Plants vs. Zombies: Zomnibus Volume 1

Plants vs. Zombies: Zomnibus Volume 1

Sometime around about the year 2000 it became clear that videogames were taking over the movie business. You could say comic books were too, and in many ways it comes to the same thing. Lots of CGI and narratives structures built around the idea of progressing through various levels before facing off against a main bad guy at the end, then resetting or rebooting and doing the whole thing over again on an endless loop.

Plants vs. Zombies is a popular and very simple videogame that basically has the player using various weaponized plants to beat back an outbreak of zombies. Somehow they figured there was a comic book in there. And not just one book, but a whole series!

It’s all very bright and colourful, but as you could probably guess it’s spread pretty thin. A pair of eleven-year-old chums, Nate Timely and Patrice Blazing, team up with Patrice’s inventor-uncle Crazy Dave to stop the zombie army of Dr. Edgar Zomboss (he’s a doctor of thanatology) from taking over the town of Neighborville. Seeing as this is for kids there’s no real violence aside from the odd zombie limb falling off, and the day is always saved.

This “zomnibus” edition collects three story arcs, Lawnmageddon (an introduction to the basic storyline), Timepocalypse (using a time machine to collect various pieces of one of Dr. Zomboss’s evil inventions) and Bully for You (the best of the bunch, with a gang of college zombies getting revenge on Dr. Zomboss for having bullied them years earlier).

A comic for kids who would rather be playing a videogame doesn’t offer much for the rest of us. The standard zombie refrain of “brains” quickly gets tired, but not quite as quickly as Crazy Dave’s gibberish, which has to be translated throughout by Patrice. Meanwhile, the story just sort of jerks around with little in the way of connecting tissue between the various episodes, to the point where several times I had to check to see if any pages were missing. I guess it was worth sticking my head in the door, but it’s not a series I’ll be bothering with anymore.

Graphicalex

TCF: Sacco and Vanzetti

Sacco and Vanzetti: The Men, the Murders, and the Judgment of Mankind
By Bruce Watson

The crime:

Nicola Sacco and Bartolomeo Vanzetti were a pair of Italian immigrants accused of killing two men in the commission of an armed robbery in Braintree, Massachusetts. Despite a weak case against them they were convicted at trial, in part because of prejudice due to their being immigrants and anarchists but also because of poor representation by a grandstanding defence lawyer at trial. They were sentenced to death in 1921, and after years of appeals (but no retrial) and a global outcry were finally sent to the electric chair in 1927.

The book:

The trial of Sacco and Vanzetti actually wasn’t that big a deal initially, and nowhere near “trial of the century” billing. But it became an enormous cause célèbre, attracting media attention around the world. As I understand it this book is the fullest treatment of a case that had enormous political significance at the time and that has become something of a legend in the annals of criminal justice.

It was also a very complicated case, and I don’t think Bruce Watson explains it all that well. To be sure, this is a fair-minded and exhaustive account, but I got confused trying to follow things like the ballistics evidence and the varying eyewitness reports. Though in fairness they seemed to confuse the jury too. The witnesses in particular were all over the map with their testimony, not just because eyewitnesses are notoriously unreliable but because some people will do anything for attention, to feel important, or just to be listened to. It has always been thus.

Watson doesn’t argue a side but I think he lines up with what is the general consensus, which is that Sacco and Vanzetti were railroaded. So how did things go so wrong?

Albert Einstein remarked, with specific respect to this case, that “even the most perfectly planned democratic institutions are no better than the people whose instruments they are.” As we’ve seen in our own time, the guardrails can’t be expected to hold if there’s something rotten in the culture. And it seems there’s always something rotten in the culture. Watson speculates on the social and political psychology of the jazz era in ways that really strike home today.

In Watson’s analysis the 1920s were a time of “culture war,” driven by cults of celebrity, newness, and consumerism. “But of all the decade’s casualties,” Watson writes, “the least lamented was the death of compassion.” In such a time the defence lawyers “would never rally the American masses to their cause.”

An amusement park is a poor place to gather marchers. Radicals had been shouting for decades – about the McNamaras, Tom Mooney, the “capitalist” war, and now Sacco and Vanzetti – and what good had their carping done? Labor unions were shrinking, the war had whipped patriotism to an all-time high, and the flu’s staggering toll suggested how unforgiving this world could be. In the midst of frivolity, the idea of risking one’s reputation for two down-and-out anarchists seemed quaint. . . . Had they been condemned during a sober decade, they might have tapped a collective sense of justice. Yet Sacco and Vanzetti were men of their times, and their times were too hurried to care about immigrants, radicals, or so-called frame-ups. Besides, hadn’t the papers said they were guilty?

