Movie Time: Rewind: Kitty Foyle: The Natural History of a Woman

Hey all,

I'm back after a bit of a break this month with another chapter of the Movie Rewind, where I review a great film from Hollywood's history. I had a lot of fun last month reviewing Broadway Melody with Eleanor Powell, so I thought I would continue the trend by reviewing a film by another one of my favorite actresses, Ginger Rogers. The film is 1940's Kitty Foyle: The Natural History of a Woman, the film for which she won the Oscar for Best Actress.

RKO Films, the studio that made Kitty Foyle, was never considered one of the richest studios, like MGM and Paramount, but they compensated for that by having having a diverse production slate of films and had an impressive stable of stars in the 1930's, though MGM would corner that market by the onset of the 1940's and as RKO had financial troubles. RKO had many of the most notable stars under it's banner in the 30's, giving actors and actresses like Cary Grant, Katherine Hepburn, Irene Dunne, Fred Astaire, and of course Ginger Rogers. Ginger had teamed up with Fred Astaire throughout much of the mid to late 30's, their pairing being finally profitable for the studio, making 8 films between 1934 and 1939. In fact, they were RKO's number one draw and the only stars to top the list of box office performers while at RKO. By 1939 though, the duo wanted to branch out. Astaire wanted to make his on name and Ginger was eager to stretch her acting chops, having started out on the stage as a serious actress before going into musicals. The to still had a deep affection for each other as Astaire went to MGM to team with Eleanor Powell in the sequel to Broadway Melody, Ginger set her eyes on Kitty Foyle.

The film is a the story of a working class woman set in the early 1930's. Kitty Foyle (Rogers) works as secretary to a wealthy Philadelphia socialite named Wynnewood Statfford VI (Dennis Morgan), helping him in his attempt to succeed in establishing a magazine during the Depression. They fall in love, and she always believes he will ask her to marry him once the magazine is a success. The magazine fails unfortunately and Wyn is forced to return to his parents for employment. Kitty is left behind and decides to leave for New York to take a new job working in a department store. While in New York she meets Dr. Mark Eisen (James Craig) who loves her, but Wyn Stafford shows up and asks Kitty to marry him. She initially refuses citing the differences in their social backgrounds. She feels that Philadelphia socialites would never accept her. Many of these beliefs are echoed by her father, who cautions her against reaching above her station in life. Wyn agrees to leave behind Philadelphia and move to New York, so that they can be together. They are married in New York and weeks later they go to Philadelphia to let family know about the marriage. The family is overbearing and obnoxious to Kitty, leaving her feeling ostracized and unworthy. She leaves, and eventually divorces Wyn, believing her father to have been right all along. Kitty finds out afterward though that she is pregnant with Wyn's baby. Kitty steels herself and decides to have the baby anyway, bucking conventional wisdom (at the time) about single motherhood. Sadly though the baby is delivered still-born. Meanwhile Wyn marries a rich socialite as his parents insistence, and by chance, Kitty meets his wife and son. This is difficult for her because she still loves Wyn. She observes the life that Wyn is leading but re-connects with Mark Eisen, the young doctor who was in love with her. Eventually Mark proposes and Kitty is finally forced to reevaluate her life and decisions. In the end, Kitty has to choose between money or love, and in so, she is finally able to let Wyn go and be happy.

Kitty Foyle was a huge film for both RKO and Ginger Rogers at the time.It was RKO's highest grossing film of the year and proved Rogers could be a bankable star without Fred Astaire. It also did a lot to change many people's view of Rogers. Because of Kitty Foyle, Rogers diversity made her a valuable commodity. As many of the 1930's biggest stars, like Irene Dunne, Eleanor Powell, Claudette Colbert, and Greta Garbo waned in the 40's, Rogers continued to star in pictures. She seemed to have a knack for picking the right range of roles for her, from musical to comedy, to romance, to drama, and excelled in the industry after many of her contemporaries were left behind.

Kitty Foyle's message at the time was quite forward in it's thinking. Lauding a lead actress at a major studio to star in a film that promoted many principals that at the time were not considered common. Principals like single motherhood and female independence. Rogers though really raised the bar in her role, showing her depth and range and despite some of the elements on the film not holding up as well, particular elements like the belief that a woman can only rise so high, Rogers is stellar in her role. Next to her performance in Top Hat, this is my all time favorite Rogers role and the role that I really credit for helping me break the conventions of the stereotype that I had of her as well. The same stereotype that I envision that she so desperately wanted to prove that she could break. Ginger Rogers was establishing a new role, revealing in female empowerment, and embracing the changing culture of the time. A culture where many of America's women were entering the workplace to man the factories while the country was at war.

The film itself though, is based on Christopher Morley's 1939 novel, Story of an American Girl and it of itself is very different than the screen version. Adapted by famed screenwriter Dalton Trumbo (one of the Hollywood 10 who would later be blacklisted as Communist sympathizers) he is credited for having glamorized much of the traditionally more risque moments of the book. In the novel, Kitty originally has an abortion instead of a mis-carriage and Trumbo toned downed some of the explicit sexuality within to make it more palatable to the Motion Picture Association's rating system. The book's explicit nature was so profound that Rogers initially turned it down, only changing her mind after reading the screenplay. The film itself ends on a far more upbeat tone then the book, painting a picture for a more hopeful future, giving it a more traditional Hollywood ending. Still, Trumbo's work won him his first Oscar for screenwriting and helped establish himself as one of the pre-eminate writers in film throughout the 1940's, and even throughout the following three decades despite having to write under a pseudonym or use a front to get his work published from the Blacklisting.

Though some of the other performances in the film don't hold up as well as Rogers and many of the ideas and thoughts within may seem dated, in viewing the film as a product of the time you can see what a daring motion picture that it is, despite glamorizing some of the toils of the working woman's oppressive daily grind. As a film it helped to establish Rogers as more than just a dancer and comedienne, it made her a star in her own right. In terms of he greatest actresses of all time, I really think Ginger Rogers is vastly under-rated, trapped in the stereotype of her teaming with Fred Astaire. I firmly believe her to be the most diverse actress of her generation, excelling in all fields and genre's of film. Perhaps matched only in terms of diversity with the great Audrey Hepburn. Still Ginger is one of my favorite stars, if you've never seen the film treat yourself o a very surprising tale along with a very powerful performance from the one and only Ginger Rogers. Kitty Foyle: The Natural History of a Woman.

End of Line.
Gerrad!

Flash Fiction: Under a Dead Sun: Past Sins

Chapter 15

Ally threw herself backwards, away from the horrible claw reaching out towards her. The light was dim inside the stable, though a soft glow still clung to the lantern on the wall behind her enabling her to still see the man who had been her father. He was trying to free himself from a tangle of bodies, having been thrown under her brother and fiancee. He wasn't her father anymore though, not really. His face had become a twisted mess, his mouth distended into a gaping maw of sharp black teeth and even duller black eyes that stared back at her. She crawled back, her hands tearing at the hard packed earth, fingers clawing at the clay floor so hard that her nails peeled and bled. She screamed again, harder, when she saw her brother and fiancee had also begun to move, they too, having turned into the terrifying creature her father had become.

The thing that had been her father shot his hand forward, having freed his torso. His thick claws grabbed at the hem of her muddy dress, finding purchase. Ally screamed even harder, thrashing so fiercely and using her feet to kick back off the earth so hard that that part of her dress and petticoat tore away. She had kicked so hard that she lifted off the ground and when her dress tore, she landed hard on her backside, letting out a soft cry as she landed, shuddering as a wave of pain shot along her spine. Her head still throbbed from the two huge lumps and her stomach felt tender and bruised. Her fingers bled from torn nails and her lip had split again from her last cry, letting her taste her own coppery terror.

Still, fear over ruled her pain and she rolled over, crawling as far away as she could on her hands and knees. She stopped when she reached the wall of the stable and looked around for a weapon, anything she could use. She looked desperately, for anything, running her hands along the wall trying to find anything she could use. Finally she flashed on the lantern and she pulled herself upright on the wall, fighting the wave of vertigo and nausea that came over her. Her fingers closed around the wire handle of the lantern and she pulled it free, her fingers shaking with terror.

She turned around, thrusting the lantern forward, washing the three creatures in the lantern's meager glow. The one that had been her father was just steps away as Ally pushed herself as far against the wall as she could. The other two had also freed themselves and were but steps behind the first. Her father still clutched the torn shreds of her dress, but stretched his mouth wide in a fetid hiss as he closed in. Tears streamed from Ally's face, though she made no sound, her voice choked off by the thick lump in her throat. Suddenly the beast's eye went wide and it jerked forward, lunging at Ally's throat. Instinctively Ally lashed out with her only weapon, bringing the lantern across and smashing it against the side of the monster's face. The lantern exploded, erupting against the beast in flames. The creature reared back, the flames licking at the monster as it let out a weird, strangled sort of cry. It thrashed backwards, flailing against the creatures behind it. The fire licked at the monster almost inhumanly fast, spreading across it and the other two beasts like wildfire.

The oil from the lantern hadn't stopped there though, the fire and oil licking at the dried bits of hay that lay strewn about the stable, catching in small bits until reaching the first bale, from which the whole building caught. In mere seconds, the stable was burning fiercely. Ally swatted herself as small bits of her own clothes smoldered from errant bits of oil and embers, falling to the hard floor. She watched as her father quickly burned, his sallow flesh melting away. Tears, from both her heart and the thick smoke that was forming inside, streamed from her face. Her father had fell against her fiancee and her brother, the flames catching against them as well. They seemed to burn bright and fast, the only sound coming from them a mix of throaty growls and hisses, as even in flames they tried to crawl towards her.

