A good bit of China Mieville's acclaim comes from his ability to use a location as a character in his novels. Perdido Street Station takes place in the city of New Crobuzon, an otherworldly analog to London. In that novel, Mieville allows the city to reflect the attitudes and emotions of its inhabitants, and his descriptions of the various boroughs that his characters pass through evoke just the right mood for the events that subsequently take place. And through it all is permeated a sense of wonder and awe, as we see a city so very near to the one we know and yet different in surprising and important ways. New Crobuzon has a life of its own, and in Perdido Street Station, the reader finds himself as concerned, if not more concerned, about its ongoing survival as for the survival of the characters.
Perhaps there is some work to be done in some literary analysis of the abLondons in speculative fiction. Neil Gaiman's Neverwhere imagines a London that with an entire alternate city lurking just past the next corner and hidden behind the shop wall. Mortal Engines, by Philip Reeve, is a young adult novel about a London that is attached to giant caterpillar treads and wanders about its world devouring smaller cities and towns. Part of the appeal of such novels is how they twist the familiar into something different and still are able to evoke the original, a sort of nostalgia for a place that still exists. And now we can add to this quasigenre Mieville's latest novel, Un Lun Dun, his first entry into the young adult field.
Deeba Rashem finds that her fiend Zanna is getting all sorts of attention from unusual places-graffiti about her pops up on a wall near their school and foxes bow to her as Deeba and Zanna pass them. But none of this compares to one evening when they witness an umbrella crawl across a courtyard and hoist itself to Zanna's windowsill to spy within before heading off down the sidewalk. Curious, they follow its path into a maintenance area and, before Deeba can stop her, Zanna finds and opens a trick door. Suddenly the girls find themselves in a London parallel to their own, UnLondon. Fairly quickly upon their arrival, Zanna is recognized as the Schwazzy, the prophesied savior of UnLondon against the villainous attacks of Smog and they find they must make their way to the city's rulers and present Zanna and save the city.
The Smog is one of the most ingenious villains in recent memory. When London of our earth passed its Clean Air Act of the 1970s, where did all the noxious smoke go? According to Mieville, it worked its way through cracks in the universe to UnLondon, where it continued to grow and gained sentience. The Smog now threatens to take over the city and transform its inhabitants into smoglodytes and its recently deceased into smombies. The Smog can also use its components to create sleeping gases and pellets it can launch like bullets.
Deeba and Zanna gather allies as they travel to meet with the Propheseers: Obaday Fing, a clothier whose head is a pincushion and who makes haute couture clothing from books; Hemi, the son of the union between a ghost and a mortal; Skool, a walking diving suit; Jones, another transportee from our Earth who makes his living as a bus conductor; and Curdle, the charming empty milk carton that wins his way into Deeba's heart. As they travel the city, the reader is given a tour of UnLondon in all its glory--the open markets, the Smeath river that flows in a perfectly straight line through the heart of the city, the UnLondon-I which is a giant waterwheel that powers a large part of the city. Their vehicle for travel is a standard double-decker bus whose upper floor has been replaced with a dirigible type balloon and Jones acts as a tour guide for them as well as for the reader. It turns out that UnLondon is a city made up of the cast-offs of London, both material and people. Buildings are made from London refuse (my favorite is the one that is made of vinyl records), but enough of London emerges from the weirdness that it all feels very comfortable.
Their lazy promenade is interrupted by the allies of the Smog attacking from the backs of giant flies trying to reach the Schwazzy, and smaller adventures take place until the girls reach their destination. Eventually they ally themselves with Brokkenbroll, the great Umbrellisimo who is able to command the broken umbrellas that make their way from London to UnLondon. All together, they discover the great weapon they can use in defense of UnLondon so that perhaps the Schwazzy is not quite needed. So Deeba and Zanna return to London…until Deeba puts together the pieces to realize that UnLondon is in far worse danger than anyone thought. Now she must somehow find her way back to her newfound friends.
Un Lun Dun is a delightful romp. The main characters are flatter than are usually found in Mieville's works, but this is a young adult novel, so character complexity would actually be unfortunate. But the most important character may well be UnLondon itself, as delightfully weird a setting as Oz. And Deeba acts the Dorothy as she attempts to save the city from, in part, a peril from her own city of London. In its broad strokes, the story is a little predictable, but again, young adult novels don't generally travel very far from the beaten path. It is in the details that this novel excels-the descriptions of the parts of UnLondon, the conversations that the characters share, the characters themselves. Even the menace of the Black Windows of Webminster Abbey are fun (as evidenced by Deeba's laughter at the intentionally unintentional puns), but they poise another hazard for the companions to fight through. Adding to the details are the wonderful drawings from Mieville himself, instantiating the macabre and whimsical scenes and characters. My favorites are the binjas, walking trashcans that use martial arts to protect the Propheseers.
