an artist capable of producing some of most marketable music ever recorded. Whereas Purple Rain was about how much we can grow if we open ourselves up to the contributions of others, Graffiti Bridge is about the importance of

staying true to yourself even if it means a pretty girl is going to end up getting run over by a truck for no logical reason.

Throughout the film, The Kid (who still doesn’t have a name despite his now pushing past 30) is criticized for playing music that’s too “spiritual”—especially by returning villain, Morris Day, who has graduated from sleazy narcissistic lead singer of The Time to sleazy narcissistic impresario who runs the city’s night life like a mafia don (one who proves his mettle to subordinates by eating hot chilies without wincing).

Over and over again, The Kid is shown to be playing songs that result in shrugs from his audience and though we get the sense that we’re supposed to be going, “What’s the matter with

those jerks! That music is amazing!” we often find ourselves shrugging along with them. With the exception of “Round and Round” (performed by Prince discovery and inevitably-abandoned protégé Tevin Campbell) and the ballad “Thieves in the Temple,” all of the songs display the level of technical virtuosity we expect, but in the context of the film (if not the soundtrack album) they just lay there and feel like something we’re meant to endure rather than enjoy.

And as this is going on, both Day and The Kid pursue the attention of Aura (Ingrid Chavez, perhaps best known as the co-songwriter of Madonna’s “Justify My Love”), who is literally an angel sent down to live under the titular dwelling to do something that Prince’s script is certainly certain of, but definitely keeps to itself. Chavez is actually quite charming in the role and definitely has an angelic presence, but her character is left to do nothing but recite nonsense Prince evidently believes is poetry and be sacrificed onscreen in the most ridiculous way possible.

It’s her death that finally compels Prince to perform “the” song—the one that is supposed to play the same role “Purple Rain” did in the first film. It’s the song that forces Day to see the error of his ways and leave The Kid alone to explore his genius. It’s the song that reminds everyone how great The Kid is and what his future now holds.

And it’s okay. Actually, “Still Would Stand All Time” is a very pretty song,

but it lacks that special spark of magic found in “Purple Rain.”

And it’s okay. Actually, “Still Would Stand All Time” is a very pretty song,

but it lacks that special spark of magic found in “Purple Rain.”

It’s a perfect example of Prince’s deserved self-confidence becoming his biggest weakness. He clearly thought he had did it again, but Wendy wasn’t there to rip a hair off his chest during a moment of self-importance (which she has claimed was a

common occurrence in interviews) and let him know how they could make it even better. And he probably wouldn’t have listened to her if she had.

In the end, Graffiti Bridge is a colourful,

antic, archetypically 90s vanity project

(featuring gay panic, shameless stereotypes, and gratuitous George Clinton) whose central theme is if you try to force Prince to play music he doesn’t want to play, a beautiful angel will die.

Which I suppose could be enough to result in a great movie, but didn’t this time. Graffiti Bridge (at least for now) marked the end of Prince’s cinematic ambitions and its failure served as the beginning of a period that saw him battling with his record label while he insisted on pursuing his muse to the point that it began to alienate his audience (especially when he used it to get laid a la Carmen Electra’s solo album).

As a forgotten sequel, the film serves as fair warning to anyone who thinks they can abandon those who helped them

achieve a past success—even if you happen to be one of the greatest musical geniuses the world has ever known.

“Still Would Stand All Time” is

a very pretty song, but it lacks

that special spark of magic

found in “Purple Rain.”

“

22

Issue 7, August 2014

Thepulppress.com