Turning her head away, Ally couldn't look anymore. She feebly crawled away, pulling herself upright once she reached the exit of the stable. Once clear, she stumbled towards the small boathouse that had once tied the raft to the other side of the river. She fell hard by the door but she didn't have the strength to pull herself back up again. Ally Marshall merely turned over, rolling her back against the side of the boathouse, and lay there in the muddy earth. Then she watched the stable burned itself to the ground and burn away the only family she had ever known.

End of Line.
Gerrad!

Movie Review: Iron Man 2

Hey all,

Paramount Pictures Iron Man 2 is arguably one of the most anticipated films of the year, attempting to deliver on what was considered one of the best, and most unlikely, comic book box offices success. Needless to say I was eagerly awaiting the release of the picture this weekend and headed out to a very early showing this past Friday. I can honestly say I was not disappointed in the least bit. Iron Man 2's success relies on the powerful performances it gets from nearly every member of the star studded cast and the great direction of the returning Jon Favreau.

Iron Man 2 picks up closely where the first film left off. Tony Stark (played by Robert Downey, JR) is leading Stark Industry and has publicly admitted to being Iron Man, His business has never been stronger but the US Government is increasingly concerned about the thought of a privatized military weapon being in the hands of a public citizen and is desperately trying to get a hold of the Iron Man armor from Stark. Meanwhile in Russia, the son of a former scientist that worked for Tony Stark's Dad, Howard (Mad Men's John Slattery) named Ivan Vanko (played by Mickey Rourke) is angry at the legacy of hurt and embarrassment his family has suffered at the Stark's family's hands. Taking blueprints his father had comprised with Howard Stark in the 60's, Vanko designs an arc reactor like the one that keeps Tony Stark alive. Using that reactor and his own design, he creates an exoskeleton that emits whip like energy projections and vows revenge on Stark for making his father die in shame.

At home, Stark has discovered that the element that powers his arc reactor is slowly poisoning him and if he can't find a viable substitute, he will die. Placing his trusted assistant Pepper Potts (Gwynth Paltrow) in charge of Stark Industry, they head to Monaco along with his new assistant Natalie (Scarlett Johanson). Deciding to relish the short time he has left, he decides to drive his own race car in the Grand Prix until he is confronted by Vanko. After a knockdown drag out fight he manages to stop Vanko and returns home with Pepper, despondent over the information that his technology is in other people's hands and representing a danger to people. Between that and the blood poisoning, Tony starts falling further into drinking and partying. In fact he falls so far that his best friend, Col. James Rhodes (Don Cheadle) steals a suit of armor and battles the out of control Stark.

Vanko is freed from prison by Stark's rival, Justin Hammer (Sam Rockwell) and agrees to build an army of drones for Hammer Industries. As Stark is confronted by Col. Nick Fury (Samuel L. Jackson) and made to confront his demons, Rhodes takes his suit to the military and with the help of Hammer, outfit the suit with a variety of weapons. At the new suit's, dubbed War Machine, unveiling, Hammer shows off both his drones and the War Machine suit, not realizing that Vanko controls them all. Stark is forced to cage his demons and rush to the unveiling to stop Vanko, Hammer, and his best friend, from destroying everything he hold important.

The real key to this films success is the cast. Robert Downey, JR continues to show why he may be the best bit of casting in a super hero movie ever. The center portion of this film is very Tony Stark centric, and in most super hero films that is a kiss of death, people want to see Spider-Man and Batman, not Peter Parker or Bruce Wayne. Yet Downey makes his character so charismatic that even at his self-centered and narcissistic best, he electrifies the screen. Even when Stark bottoms out, you root for Downey's redemption BECAUSE of his ability to make Stark so likable. I also can't say enough about Gynwth Paltrow's under stated performance as Pepper Potts. She and Downey have an un-mistakable caustic chemistry. The romance is very much a throwback to the romances of the 1930's and 1940's, or for a more modern reference, like in Moonlighting. Where beneath the arguing and contempt they have are two people who love each other but just can't admit to it.

The supporting cast is great as well. Rourke as Vanko looks to be having the time of his life in the role, relishing in the over the top nature of his character but finding enough real menace and nuance in his performance to keep the character from being one dimensional. Don Cheadle steps into Terrance Howard's role of James Rhodes well, maybe even bringing a bit more gravitas to the performance. Scarlett Johanson as Natalie Romanov, of the Black Widow (though she is never called that) brings a great quality top the film. Her action sequence towards the end is great, really showing off the fight training she did and hopefully setting her up for a bigger performance in the Avengers movie. I was afraid that she would be more of a throwaway character meant to add some sex appeal for the fans, but I thought she added nicely to the role. Oh and added sex appeal. Even Sam Rockwell has Justin Hammer offers a great foil for Stark. Never having Stark's charm or luck, he manages to make Hammer both light and dark at the same time. Constantly balancing the dark overtones if the character with a comedic element that added the right amount of levity at the right time. My favorite bit of casting was John Slattery of Mad Men playing Howard Stark. Maybe it was a bit of type casting with his easy familiarity with the 60's era look that his scenes were in, but it was inspired.

I can't say enough things about the great casting of this movie, though you have to give director Jon Favreau credit for the job he did. He manages to take a huge sprawling movie and find a great blend of action, drama, and comedy and yet all the while allow his actors to breath and express themselves. Favreau, an actor himself in movies like Swingers, Couples Retreat, and in Iron Man itself as Stark's bodyguard and driver Happy Hogan) is really an actor's director. Understanding the craft of acting with his background, he allows the actors the chance to find themselves in the role, to do several different takes to find just the right one. He turns the process of directing into a collaborative effort and you can really see it in the performances of the actors, especially in Downey's.

The effects of course are spectacular. Like that should even be a question at this point. The script is solid as well, though I did have a few faults with it. The fight scenes between Rourke and Stark are a tad to short for my tastes. When Rhodes and Stark go at it, it builds to a climax, but when Rourke's character is involved I though the battles were a little quick. Provided, the final battle leading up to the confrontation with Rourke is great, I just wish it had given us a bigger payoff. Also much of the script borrowed elements from the seminal Iron Man tale, Demon in a Bottle, which chronicled Tony's descent into alcoholism. While I understand not wanting to do to much drunk Iron Man for fear of audiences thinking that they were ripping off the Will Smith super hero film Hancock, I would have liked to have seen the performance that Downey, a former addict himself, could have given as a bottomed out billionaire.

Don't get me wrong, I think they did a lot of things very well in the script, setting up not only the next Iron Man film, but establishing Stark's place in the wider Marvel universe teasing both the upcoming Captain America film and the next years Thor film. It also practically establishes the beginning of the Avengers movie setting up characters like the Black Widow and Nick Fury's role as the founder of the Avengers. In fact, with only one small exception which I won't mention, I thought most of the cameo stuff was fairly innocuous and un-obtrusive. Truthfully, the script had a nice blend of action and levity and it really allowed the cast to give very great performances.

All in all I thought Iron Man 2 certainly lived up to the hype. While maybe not as polished as the first film, it's certainly as enjoyable and as entertaining. Robert Downey, JR establishes himself as one of the most affable actors to watch on the screen, really capturing the audiences attention. Favreau continues to build on his bankable legacy as a director and is quickly becoming a box office force to be reckoned with. The film has a fabulous cast with great acting and it reminds us that films can still be fun and enjoyable blockbuster affairs without sacrificing story quality. Iron Man is a really good movie that elevated by the cast and crew to a better picture than you conceive because it is so apparent that the crew is having so much fun. You should definitely check out Paramount Pictures Iron Man 2 as it's clearly the front runner for the summer box office. Not because I said so, but because it's truly worth it.

End of Line.
Gerrad!

Flash Fiction: Under a Dead Sun: Past Sins

Chapter 14

Cody stared at the Johnson brothers, his ire growing by the second. Buford Johnson was dead, even he knew that, a belly wound of that nature was fatal. The delay had cost them time and there was no way that they were going to make Desperation before tomorrow afternoon. It was to dark to try to traverse these trails at night, to easy for one of the horses to break an ankle or throw a shoe. Instead, Cody Jarrett seethed, stuck in the middle of nowhere with the one person he couldn't kill, the one person who knew the name of the man who was going to sneak them out of the country, Beau Johnson.

"He ain't got much time left Cody, ....my brother ain't got much time left. I jus' wanna make him comfortable."

A belly wound was a helluva way to die, Jarrett should know, he'd killed plenty of men that way. Your stomach acids bled into your body, very painful. It would be more merciful to just shoot the poor bastard. Cody's hand danced over his Colt, fingertips itching to grab the pearl handled revolver, and splay both of these bastards brains over the rocks. But he needed that damn name. Getting this much money across the border with his face plastered over every wanted poster in the fucking county wasn't going to be easy. Beau had the name of a man who could sneak them across down the Colorado and into Old Mexico. At least until some of the heat wore off him for a little while at. Jarrett had made a lot of enemies in the last few years and with the US Marshall's office on his ass now, it seemed a good idea to lay low for awhile.

Still, even without that name, with this much money at his disposal and his reputation in a town like Desperation, maybe he didn't need the Johnson boys as much as he thought. Sometimes a smile and a bullet could make a greater payment than plain old American currency. Besides, why share this kind of bounty 3 ways when you could keep the whole fucking lump sum for yourself. Jarrett felt that familiar warmth in the pit of his stomach, that euphoria that built whenever he un-sheathed his pistol. Whenever he knew he was about to kill a man. Cody Jarrett smiled and eased the pistol free, hearing that welcoming click as he thumbed the hammer back. Slowly, ever so slowly, he squeezed the trigger, hearing the roar of the gun as he fired two rounds into Buford Johnson's chest. Beau jerked himself back, scrambling backwards like a crab.

"What the FUCK CODY!"