Reading this I had to wonder what decade in America’s history Watson would count as “sober.” Certainly in the years since compassion hasn’t had much of a rebound, and I don’t think there’s any evidence of a growing “collective sense of justice” in our own time. Perhaps among the so-called “greatest generation,” those who survived the Depression and the Second World War, there might have been the requisite sobriety for the guardrails to have held. But I can’t think of any other time I would have bet on it.

Noted in passing:

Watson mentions the discomfort of the (all-male) jury, who had to swelter sequestered through a miserably hot trial and who had not been able to bathe in more than two weeks before being taken to the basement of a local jail to wash up. I’m sure they were in need of a good bath, but it’s also true that it’s only in our present day and age, with the convenience of modern baths and showers, that daily bathing has come to be seen as a requirement. It was typical of working men just a generation older than me to only properly bathe once a week. This was usually on a Sunday. They did, however, wash their hands and face more frequently than people do today.

Takeaways:

One of the worst things that can happen to anyone is to become the target of a police investigation. The dreaded “tunnel vision” locks in and the whole point of the investigation becomes to prove, even frame, your guilt, to the exclusion of any other function. Even worse is when the judicial process has run its course and found you guilty. From that point on the establishment (police, judiciary, media), backed by all the resources of the state, will go to any length to defend itself, doing anything to “protect the verdict” and their own reputations. Even if you can overturn the verdict and gain your freedom, it’s unlikely you’ll get any admission from the authorities that they did anything wrong or made any mistake, since apologies only lead to liability. The case of Ron Williamson, as described in John Grisham’s The Innocent Man: Murder and Injustice in a Small Town, is a good true-crime example. That of Tom Mooney and Warren Billings, mentioned here as precursors to the Sacco and Vanzetti hysteria, is another. Of course the classic historical instance was the Dreyfus case, which also illustrated how public opinion can join establishment forces and ally itself against the innocent.

This was the terrible situation Sacco and Vanzetti found themselves in. While there was a groundswell of sympathy and support for them nationwide and globally, this only made local media dig in more strongly against them.

To “Cold Roast Boston,” Sacco and Vanzetti were more than symbols; they were the line between the venerated Victorian age and the chaotic twentieth century. If a Massachusetts judge and jury could be overruled by a worldwide radical uprising for “these two murderers,” then the old Commonwealth and all its institutions would be fair game for modern mayhem. “No two lives,” one lawyer told a civic club, “are of greater import than the stability of our courts.” In the prideful state there were few dissenters, very few. . . . Touring New England, the populist editor William Allen White sensed only “bitterness and hate” toward the demonized men. Before visiting Massachusetts, White wrote [Massachusetts Governor] Fuller, “I had no idea that one could let their passions so completely sweep their judgment into fears and hatreds, so deeply confuse their sanity. I now know why the witches were persecuted and hanged by upright and godly people.”

This is a takeaway that I’ve expanded on because of its importance. Even proving your innocence, a near impossible task, won’t always be enough. The “stability” of the system will always take precedence, even at the cost of innocent lives. There is no worse trap to be snared in than the law.

True Crime Files

300

300

The first thing that strikes you about 300 (the collection of a five-part series that was originally published in separate volumes) is its physical appearance. There’s the shape of it: a stretched out format that allows each page to be a double-page spread that emphasizes strong horizontals in the art and an overall sense of epic, CinemaScope visuals. But at the same time it’s actually quite a slender book, under 100 pages, which underscores how efficient the text is. It is, after all, an action comic without a lot of interest in historical accuracy, and the hero (the Spartan king Leonidas) is suitably laconic in his words. The text is all very bombastic in a hokey way – as we’re back with the defence of Western Civilization against the evil Eastern empire – but at least there isn’t much of it to roll your eyes at. And besides, this is a comic book.

You could read it as vaguely homophobic and as foreshadowing the later trouble Frank Miller would get into with the anti-Islamic comments he’d go on to make. But in Miller’s defence, while the knock on those boy-loving Athenians makes no sense, as there was even more of this in Sparta, where it was even more deeply embedded in the culture, it’s also true that being on the receiving end of homosexual sex was still seen in Classical times as something shameful, and could be cast as a military metaphor. See, for example, the Eurymedon vase and compare it to what is said here about the Persians showing the Greeks their backsides at Marathon. And as far as the cultural angle goes, the view of Persians (or are they orcs?) as being pleasure-loving and decadent (politically as well as morally) goes back at least as far as Herodotus, and insofar as Miller addresses the subject of religion here, in the form of the Spartan ephors, it’s clear he has no time for any of it.