Cody cocked the pistol again and slowly moved it side to side, as if shaking his head no, when Beau went for his gun. He kept it trained on Beau as he lowered himself into a crouch in front of the perspiring Beau.

"Now Beau, I appreciate the love you had for your brother, but I'm afraid I have plumb run out of patience here. I aim to get to Desperation and out of this fucking territory and I aim to do it quick. Now I need you to give me the name of the contact or you'll be joining your brother a might bit faster than you figured."

Beau was flush with fear, though he steadied his voice before he replied.

"That name is the only thing keepin' me alive Jarrett, it's the only chip I got left in this stake. Why the fuck should I give you the one thing you need me for. You're the most wanted man in the territory. You NEED me Jarrett. If you think you can get out of this fucking place without me you are fucking crazy. I'm afraid you're just gonna hafta shoot me you crazy bastard."

"Fair enough Beau."

Cody thundered the last 4 shots in his gun into Beau, his body jerking as the hot lead burst through his chest. He picked himself up from the crouch and wandered back to the small fire they had set up. He calmly reloaded his pistols, ejecting the spent shells onto the dusty ground. Grabbing his canteen and some trail rations, he settled down, resting his head on his saddle to eat and grab a few hours sleep. He glanced at the Johnson Brothers and smiled, already feeling more confident in his choice. He tossed back a long pull of the canteen and started rolling a cigarette, it would be dawn soon enough and he had plenty of trail to cross.

End of Line.
Gerrad!

Word Balloon: Iron Man: Demon in a Bottle

Hey all!

May is most certainly Iron Man month, with the big sequel to the film rolling out in just 1 day (as of writing this). As I did with Watchmen and Wolverine last year and Kick Ass this year, I thought I would continue the trend and turn a spotlight on Marvel Comic's Iron Man in this column.

Since the success of the first film, I think the origin of Iron Man is pretty well ingrained into people. Billionaire weapons manufacturer Anthony Stark is captured by terrorists and forced to make them a bomb. Dying as a piece of shrapnel is inching towards his heart, he creates a power source and constructs a suit of armor to protect him and allow him to escape. Traumatized over the destructive powers of the weapons he has built, he vows to use the armor to protect the world, though he is still a victim of his own narcissism and billionaire playboy ways.

Despite Iron Man's longevity and character appeal, he has really been one of Marvel's B characters for most of his publishing career. Iron Man has never had the great creative teams nor Marvel's dynamic artists on board and seminal Iron man stories are few and far between in the characters nearly 50 year existence. Up until Marvel's Avenger push the last few years, which has seen the character quality and impact improved greatly, Iron Man has really only had one creative defining story arc by arguably his one and only great creative team. That story is the seminal "Demon in a Bottle" arc collecting Iron man Volume 1 #120 to #128 by writers David Michelinie and Bob Layton, with art by John Romita, Jr. Carmine Infantino and Bob Layton himself.

Michelinie and Layton had been tasked to fill in the next arc on the series and they were teamed with John Romita, Jr, son of Marvel legend John Romita who was one of the longest tenured artists on Spider Man. This marked Romita's first monthly penciling assignment and he was teams with Layton and Michelinie, who were already established at Marvel. The writers both stated they never set out to write a relevant story, they simply looked at the kind of life a person like Tony Stark would live. Rich, famous, and dealing with the stresses of running a multi-national corporation, partying, and the strains of being Iron Man, they figured that Stark would have problems outside of the usual villain of the week. In fact, they looked at alcoholism as the villain of the week for this arc. The fact that this story IS so identifiable with Iron Man, and the fact that the legacy of this storyline is still a resonate factor in Iron Man almost 30 years later, though, is relevant.

Demon in a Bottle is really about Tony Stark hitting rock bottom. After a battle with the Roxxon Corporation, the Iron Man armor begins to malfunction on Stark and he crashes. After running a series of tests and finding no problems, he visits a Casino with his then girlfriend, Bethany Cabe, but it is attacked y a group of villains, including Whiplash. He dons the armor again and defeats the villains with some help from Bethany, but overhears one of the goons saying that "Hammer" wants Stark alive. After the battle, Iron Man appears at an event to meet a foreign ambassador, but his suit again malfunctions and he kills the dignitary with a repulsor blast. Forced to turn over the Iron Man armor to the authorities, Stark slips deeper into drinking.

Heavily drinking and despondent, Stark convinces his friend Scott Lang (the Ant-Man) to sneak into prison and get information from Whiplash on Hammer's involvement. Discovering that it's his business rival, Justin Hammer, he and James Rhodes (his friend and eventually War Machine) fly to Monaco to confront him, only to be captured. Hammer explains that he has seized control of the armor to ruin Stark's reputation and to get his company back on top. Eventually Stark escapes but Hammer sends a group of super villains after him. Tony manages to regain control of his Iron Man armor and defeat the villains, though when chasing after the fleeing Justin Hammer, Stark crashes and significantly damages the island the complex was on, sinking it and destroying it.

Tony returns home and continues to binge drink, alienating his friends and co-workers, prompting his butler Jarvis to quit and to descend so deep into alcohol that his own girlfriend relates a story about the loss of her first husband to drugs. Stark relents and vows to get treatment, both to save his relationship and to save his company, which is now in the grips of a corporate take over.

This story arc is considered one of the 1970's greatest tales and still generally holds up very well, really only lagging at the ending, where Tony cures his alcoholism in the final issue of the arc. Being the 1970's though, they didn't really craft stories in a long term fashion like that, though its tales like Demon in a Bottle and the stuff that Chris Claremont was doing on the relaunched X-Men title that were changing that. Stores were being crafted with long term plot developments in mind, where a single issue or storyline would have repercussions months, or even years after the initial arc had finished. Michelinie and Layton were at the forefront of creating a new way for comics to be read and probably do not get as much credit as they should have. This is a comic that really tried to inject realism and tell a story where the hero, for the most part, is flawed and un-flattering. For the first time in Iron Man's long history, the reader was engaged in Iron Man's life and world, telling a tale we all know well, that of the rise and fall of a hero, but crafting it in such a way that Iron Man for the first time, was truly human.

This was John Romita JR's first monthly gig and as such some of the learning curves really show. Still even in this raw form you can see his real strength really start to shine through, his storytelling skills. He injects a sense of realism and tragedy in the pages that help to accentuate the story. Today his storytelling skills are his strength, really crafting the pages in such a way to tell the story in a way that needs no words. This is relevant even 30 years ago in his work on Demon in a Bottle. I think he is also helped amiably by writer Bob Layton's inks over his pencils. Layton was an established inker and used his knowledge and craft to help fine tune some of the rough edges of Romita's art. Even the fill in issue by industry legend Carmine Infantino, one of the most renowned "workhorse artists" of the 1950's and early 60's. Infantino had created the Silver Age Flash and even helmed DC Comics in the early 70's before returning to freelance penciling in the late 70's. His fill in issue of Iron Man I always thought was a great bridge, bringing the old guard of comics to the new talent, and ultimately the new way in which comics were published.

As you enjoy the second Iron Man film you will see several instances where they reference Demon in a Bottle, though they are never a slave to the story. They incorporate elements of the tale to tell their own modern version of the story. Where alcoholism is simply a symptom and not the villain. Still, a nearly 30 year old tale STILL maintains its relevance to Iron Man. It retains it for a reason, it's that good. While the film create sits own mythology, its fun to look back and see the basis of these myths and to pay homage to the material and the creators that make these movies possible today.

Iron Man was a character that never really got his due in Marvel. Up until right before the successful launch of the Iron Man film, he was simply one of Marvel's characters. It's great to see Iron Man really regaining his place as one of Marvel's top tier superheroes. For my money, you can't go wrong starting with the Demon in a Bottle trade and there is never a better time than now to check the book out. It may even lead you towards some of the really good stories being told today about Iron Man by authors like Warren Ellis and Matt Fraction, all of whom look to Demon in a Bottle as the turning point for Iron Man. Check it out.

End of Line.
Gerrad!

Free Comic Book Day!

Hey all,

I'm running a little behind on this post but this past Saturday was Free Comic Book Day, an event sponsored throughout the country to support awareness of comics and to promote the industry. Many comic book shops have industry professionals show up to their stores for signings and sketch events as a means to really push the days sales and increase that visibility. This is the third year I have had the opportunity to do some volunteer work down at my local comic shop, Atomic Comics.

Atomic is the biggest comic book chain in Arizona with four locations, in Paradise Valley, Chandler, the Mesa Superstore, and my store, the Metro location. This year the store owner, Mike Malve, loaded up on a huge number of local talent instead of getting just a few big names, and had over 25 different local industry pro's doing sketches. All the proceeds generated from the sketches went towards the Hero Initiative, a comic book charity that gives backs to long time industry pro's who didn't have the retirement plans or medical insurance options back in the 40's, 50's, 60's and 70's. may of the creators of your favorite comic book characters, like Batman, Superman, the Flash, many of the X-Men, and Wolverine, get none of the generated profits these hugely marketable franchises generate as they were under a proprietary contract. As a result many of these pro's are in bad situations, with homes being foreclosed and mounting medical bills as they get older. The Hero Initiative gives back to help to alleviate some of the pressures of comic books great fore-fathers.

Getting a chance to volunteer down there was great. I got to do the same job I have had the last 2 years, passing out free comics to anyone who comes up and generally chatting about the medium to both established and new customers. I even helped generate some sales for the store with recommendations of books for people to read. I handed out comics for about 8 hours or so at a pretty steady clip, people really responded great and everyone was super excited to be there and be involved. It was kind of a bonus that we got to give to charity as I was having fun just being a part of the experience.

I think maybe the coolest aspect of free comic book day was knowing that my best friend, Jason Worthington was one of the local pro's doing sketches at the table. Watching him prep and get ready for the event was cool, but he really knocked it out of the park and I know that everyone down at the hop was impressed with the great quality of his sketches. I even commissioned a great Dazzler sketch from him that you can check out on his blog, http://eltoromuerto.blogspot.com/ along with some of his other work. It was cool that he got to do that and even promote his upcoming book, Zombies vs. Cheerleaders from Moonstone Comics. I'm excited to see what kind of stuff he has upcoming and what kind of gigs he may get from San Diego Comic Con in July.

Overall I had a blast and I can't wait until next year to take another turn at it. It was great working for Atomic for the day and to be able to talk to so many cool people about something I love so much. Also be on the lookout for a new Word Balloon featuring the super hero of the month, Iron Man, tomorrow.

End of Line.
Gerrad!

Flash Fiction: Under a Dead Sun: Past Sins

Chapter 13

Father Enrico Santiago's fingers fumbled with the bullets as his slid them into the gun. He hadn't touched this gun in nearly 20 years, and his hands shook, raw nerve and adrendlin flooding him. Old emotions he had long since tried to forget, even older memories that had been better left in the past, all came flooding back. He slid the last round in the chamber and clicked the breach shut. Enrico closed his eyes, and remembered the last time he had held this gun. Twenty years ago at Bull Run.

He remembered running through the woods, wondering how a simple boy from poor parents in the New Mexico territories had ended up here. He remembered thinking that it would be a grand adventure, a chance to free himself from poverty. All he knew at that moment then though was the blood on his hands. He remembered the men he had killed and the horrible sounds they had made. He recalled watching his unit get cut to pieces and the screams the screams of the dying all around. He could even still feel the hot furrow of the bullet that creased his shoulder. He fell to the ground hard, tasting a mouthful of mud and he hit. He knew then, that all he really wanted to do, was to live. He prayed to God to help him at that moment as he drug himself towards the only cover he could find, a small hollow. He had pulled himself into the hole, bullets flying above him, his face streaked with tears and anger and fear. It was there he came face to face with the man he would become. Enrico Santiago. Army Chaplain.

The Chaplain had been shot in the head, though how he had fallen in the hollow was anyone's guess. It was that day though, that Edward Richmond died, and Enrico Santiago was born again. He had always had dark hair and skin, living in New Mexico had provided that, plus rumors of infidelity in his fathers past mean he probably was part Hispanic. His father hadn't been much for the Bible, but his mother had made him read from it daily and it was that information he used n the first few months. Enrico surrendered to the Union and after a few weeks in a prison camp and was released under another chaplains care, Father Hester. Hester had arranged his freedom in exchange for heading west with him to found a new mission. Hester didn't survive the journey, though Santiago did.

He had spent the last 20 years living a lie, trying to lead a good life and help people, he really had. There was one thing more important to Enrico Santiago though than helping people. The one thing that had caused all of this in the first place. A fear of dying. Enrico tucked the gun deep beneath his robes and stood up. No, Enrico wasn't going to go quietly at all.

End of Line.
Gerrad!

Assorted Nuts!

Happy May All!

Last month was kind of crazy towards the end where I fell off posting a little bit. I think this month will be very similar, with my big inspection coming at the end of the month. Still I hope to have some good production this month, especially this week, with a rundown on the recent Free Comic Book Day, a Word Balloon about Iron Man, more Under A Dead Sun, and going into the weekend a look at Iron Man itself. I'm committed to at least 5 posts between now and Sunday.

Overall I have to say that I'm pretty happy with how Dead Sun is turning out, it's actually expanding a lot from the original pitch I had in mind. I've added an additional character than in my original pitch, Ally Marshall, as I felt the story still needed kind of an everyman perspective. Though the key of my story is still going to lie in tying each character to something from their past as they have to confront the horrors of the undead. I'm having a lot of fun with this series and I really wish I was making better progress. Still we are about 12 chapters in and I think the meat of the story is about to ramp up now that the action is getting established.

As for poetry, I've taken a few stabs at writing some new stuff but nothing that feels natural. I'm hoping to take another crack at it on Wednesday or so to que something up a little later. I have been listening to a lot of Sia since that concert and a lot of my poetry has been really to close what she writes about so I'm hoping avoiding it for a few days, both the poetry and the music, will offer a new perspective.

So big stuff ahead, stick around and thanks for reading!

End of Line.
Gerrad!

Flash Fiction: Under a Dead Sun: Past Sins

Chapter 12

Eva looked out the window of the house, staring at the glowing back orb that had seemingly replaced the sun. Her father had passed it off as some kind of eclipse but Eva still had that feeling that something was wrong, really wrong. Just outside the window you could see the huge BBQ pit that the ranch hands had dug for the cookout they always had whenever the cattle came home. With the somber pallor that hung over the ranch from the death of young Evan and the dark oppression that covered the sky, those plans had been scrapped.

After Evan had passed, they had wrapped him in a sheet and he still lay on the couch in the drawing room, a rider having been dispatched to town for the Undertaker. Even though the cookout was canceled, they still had prepared a huge meal. The ranch hands would eat theirs in the bunkhouse but those closest to the family would eat in the dining room. Eva had finished dressing, her hair freshly washed and pulled back, and continued to stare at the dead sun, waiting until she interrupted by the call of lunch.

Eva walked into the dining room, feeling the pallor over the whole table. Caleb was seated at the head, with Rex on his right side and Bartley next to him. Her spot was vacant on her father's left side. There was an empty seat next to her, though at the far end of the table Thomas Moore sat, her father's legal adviser. Rex had been the foreman at the farm since she was a little girl and she looked at him like a member of the family. Rex still had a thick head of black hair that was just beginning to shows flecks of salt and pepper, though his arms and chest were still thick with muscle. Bart had been with her father only slightly less, though he was older. He had grown a bit softer around the belly and his hair had thinned, he was still the best driver she knew and a crack shot with his rifle. Thomas though, well Eva never really liked Thomas.

He had come aboard the farm after her mother and siblings had died and her father had been injured, to guide her father's business interests. He'd been about 10 years older than her, but even then she didn't like the way he looked at her. He was tall and slender, with a thin mustache, always dressed immaculately. When she was younger she had always wondered if her father had thought him a good suitor for her and an accomplished man who could lead the ranch, but they had never gotten along. Where Eva was tough and self assured, who enjoyed the outdoors, Thomas and her had never shared the same interests. To this day, Eva was convinced the man's sidearm had never even cleared its holster, and his smooth grip always belayed the callous on her palms. Sure, he HAD helped guide the ranch to some of the prosperity it was enjoying now, but she couldn't help feeling that he still had eyes on her.

They ate dinner in relative silence, avoiding topics like Evan and the unnatural sun that hung in the sky. Thomas prattled on about the price the herd would bring in the coming months and the fortunes that were almost at hand for the Saint ranch. Trying to fill the silence with words, another thing that really pissed her off. Eva just ate silently, the knot of worry thick at the back of her neck. Most of the meal had passed when the sounds of tearing came from the drawing room. Soft at first, with louder and with more urgency as the seconds ticked past. Sounds like linen being ripped in two. At first they all kind of looked at each other, before Rex pushed his seat back.

"None of you need move. I'll go check it out."

Rex folded his napkin on the table and got up, accompanied by Emily, who had been clearing some of the table. They were gone just a few moments, when Emily screamed again, loud and tinged with fear, accompanied by the loud curses of Rex.

" SONUVA BITCH!"

Eva sprang from the table, followed by the rest, and came up behind Rex, who was staring at a sight neither could believe. Young Evan, or at least something that use to be Evan, tearing at the remnants of the sheet with fingers that ended in long black claws. Evans flesh was yellow and sallow, seeped with green and black pus, and his mouth, stretched abnormally wide, ending in rows of blacked sharp teeth, snapped at the air around him. Then his black eyes locked gazes with Emily, and he sprang free, desperately clawing at the frozen young girl.


End of Line.
Gerrad!

Concert Time! Sia

Hey all,

Boy, it really feels like its been a while since I sat down to blog. I have been struggling with a slight cold and a heavy work week, but the real culprit has been searching for inspiration. I'm totally ready to do the next Flash Fiction chapter of Dead Sun, but I like to break the blog posts up in between just to give the blog a little symmetry. This is usually a good point for a me to run a Word Balloon or a Rewind post, but I already did that this month! Fortunately, I got the opportunity to go to a concert on Tuesday night and I had a really great time.

We headed down to the Marquee Theater, the go to place in Phoenix for any not stadium style concerts. It's very much a locale for close knit shows with a small seating area at the back of the ballroom, and a bigger open pit style place in front of the stage. I've seen a lot of concerts there and I prefer it to the bigger stadiums for that intimate feel. Watching Jenny Lewis there last year made it feel almost like she was singing right to me we were so close. Tuesday I joined my friend Autumn and caught the Sia show with her, Sia being one of her favorite singers.

Sia is an Australian born singer who over the past few years has started really ear marking her place in music. She has has her music appear in shows like Private Practice, Six Feet Under, and Dollhouse. Her biggest hit, Breathe Me, has had significant radio play and I was quite surprised as someone not familiar with her work before hand, just how much of her music I did recognize and liked. She has a new album coming out next month, a bit of a change from her older music. Her early albums are very much a pop infused blues jazz sound, while the songs she played off of her upcoming album, We Are Born, featured a catchier beat, almost like pop jazz dance music. Still in the same ball park, but with a hint of more dance pop than before. You could almost see the influence working with Christina Aguilera on her new album had on Sia. It felt a little more mainstream, but not so much that she left her vocal roots.

Admittedly I did some music research to familiarize myself a little more with her music prior to the concert, and more so now in the days post concert. In truth I find that her style of music is really more in line with the musicians that I have started listening to over the past year, like Jenny Lewis, Feist, The Yeah Yeah Yeahs, so I can honestly say I was pretty happy to be asked to go.