Acclaimed when it first came out in 1998, it’s a work that’s only grown in stature after the release in 2006 of Zack Snyder’s mostly-faithful film adaptation (which Miller served as a consultant and executive producer on). I think it misses a chance to be something more than just a rousing, boo-yah adventure story, but as an action comic I think it’s exceptional, with the art in particular balancing motion with stasis (those galloping horses suspended in air) and visions of chaos with discipline and order. There are also surprising perspective shifts (mixing in lots of overhead “shots”), and the motif or visual punctuation of forests of bristling spears and arrows that thrust us forward, stand at attention like exclamation points, or lie scattered and broken in the chaos of a battle’s aftermath. So while it’s a story that doesn’t occupy me very much it’s still a book I can return to fairly regularly just to admire the unique style of its presentation.

Graphicalex

Bible reading

I was recently reading a volume in Oxford’s Very Short Introduction series on the New Testament by Bible scholar Luke Timothy Johnson. In Johnson’s discussion of the Gospel of Mark he mentions the scene where Jesus is arrested and how “Among those following [Jesus] was a young man with nothing on but a linen cloth. They [the Roman soldiers] tried to seize him; but he slipped out of the linen cloth and ran away naked.”

I must have read this before but it’s not a detail I remembered. According to a footnote in the Oxford Study Edition of the New English Bible (the one I keep on hand for consulting on such matters) “The young man appears only in Mk. and his identity is unknown.” Turning to the Internet I found a wealth of further commentary on the passage. Over the years the young man has been identified as (and this is not a complete list): Lazarus (the young man’s “linen cloth” or sindon is the same as that used for the burial of the dead), the owner of the garden of Gethsemane (only rich people had linen cloth), and even Mark himself (according to the Cambridge Bible for Schools and Colleges: “The minuteness of the details given points to him [Mark]. Only one well acquainted with the scene from personal knowledge, probably as an eyewitness, would have introduced into his account of it so slight and seemingly so trivial an incident as this.”)

What I didn’t find except in one other source was the spin Johnson puts on it, identifying the young man with the figure (he’s not said to be an angel in Mark) who the women later find at the empty tomb of Jesus:

Careful readers recognize the messenger at the tomb. He is described by Mark as “a young man sitting at the right side, clothed in a white robe” (16:5). Mark wants readers to understand that the young man who fled naked (14:51) is already restored, as the first human witness to the resurrection.

I don’t think Johnson means that the young man sitting in the empty tomb is literally the same young man who fled naked from Jesus’s arrest. Though maybe he does. The same Greek word for a young man, neaniskos, is used to describe them, but that seems a generic label to me. In any event, I think you’d have to be a careful reader indeed to recognize the association. If this is what Mark wanted readers to understand from the incident I think he might have tried harder, as it doesn’t seem as though many readers over the years have made the connection. I raised the matter to a pair of retired ministers I know and they’d never heard of it, though they were familiar of the identification of the naked man with Mark.

Well, the Bible is a big house with many mansions and I don’t think there’s any end to the various interpretations and meanings that have been put on it. And I’m not saying I disagree with Johnson’s reading. I only flagged it because it struck me as odd, and because Johnson presents it so matter-of-factly. Also, having gone through the effort of looking into it, it’s probably going to be stuck in my head forever now.

Shower time

In my notes on The Empty Man I made reference to a page in the comic where a woman pulls back a shower curtain to reveal her infected husband seeming to decompose or be transformed before her eyes. But as I said in my notes, I couldn’t be sure what was actually happening because of the way it was drawn. Curious minds in the comments wanted to be able to judge for themselves, so I give you the page in question and allow you to draw your own grisly conclusions. I still think my own guess of explosive diarrhea is probably closest to the mark.

What do you think is going on?

Bookmarked! #3: The Church of Presidents


One of the great things about collecting bookmarks is that wherever you go as a tourist you can usually pick up a  bookmark to commemorate your visit. Sometimes they can just be a simple paper one that doesn’t cost anything. This is one I got on a visit to Boston and environs back in 1996 or thereabouts.

Book: True Believer: The Rise and Fall of Stan Lee by Abraham Riesman

Bookmarked Bookmarks