As for the concert itself, opening for Sia was a band called Body Language. A four piece act, they had a very pop reggae sound, They were a quartet comprised of an Asian guy on drums, a white hipster guy on keyboard, a white emo guy on synthesizer and keyboard, and an African American lady on the xylophone. She was the main vocalist, though both keyboardists spent significant time on vocals as well. I thought they did a good job warming the crowd up for the performance, despite the very short set they did. They only played about 30 minutes but I was impressed with the energy and enthusiasm they brought to the show. They really got into the performance and I think the impact from being on a national tour really was a very new feeling to the group.

Sia came on about 9pm and was very warm, funny, and open about everything. She was still recovering from a sore throat and early on in the performance she had trouble hitting the high notes, you could actually hear her voice give out on her. I will say this, by the end of the night she was hitting those higher keys pretty consistently, having warmed her voice up enough. She played a nice mix of material off her new album as well as stuff off of her earlier releases. I particularity enjoyed the songs Be Good to Me, which seemed a lot breathier and intimate versus the album version. She also played several of her new songs, such as The Fight, Clap Your Hands, and Bring Night On, all very much representing that poppy catchy sound. She ended the set with her biggest hit, Breathe Me, which was I thought her most powerful performance of teh night. Her voice troubles were non existent as she performed a really soulful rendition of the song. Very Emotional.

A few other notes on the show. I have to comment on the stage setting. It was kind of a weird collage of primary colors, red, green, blue, yellows, in a mixture of wrapping paper motifs surrounded by countless amounts of knitting. Literally every instrument, mic stand, guitar strap, amplifier, and set piece was covered in a array of knitted cozies and blankets. It was kind of incredible actually. It was like a weird explosion of color and kitsch, yet very fitting for Sia's personality. The only picture I managed to grab, and not a very good one at that, was of the stage just before Sia came out, before my battery died. I also thought her use of props were pretty cool, wearing a menagerie of different items, from a mechanical set of circular wings that shot out bubbles, to another set up that gave her a sort of halo, she was very interactive in her performance.

I think perhaps my favorite part of the show was how Sia interacted with the audience. She had a very infectious laugh and really encouraged audience participation and heckling. The times in-between songs were rally an opportunity for her to chat with her fans, it made her feel very approachable and down to Earth. She was very funny, giving as good as she got during the course of the show, making jokes on everything from vagina's and her period, to the set choices that they had made. It was a really refreshing take from an artist with a very different feel than I have normally been exposed to.

I had a great time and I am very glad to have had the opportunity to go. I really have to thank Autumn for inviting me to go. I love going to concerts and I did not attend that many last year. All in all my experience at the Sia show was awesome and I am really enjoying finding a brand new musician for me to learn more about. It has sort of lit a fire under me to try to see more live music. I'm going to have to see what I can do about that. If you haven't checked out Sia, start with Be Good To Me or Breathe Me, both excellent tracks. Thanks for reading!

End of Line.
Gerrad!

Flash Fiction: Under a Dead Sun: Past Sins

Chapter 11

Morgan circled around the creature that had been his wife, keeping the pick axe extended in front of him. The beast moved with an urgency, quicker each moment, her distended blackened jaw working open and closed, faster ever since he had cut his elbow on the rocky ground. Morgan backed up again, feeling the small wooden fence that he had built around the house at his back. The creature, sensing he was trapped, dove forward in a lunge, swiping at Morgan with it's thick claws. Morgan threw himself backwards, rolling over in a reverse somersault on the opposite side of the fence. He sprung up from the crouch he was in and dived sideways as the creature fell hard through the fencing, splintering wood with tremendous force.

Morgan turned around to watch the creature get up. Bits of wood had cut into his wife's chest and face, black gore and green puss seeping from the wounds, but still she came. Morgan felt a thick knot in his throat, tears in the corner of his vision. God how he had loved Eliza. The woman who had brought him back to life, the woman who had shown him kindness. Who had shown him love. Whatever the fuck this thing was, it wasn't his Eliza. He still heard her cries, the pleading in her voice, the agony. Whatever this monster was, it wasn't his wife.

The monster had freed itself from the bits of fencing and continued towards him as Morgan brought the pick axe up. The creature opened its jaws wide, black spittle flecking free and snapped out at Morgan. He spun right, letting her jaws go wide beside him, clamping shut on empty air and came back around. Using the momentum of the spin he continued the turn, bringing the pick axe around with him and burying it deep into the beast's back. An eruption of vile green puss and blackened dead blood erupted as the pick tore in. The creature let out a gurgled cry and fell on its knees, the pick still stuck in her back.

Still the creature struggled though, slowly rising to it;s feet undeterred. You could see entrails and broken ribs bursting beneath the battered wedding dress, yet still the undead creature rose. Morgan looked around, finding himself only steps from the battered fencing. He quickly picked up one of the biggest timbers and struck out as the monster tried to turn about to face him. His first strike caught it across the jaw, muscled flesh tearing and spraying dark blood. The creature fell back, and Morgan struck again, bringing the beam down across the top of her head with all of his force. He heard a sickening crack and the monster fell to the ground, blackened matter seeping from her cracked skull. The monster stopped moving, but Morgan kept swinging until the timber was no more than a splintered nub, and the creature that had once been his lovely Eliza nothing but a battered pasty mess.

Spent, Morgan collapsed on the ground, as the implications of what he had done sunk in. Sobs racked his body, the guilt, the anger, the self loathing gripping his insides. Emotions Morgan had long buried these many months, since she had first died. He reached out, turning the bloody pulp of her head sideways, looking at the tattered remnants of her hair, instead of her accusing black eyes. Morgan cried, the weight of having to kill his wife a second time threatening to crush him.

When he closed his eyes he could still see her, his lovely Eliza, screaming in pain. The doctor telling him that their baby had killed Eliza from the inside. The mis-carriage had went horribly wrong and there was nothing he could do. There had been so much blood, blood everywhere. Morgan had seen some horrific things, had done horrific things, but nothing had compared to what he had seen in his wife's bed that day. The doctor told him all they could do was make her comfortable, ease her suffering, by overdoing her on morphine. Otherwise, the tearing in her insides would cause her to bleed out. In between her cries, even now, he could hear his wife's whimpers for her baby, the bloody mess that lay swaddled, so still, on the crib he had built. With a thick voice, he had told the doctor to ease her pain, and Morgan Randall held his wife as she slowly died in his arms, still asking for her baby. The baby he had given her.

Morgan cries of anguish was interrupted though by another sound, softer, though still a cry, coming from the burst grave his wife had just risen from.


End of Line.
Gerrad!

Movie Time: Rewind: Broadway Melody of 1936

Hey all,

Time to turn on the Way Back machine and look at another great film of yesteryear. The last few months I have really come to appreciate a new actress I have yet to highlight in the column, Eleanor Powell. The early 1930's were a wide open field in Hollywood. Audiences went to pictures in droves as an escape from the oppressing poverty of the Great Depression and the high days of radio were still a little ways off, let alone the on-set of television. Studios churned out pictures at an incredibly fast rate and many studios were trying to find out their identity. One studio that was in trouble in the early 30's was MGM.

By 1939, MGM would be the unparalleled titan of movie making, but early in the 30's they were still having trouble with their identity. The lady that really helped establish that was Eleanor Powell. Eleanor had been a dance prodigy since she was 11 years old and was a huge smash on Broadway with her electric dancing skills, particularly her tap dancing. She was called the "Queen of Taps", a moniker even Fred Astaire bowed to, citing her as the only person who ever intimidated him to dance with. Eleanor had several bit parts in films, but her performance in Broadway Melody of 1936 not only put her on the map, but MGM as well. The success of her films from 1935 to 1940 is one of the driving forces that established MGM as the home of the musical, and saved the company from bankruptcy.

Broadway Melody of 1936 was technically a sequel to the original Broadway Melody, one of the first talkie musicals in 1929, though it owes nothing to the first film in terms of story or characters. The film stars Powell as Irene, a young dancer who still has a crush on her high school sweetheart(Robert Taylor), who is now a big shot producer. She badly wants a part in his new act, but he is to busy romancing the financier of his play, a wealthy widow played by June Knight who is backing the play so she can have the part. When a newspaper reporter (Jack Benny) dreams up a famous French Dancer in his gossip column as a means to sell more papers, Powell begins impersonating the dancer to get the part. She is determined to show Taylor that she is good enough to survive on Broadway. Taylor wants the exposure Powell (as the French Dancer) will bring to his play, but doesn't know it is his former flame. In the end, Taylor and Benny have to decide what kind of choices they will have to make, and who they love.

This picture was Powell's first for MGM and her first as a lead actress. They surrounded her with some of there best talents, actors like Benny, Taylor, as well as marking this as the film debut of one Buddy Ebsen, the man who would later play Uncle Jed in the Beverly Hillbillies, though who cut his teeth as a song and dance man in many of MGM musicals throughout Hollywood's Golden Years. The real triumph of the film is the climax, a hugely elaborate piece set in a nightclub that is designed as a vehicle for each dancer. Ebsen, and his sister Vilma, dance, June Knight dances, and Eleanor Powell closes out the show to the song Broadway Rhythm in a doorbuster of a performance.

Broadway Rhythm was written by the great songwriter Arthur Freed, and culminate sin a number by Powell clad in a tuxedo tap dancing surrounded by trumpet players. Powell uses the entirety of the set

Powell was a trained ballet dancer who learned tap late after getting beat out for a lot of jobs by her lack of tap skills. She learned to tap with sandbags tied to her waist to keep her feet close to the ground and to dampen the more balletic style of her dance. When she does tap, she is amazing. Her machine gun style of tapping was unequaled and combined with the elegance of her balletic skills, she was un-comparable. What really amazed me was her skills at twirls and pirouettes, the flexibility combined with her long legs made her a dancer totally unlike anything movie goers had ever seen. I am an un-abashed fan of the classic Hollywood musical and the grandiose scope at which they operated. I can count only a few occurrences where I have been awestruck by a performance. Fred Astaire version of Puttin' On the Ritz. Gene Kelley and Don O'Conner in Singin' in the Rain. Powell floored me nearly every time I watched her. I picked Broadway Melody of 1936 because its the film that meant the most to her. Its the film that opened my eyes to the true genius that was her dance. I'm still searching for a copy of what I perceive to be her greatest performance, in the Red Skelton comedy I Dood it, where she does a Cow Rope dance that I would call impossible if I hadn't seen it performed.

Unfortunately after her stellar team up with Fred Astaire in Broadway Melody of 1940, Powell's career slowed down. Her production numbers had come under criticism for their ever increasing size and scope and after a surgery, she made only a few more films. All in all Powell's film career was brief, making less than 15 pictures. Less than that as the star. There were a few things about her career I never understood, specifically why studio's dubbed her voice in many of her films, despite the stellar voice she displayed on the songs they let her sing. It was a fallacy that Cyd Charisse, by many considered her successor, also suffered. I also didn't understand why MGM didn't team her up with other great dancers of her time. So many of her performances are wonderful tour-de-forces of her solo capability as a dancer. Plans to team her with Gene Kelly fell through on a sequel to her Broadway Melody series and once again in 1942 with dancer Dan Dailey in For Me and My Gal. Part of it I think were the others actors intimidation at her prowess, the other I think was her marriage to actor Glenn Ford in 1943. She made a few pictures after her marriage, including Sensations of 1945, largely overshadowed by also being the late W.C. Fields final film as well as a final team up with MGM in The Duchess of Idaho in 1950. Musicals had faded, given way to television to the most part by the late 50's and Powell did as well, along with her faith, hosting a Sunday morning television show for youths as an ordained minister. She did have a wonderful resurgence on the nightclub scene in the 1960's, singing and dancing well into her middle age.

Eleanor Powell is simply an amazing dancer. Even now I can watch one of her numbers and wonder how anyone could even compare to her. Ginger Rogers, her biggest contemporary at the time, was an actress who could dance. Eleanor was a dancer who could act. Not to take away from either girl, as each are performers who I hold a high regard for. Eleanor was simply on another level. Broadway Melody of 1936 is an amazing display of dancing skill, the first step of a series of films that showcase just how great she was. Broadway Melody of 1938 and 1940 continues that trend, the 1940 version especially with her dance numbers with Fred Astaire. Unfortunately many of her films are not on DVD yet and are quite difficult to find copies of. Still, I cannot recommend enough the caliber of performance she gives in each piece. Rehearsing until her feet bleed, striving for perfection. Powell's fresh look and dazzling smile always felt real in her performance, never a matter of having to smile for the scene, the woman loved dancing. She was once quoted as having said that she would rather dance than eat. I'm amazed at her continued ability to carry a dance number by herself, so many times and it's tragic that she didn't make more pictures.

Few could match the success or ability of Powell those first few years. I always thought it fitting that her final great film came out in Hollywood's Golden year, 1939, teaming with Fred Astaire. She made many good films after that, and even, in my opinion, had her best dance number. But without Eleanor, Hollywood would have been a far different place. Her contributions, so often downplayed when compared to the continued notoriety of Rogers, Astaire, and Kelly, should not be forgotten. Please check out 1935's Broadway Melody of 1936, from MGM. Eleanor Powell ha joined an elite list of actresses for me, joining the company of some of the all time greats, Ginger Rodgers, Grace Kelley, and Audrey Hepburn, as an actress who changed the way I look at motion pictures. Eleanor Powell was really the Queen of Taps, I'm in awe even now.

End of Line.
Gerrad!

Poetry: Spring

Hey all,

A very short poem today, sort of a hearken back to one of the thematic tones I had very early on in my blogging process. I wrote 3 or 4 poems about the changing of the seasons and I thought, looking out at the burst of vegetation in my back yard, that maybe it would be fun to re-visit one of them. In some sense I don't know that its over different in terms of the message that it is sending from my previous poem, called Springs Reason, but I do think that it is a little more developed. I sort of look like it in the same way one might re-draw an illustration later, taking the things they have learned over the yeas and make it better. In any way it is a very short poem, just meant to be more of an exercise in writing and for my own development. Hope you like it.


Spring


Sun drenched sky, awash in blue

The cloudy days gave way to new.

Rain drops fade to seasons dawn,

As the gloomy winter starts to yawn.

The grass so green begins to spring,

When the birds fly home and start to sing.

Flowers bloom in lusher shades,

As Winter's grasp weakens and fades.

Season's change to from cold to warm,

This brand new year begins to form.

As plants and birds and animals awake,

From the long and weary rest they take,

To greet so soon the summer days,

And shake the sleep in Spring time ways.

Spring is truly the birth of the year,

Where all of the Earth can bask in cheer.


End of Line.
Gerrad!

Flash Fiction: Under a Dead Sun: Past Sins

Chapter 10

Ally Marshall hurt all over. It was dark and there was still a faint taste of mud and dirt on her lips, along with a more coppery flavor, blood. She rolled over and eased her eyes open. She was laying in the stable, she could tell by the feel of the hard dirt and the strands of hay that were poking at her through her dress. Ally's head throbbed and she swooned, nearly fainting, as she pulled herself into a sitting position. She closed her eyes and took a series of deep breaths. Then Ally wiped some mud off her hand on the front of her dress, which itself was a mess of dirt, mud and blood before gently running her hand through her tangled hair, feeling the two giant lumps on her scalp. The worst one, the one from the man with the gun, still felt wet and sticky. The other was a hard knot, tender to the touch. Her face and cheek were still tender and felt swollen, especially when she licked her lips, feeling where it had been split open. By him.

After a few moments, Ally opened her eyes again, feeling less faint, though in no less pain. She could see it was dark outside, but when she looked to her left, she started screaming, scrambling away on all fours, curling into the far corner of the stable. Three bodies lay together. The old man, her father, lay with a bullet hole in his head, his arm stretched out as if reaching to her. The other two, behind him, were her brother, his glassy eyes staring vacantly at her. The last was poor sweet Eric, so shy, so sweet, her fiancee.

"Oh god no.........."

Ally cried for a long time, her body racked with sobs, shuddering under the guilt. Tears ran down her face, streaking the dirt, as she rocked herself softly in the corner. Everyone she had ever loved was dead. She was afraid to even open her eyes, for fear of seeing her father reaching out to her. For fear of seeing her brother, never again seeing his smile. And Eric, poor sweet Eric. They were to have been married in the spring, the arrangements having been made since they were both 12 years old. Ally cried harder now, until the tears no longer came and her voice became a dry throaty rasp, and stayed curled into that corner, the pain of her body forgotten at the pain of her heart.

After what felt like a lifetime, Ally opened her eyes. Her throat was raw and she desperately needed a drink of water. She gently pulled herself up, her entire body protesting with stiffness and pain. She steadied herself, leaning against the wall as a wave of vertigo swept over her. After it passed she slowly shuffled over to the water trough, just outside the stable. She sank to her knees, which sunk deeply into the mud, and drank deeply. After a few gulps, she leaned her head back, trickles of water running down her jaw. It was then she noticed it, the rising sun breaking in the East. But it was no sun she recognized. No longer a shining orb, but blackened, with tendrils of darkness stretchering out from it. Each moment she stared at it, she could feel more and more of the warmth be stolen from the air. A dead sun had risen in the dawn.

A new kind of fear gripped her then, and Ally Marshall freed herself from the mud and pulled herself upright, wanting to get away from the fear she felt. She stumbled into the stable, falling hard on her knees onto the dirt, laying on all fours. She stayed like that, breathing heavy, trying to hold back a fresh wave of tears. Out of the corner of her eyes though she saw movement, a slight flicker. She slowly turned her head, and saw her father's outstretched hand. Where the fingers had been though had been replaced by blackened sharp points, a claw. A claw that was now reaching for her. Ally screamed again this time, not one of anguish, but of terror.

End of Line.
Gerrad!

Word Balloon! Kick Ass!

Hey all,

I thought it appropriate this month to highlight the next comic book adaptation to hit the big screen, writer Mark Millar and artist John Romita, Jr's Kick Ass, published by Marvel/Icon. Marvel Comics Icon imprint is a specifically tailored comic book imprint for some of Marvel's biggest name creators who are under contract. It allows the creators, who continue to work for Marvel on their regular assignments, the opportunity to create, market, and publish comic books that they retain the rights to. It's a win-win scenario for both sides. Marvel gets to sign top tier creative talents to work on their biggest name characters, like Millar with the Ultimates, Romita with The Hulk, among others, while still giving them the creative vision to work on the projects that they want to do. The creators meanwhile get the steady employment and benefits (like insurances and guaranteed pay that come with big time exclusive deals) while continuing to create comics they want to work on without the stress and headaches that come from publishing comics independently.

Mark Millar has had some huge success with creating his own comics for Image Comics just a few years ago with Wanted, his book with artist JG Jones. That books success paved the way for the hugely successful movie adaptation with Angelina Jolie. He created a whole line of books for Image at the time, but the biggest parts of his success have been from his time with Marvel. He was an instrumental factor in creating Marvel's hugely successful Ultimate line in 2000, helming modern day, fresh takes on decades long heavy continuity laden books like the X-Men and the Avengers. By helping reboot this Ultimate take on established comics characters, Millar made books accessable to new readers again. Artist John Romita, Jr is the son of comics royalty, John Romita, Sr, who is one of the pre-dominate artists of Marvel's Silver Age. Romita Sr crafted epic runs in his career, establishing characters like Daredevil and Spider-Man after the departure of co-creator Steve Ditko. His son, Romita, Jr, had been working for Marvel since the late 70's exclusively. Romita Jr is the closest thing Marvel has to a modern day Jack Kirby, a penciler who has worked on nearly every single Marvel character in his 30 plus year career with epic runs on X-Men, Daredevil, Spider-Man, and the Hulk, along with every character in-between. With Kick Ass, it provided John Romita Jr a chance to stretch his creator legs for the first time in a very long while. It gave him a chance to do something original.

The teaming of Millar and Romita was guaranteed to provide instant sparks in the comic community, especially with Millar, known for crafting cutting edge, wide screen shock and awe comics, and Romita, who was perceived as almost a comics institution. The team up definatly does not disappoint. Kick Ass is an 8 issues limited series about Dave Lizewski, your typical run of the mill teenager facing many of the issues that today's teens face. His mother has recently passed away and his father is having a tough time coming to grips with her loss, so Dave turns to his friends, and comic books, for comfort. One day Dave takes his obsession with super-heroes to a new level, deciding that maybe one person can make a difference prompting Dave to buy a suit online and don a mask to become a super hero.

At first he simply prowls the neighborhood, training and posing, but when he witnesses a mugging, he springs into action for the first time. Unfortunately, just wearing suit does not make you a hero, and he get's beaten so severely he is hospitalized. After months of therapy, Dave is released, the world convinced he was the victim of a gay mugging (since he managed to remove his suit before paramedics arrived to protect his identity) after being found naked and beaten. He decides that he should give it one more go, and this time he successfully manages to protect a man from several thugs, while being filmed by a video camera. Becoming a YouTube and MySpace sensation, the hero Kick Ass is born, and gives birth to several copy cat heroes.

At the same time, two other masked vigilantes are attacking a local crime boss, Big Daddy and his 11 year old foul mouthed daughter, Hit Girl. With all of the crime bosses men claiming a masked vigilante is killing their men, he believes it to be the work of Kick Ass, the most well known hero. Kick Ass then becomes embroiled with Big Daddy and Hit Girl, realizing just how outclassed he is in the super hero business. Ready to give up, he meets another new hero, Red Mist, a hero who eventually drags him further into the growing conflict between Big Daddy, Hit Girl, and the crime syndicate.

First let's look at Mark Millar's writing. Kick Ass is exactly the sort of book Millar excels at, foul mouthed characters doing incredible wide screen action. Here Millar does allow for some nice deconstruction over the 8 issues to allow you to really get in the head of lead character Dave Lizewski. You do come to feel for him and his plight and the general earnestness in which he carries himself. Young Hit Girl continues to be the stand out character though, Millar having crafted this foul mouthed hellion who is both parts deadly and adorable. She is the freshest character I have read in quite some time. My only compliant is that sometimes the book feels a little long. I think the terribly intermittent publishing schedule really affected the quality of the story, qualities that I feel they really tightened up in the advanced screening of the theatrical adaptation that I saw last month. The film adaptation for Kick Ass was in the works even before the book was finished being published, stretching way back to early 2008. The comic book's 8 issues were published over the course of nearly a 2 year stretch. A fact that I do think takes away from some of the story elements, making it feel dis-connected at times.

Romita's pencils though haven't been this sharp in nearly a decade, since his epic run on Spider Man in early 2001. He brings Millar's wide screen storyline to bigger than life proportions. He crafts some really great character models, from the spindly Kick Ass, to the hulking Batman-esque Big Daddy. His thick heavy pencils come across really clean, creating a style completely his own. I even thought his pencils were tighter here than in some of his recent Incredible Hulk work. In Kick Ass he found a nice balance of the classic blocky approach he has developed over the past decade and the more streamlined style he had early parts in his career. He even manages to capture the violent and graphic action of the story in a very fresh manner. Graphic violence is not usually something you see in a Romita drawn book, but he proves why he has been Marvel's go to guy for the better part of 3 decades in teaming up with Millar. He never shys away from the scenes, including a fairly graphic torture sequence near the books climax.

Kick Ass is a book that likes to push the envelope, in terms of violence, action, and what you have come to expect from a comic. While I certainly don't claim it's either creators greatest work(for Millar his Ultimates run is un-parralleled and Romita's Daredevil and Spider-man arcs remain seminal works) I will say it is a really great book. It does so by creating an entirely new facet for promoting and formatting comic books. Kick Ass was something that was being written with the concept for the film in mind, melding the union of comic book and motion picture even deeper, right from the beginning. Writing self contained stories that were perfect for film adaptation is not something most writers have considered, at least at first. Most write the story and let it go from there. Here is a creation that was written with a beginning, middle, and end, in short form. Millar took the successes he had crafted in his earlier creator works like Wanted, and refined them to make Kick Ass even more successful. Arguably it works too. The option for Kick Ass was bought before the first issue even hit the shelf. What this means for the future of comics remains uncertain, though this could change many creators choices in the model by which they create new material.

As comics and film become more and more intertwined, we are going to be looking at books like Kick Ass that paved the way. Kick Ass is really a prototype for modern comic books, embracing the traditional elements of the classic four color comic book, yet all the while preparing the reader for a brand new interpretation in an entirely different format. I'll be curious to see how Mark Millar's next Icon book, Nemesis with artist Steve McNiven does. It's being crafted in a very similar style to Kick Ass, the question though is will lightning strike a third time. I totally recommend Kick Ass as a fun read and one of the best action books that have been published in the last few years.

To conclude I will say this, in what is surely a bit of sacrilege, I honestly thought the movie was a slightly stronger interpretation. They addressed a lot of the minor storytelling issue I had with the series and condensed the slower parts very nicely. All the changes that they made (which wasn't many) I thought really went towards making the over all experience stronger. That and the fact that Chloe Moretz portrayal of Hit Girl is one of the best performances of a young actress since Jodie Foster in Taxi Driver. If your intersted, you can check out my early review of the Kick Ass film here Still, you can never go wrong with checking out the source material after checking out the film. It's an unflinching take on what super heroes would be like in the real world, in all of its visceral glory. Mark Millar and John Romita Jr craft a really fun and original tale that is artistically gorgeous to look at. Check out Kick Ass, from Marvel/Icon.

End of Line.
Gerrad!

Movie Review: Clash of the Titans

Hey all,

Easter has came and went and I managed to find a few hours in a very packed working weekend to catch the new re-make of the 1980's classic, Clash of the Titans. The original film is one of those movies that so many people have great memories of from their youth and I think this film has drawn a lot of harsh criticism for that reason. The 2010 version is directed by Louis Leterrier, best known for helming The Incredible Hulk with Ed Norton. It also stars action film up and comer Sam Worthington, who is quickly carving out a name for himself in huge blockbuster movies like Terminator Salvation and Avatar.

Clash of the Titans chronicles the adventure's of one of Ancient Greece's earliest heroes, the demi-god Perseus (Worthington), the half mortal son of the Olympic God Zeus(played by Liam Neeson). Raised by fishermen, he arrives in Argos with his family, only to watch them die at the hands of the God of the Underworld, Hades (Ralph Finnes). Hades has been allowed to attack Argos for their insolence towards the Gods and the fact that they believe themselves superior. Promising to release his beast, The Kraken, upon the city in 10 days, he vows to destroy Argos unless the daughter of the king, Andromeda, is sacrificed to the monster. Andromeda (played by Alexa Davalos) embodies all that Argos believes makes them superior to the Gods, kindness, intelligence, and a beauty to rival Aphrodite.

Perseus teams up with some of Argos best soldiers and begins a quest to find a way to stop the Kraken, as is his destiny. He is helped along the way by Io (Gemma Atherton), an immortal woman who has watched over Perseus his entire life so that he may complete his destiny. Io, together with Perseus and the soldiers of Argos, guides them along the path his quest must take. First they must consult the Furies, wise, yet crazed seers who share a single eye and can foresee the future as well. Along the way the must fight Calibos, an empowered creature of Hades who hates Perseus and the giant scorpions that spring from his blood. Thier quest takes them to the liar of Medusa, the Gorgon who live son the edge of the Underworld along the River Styx and whose gaze turns men to stone. Only after defeating these, can Perseus return to Argos to meet his greatest challenges, The Kraken and Hades himself. He also must learn to accept exactly what his is, both man and God, in one.

Overall this movie was okay in my opinion, it's a big summer action movie that admittedly I went into with very low expectations. I had heard a lot of bad things about the actual 3D effects in this film, so my review is entirely based on my traditional 2D experience. Let's look at some of the things that I thought worked. Director Leterrier really knows his way around an action scene. He can give you huge spectacle, but he also knows how to keep the direction in the shot so that you can still see what is going on. One of the problems I have with films like Transformers is how fast they cut the film. The action is moving at such a pace, you don't get to see what is actually happening. This was one of the things that Leterrier did well when he directed Transporter 2, that I really missed in the action scenes from Transporter 3. You lost focus. I also liked that the fight scenes against the giant scorpions cast a nice homage to the great Ray Harryhausen who did the stop motion effects for the original film. The fights had a fun cinematic flair to them.

Now let's look at the casting, which I thought was a little more of a mixed bag. First up, the casting choices that worked. Sam Worthington is continuing to establish himself as a growing star and certainly Clash of the Titans exemplifies his ability to work in such an effects heavy genre. He has a natural toughness that can suit him as a big budget film actor. I can easily see him developing a career along the lines of Harrison Ford, making huge genre blockbusters but never getting recognition for his acting. My only concern is that if he continues to make these CG heavy films, people won't know the actor, just the film. Hopefully he can work in some riskier roles in the future, but for now he is establishing himself as a force in this genre. The best bit of casting is Gemma Atherton as Io, Perseus' guardian and eventual love interest. Gemma is gorgeous in the role and really steals the spotlight with just the brightness of her appearance in every scene. Liam Neeson brings just the right blend to the character of Zeus. Part of him knows the campiness of the film and you can see him having fun with the role, but he does have that certain amount of gravitas to lend to scenes that need him to display the weight of a God. My only complaint in casting was in Ralph Fiennes as Hades. Fiennes is usually such a great actor and in this role it really feels like he is doing a pale version of his role as Voldemorte from the Harry Potter films. For such a great actor, it really felt like he was mailing it in, getting lost in the visual effects and not channeling any sort of real effort into the character.

As for the visual effects, I can see where people would have some gripes. I didn't partake of the 3D experience, but some of the effects shots did look a little rushed to me. While big sequences, like the Kraken and the Medusa looked great, smaller bits could have used some polish. I noticed it more in scenes on the water where a lot of times the boats didn't really look like they were floating, or in scenes on Olympus, where you never really got a sense of the grandiose halls that should be housing the gods, they looked a little plain. I also can imagine that soem of the 3D effects could have come across feeling a little forced, since the concept of converting the film to 3D came so late in post production on the film. I would imagine that a director would direct or edit an scene differently if they know the film is going to be in 3D, as opposed to otherwise.

I think one of the biggest complaints I have heard about the film is that they changed so much of the original films story to fit this one. Honestly, both films are based on the Legend of Perseus, and both films take a generous amount of liberties with the film. The original Clash of the Titans was written based on several of the Ancient Greek Legends, borrowing some points and placing them in a single context around Perseus and Andromeda. They didn't even stop at Greek Legends, as technically the Kraken is Scandinavian in origin. Still the original film de-railed itself from the myth as well, changing the sea monster from a giant whale to the Kraken, adding in more mythological monsters, changing the fates of Perseus and Andromeda. It seems kind of silly to me that people are upset about scripting changes to something that itself changed based on an ancient myth that is full of conflicting historical inaccuracies. The only real change that bothered me in this was to the love story between Io, Andromeda, and Perseus. One of the things that set Perseus' legend apart from other great Greek heroes, like Odysseus, Hercules, Jason, and Achilles, is that he is the only one who get's a happy ending. Greek heroes always suffered, sure they lived a greater life than an other, but they always suffered, even in the end. Perseus was one of the only ones to live and rule a kingdom pretty much happily ever after. In this version, well they take an approach that leaves the possibility of a sequel more open.

Overall my approach to this film was one that I don't often have. I wasn't going in to it trying to re-capture the experience and resonance of my 8 year old youth. I looked at it as a remake, along the lines of what they to do properties like Robin Hood, Peter Pan, Gladiator, and the like. It's very much a re-make of a piece of property in the public domain. To judge this film based on pre-conceived notions is the same as judging Russel Crowe's upcoming Robin Hood film to that of Kevin Costner's 1990's version or Errol Flynn's version in the 1930's. They are simply different interpretations of classical stories. I had the same approach with the Batman franchise. Where this differs for me with movies like Transformers or Bond films is that these are supposed to be interpretations of properties that have been defined. Each Bond film is based on the one that came before, they never really re-set the franchise, they still keep ties to the old, therefore keeping the same connotations with each film. The films are based on material that is fairly clearly defined. This is where a film like Tron 2 this year is going to have a higher bar to measure up to than Clash of the Titans does.

In the end, I thought the movie was fun. I won't call it well written, or acted, or even a great movie. It's simply what it promises, a huge fun action film that acts as a fun bit of escapism. I can enjoy the film for what it is, entertainment. Sometimes all you can hope for from a movie is that, entertainment. I'd say if you are looking just to go have some fun, catch Clash of the Titans,if not, you can enjoy it just as much on DVD.

End of Line.
Gerrad!

Flash Fiction: Under a Dead Sun: Past Sins

Chapter 9

Cody Jarrett knelt next to one of the dead men laying face down in the muck. He used the fringe of the man's shirt to gently clean the drying blood off of his pearl handled Colts. Two feet to his left lay a young girl. She couldn't be more than 15 years old, with long brown hair that had been pulled into a pony tail, but now lay askew. He could see the welt forming on her head from where he had taken the pistol across her scalp, blood already drying, mixing with the muck of the river mud, caking her head. Cody stood tall and twirled his Colt into his gun belt, which lay in a cross draw. Using his boot, he none to gently kicked the girl onto her stomach, mud and dirt caking her face and the front of her dress. She was ample and wide of hip, just the way he liked them. Using his gloved left hand, he slowly wiped the muck from around her mouth, smiling at the fullness of her lips.

Cody titled his hat back as he heard the shuffling of hoofs behind him and knew that Beau was coming with fresh horses. He turned and looked at the animals, two were not much better than plow horses, though the third was a good sized bay that would meet his needs nicely. He took the reins to the bay, flashing Beau a glare. Beau just lowered his eyes and began transferring his brother's and his saddles to the new horses. Cody hitched up his gear, including repositioning the stolen money from the bank into an extra set of saddle bags that would make it easier to carry. After his horse was ready he walked over to the brothers. Beau had saddled the horses, wise enough not to piss Cody off, but was now looking at his brother's belly wound.

The bullet was still lodged in Buford's gut. Cody knew he was a goner. Still, he needed the brothers a little longer. This wasn't yet the time of the place. Buford was turning a sickly yellow, blood likely seeping into his stomach. It was a painful way to die to be sure. His eyes had already started to glass over and he kept mumbling how cold he was over and over.

"Cody, please..... we gotta get to Desperation. He.. he ain't gonna make it unless we get to a doctor. Please Cody..."

The simpering sounds of weakness in Beau's voice made Cody want to kill him right there. Cody looked up, the sun already starting to set in the West, soon it would be to late to see to travel and staying at the river's edge was to dangerous, to close should a boat come along. He also glanced over at the girl, trying to quell the needs bubbling inside him. The needs that always came after a killing. There just wasn't time. Cody Jarrett may be a murderer, but you don't live as long as he has doing the things he has done by being careless. Cody ordered Beau to get Buford on his horse and then help him drag the corpses into the stable. They quickly drug the three men in, tossing them just out of sight. Jarrett threw the girl beside them, hearing a sick thud as her skull bounced off the hard packed dirt inside. Oh well, he never did like them to stupid to enjoy it. With a smile, Cody mounted his horse and followed the two brothers as they rode towards the town of Desperation, thinking the worst of things now lay behind him. Little did he know how wrong he was.

End of Line.
Gerrad!

Poetry: Color

Hey all,

All right the following poem is a very far cry from my normal stomping grounds. I think I have fallen into a bit of a rut, concerning the very dark themes of some of my poetry so I cast about looking for some kind of inspiration to craft a love poem. I didn't want it to be something that was a very traditional post of love poetry, instead I looked for an event in a person's life that is very romantic and tried to build around that. I always thought of a proposal as being a very romantic time for the most part and wondered how I could capture that.

To do so, I looked at another poem I wrote a few years back, in which I used colors to tell a message of loss. As I played with it I thought about crafting a bit of a this poem to act as a sort of companion piece to that poem. Where one is the opposite end of the same spectrum. I tried to keep some of the things close, and changed a few others. The redness of the lips, the yellow hair seemed very much like something that fit tonally, though I tried to change the rest of the colors around to mean different things. I still think I effectively changed up the poem enough so that it is different from the other poem, which I titled Black. Black remains the only poem I have written that doesn't have the title in the poem itself, in and of itself being a representation of what color the author felt. Hopefully you like this poem and don't feel its just a re-tread. I like how it came out. To be honest, it just felt nice writing something different.

If you want you can re-read Black here Enjoy!



Color


Yellow flecks of straw spun hair,

Whose flowing locks brighten my cares.

Deep green eyes, the stillest pool,

Whose depth make me feel the fool.

Soft red tinged lips curled to smiles,

Your sweet taste lasts for miles.

Peach smooth skin I'm blessed to touch,

Whose gentle caress I love so much.


The sky above is filled with blue,

But in the clouds I just see you.

Orange rays of sun enlighten the Earth,

Yet you are the one who brightens my worth.

A field of green, so ripe and pure,

Seems a withered mess when you differ.

Even daisies bloomed, grown lushly white,

Cast a paler beauty that against you seems slight.


Our future may be uncertainly gray,

But with your love I can find the way.

For silver seams glow brighter when,

I hold you in my arms again.

So as the purple dawn begins to break,

On the next step our relationship must take,

I kneel to you and offer this gold band,

And ask for you to take my hand.


There is no color that can say,

Will you be my wife today?


End of Line.
Gerrad!

Assorted Nuts!

Happy April All!

Another month down, 1/4 of the year already gone. Time seems to keep speeding up when i look at the big picture, and while individual days seem to drag sometimes, overall time is blurring very quickly. Only a few months to go until comic con too. A very exciting time lays ahead, just hope that I can continue to make time and grow my creative output.

I thought last month that I had a nice range of stories and work, especially the short story Violets which I thought came out nicely. I also have to admit, I really like working on Dead Sun, the first serial was one of the few projects that I never got tired off, and the two long formed works I have done since then I really started to get bored with after 20 or so chapters. I have some good plans outlined but I keep coming up with better ideas which is why we still continue to get into the exposition of the story. Eventually the separate tales will convalesce into a single story, but we may see different chapters from different points of view. I hope to take some time out later tonight and get the next chapter up, ideally getting the opportunity to meet the last "main" character in the tale.

Gonna stay hard at work on the blog and keeping creative. As always I appreciate your feedback and thank you all for reading.

End of Line.
Gerrad!