And, like most good young adult fiction, there are some details that work only for more mature minds. For instance, while the novel sets itself up as a quest in the mold of popular high fantasy, Mieville completely subverts its ordered and sequential pattern with the impatience of a bored child. There are also allusions to other works of speculative fiction and hints of the size and complexity of the UnEarth that tantalize the adult reader. Mieville even provides an epilogue that goes beyond the usual conclusion of young adult fantasy, successfully tying up a loose end and promising that the story continues to go on even though the book's covers are closed.
Friday, February 23, 2007
Monday, February 19, 2007
Comic musings for 2/14
It was a very strange week in the comic box. Especially given Grant Morrison's Batman, it looks like everyone is being experimental with mixed success. What with the upcoming 3D issue of Action coming up and the new twists on stroytelling out this past week, it appears that DC is somehow falling back to the late 80s, using gimmicks to tell their stories rather than letting solid writing and art do the work. More below.
Spoilers ho!
Batman 663 -- So Grant Morrison takes an issue to write out the story prose style, with a relatively unknown artist illustrating the story as if it were a children's reader. Of course, the subject matter in this case is the Joker, not exactly kids' fare, but we've seen this before and better. There are two failures with the issue--first, to make this work, the story has to be good, not only plotwise but stylistically. And honestly, this is just not good writing. The idea that the Joker goes through phases helps to explain how he can act so differently in various appearances, but then so does the explanation that he is insane. Morrison does add a nice touch, that when Joker changes his phase, he gets rid of the henchmen left alive at the end of the previous phase. Harley Quinn is very significant to the latest phase of Joker, but we don't realize she is being set up by the Joker until she does. And this is all set up nicely by the opening scenes of the clown's funeral, as former henchmen for Joker lay one of their comrades to rest.
No, the problem here is the style of Morrison's prose. An example: "The eyes of the two men lock into place like dancers in a tango. It's as dangerous to look the Joker in the eyes as it is to train a telescope on the sun, they say, but Batman has faced down this blue-hot lunacy before." Maybe to some readers this just sings, but to me it is forced and clumsy...and perilously close to a mixed metaphor.And most of the writing is like that, metaphor piled on slightly different metaphor, image beside incongruous image. Perhaps the style is meant to suggest Joker's insanity, but ifthat was the goal, itdoesn't have to be so heavy-handed and, ultimately, obtuse.
The other problem is with the art. John Van Fleet uses a computer for photo-realistic illustrations through the story. The images themselves are okay, even though they have that artificiality of screenshots from your favorite computer game. Some are fascinating and some are unrecognizable. But more troubling is the strange placement the pictures have in the book; sometimes the art literally gets in the way of the words, so that the path through the text is uncertain. And the last page, with its very few words, is very difficult to parse. Either Batman has been shot in the head or he's growing a rose from his head, like one of the Meanies fom Yellow Submarine. But that image doesn't quite fit in with where the last words of the story take us. So I've spent a good 15 minutes reading adn studying that last page and I can honestly say I have no idea what's happened.
I like the story being told, I really do. I'm just not sure the story was worth the cost of the offputting writing and art.
Green Lantern Corps 9 -- I've been enjoying this arc, "The Dark Side of Green", as writer Keith Champagne has introduced the Green Lantern Corpse. Led by a Durlan (and it's nice to see a militant Durlan rather than the usually passive Cham of Legion of Superheroes), the Corpse acts much like the Impossible Missions squad--they take the missions no one else wil ltake and if anyone dies along the way, the Guardians disavoew any knowledge of them. Recruiting Guy Gardner into that group seems natural enough, and their foe, a genetically enhanced Dominator, is a very nice change of pace. Add into the mix a new Green Lantern, R'amey, an ultra-cute alien who looks like nothing less than a full-grown fairy, and there appears to be tension galore between the philosophies of the members of the Corpse. But by the end of the issue, when we find that R'amey may actually be the most powerful of the bunch and her mild exterior hides the soul of a radical warrior, the story turns the reader's expectations on its mutual ear. Guy protests the killing of the Dominator is not necessary when they capture it and is shocked when the luminous fairy rips the Dominator to shreds. Then the capper comes when the Durlan tells Guy he is not good enough for the Corpse because (surprise surprise) Guy has a conscience and will not blindly follow orders. Of course, Guy has never been as extreme as his stereotype paints him, and this issue just emphasizes that.
Of some concern is the fight scene, but it is not a breaker. I had to parse the battle sequence a number of times to figure out what exactly happened, but elsewhere, the art is stylish and effective.
The end of the issue implies that we have not seen the last of the Corpse or the Dominator, and I hope that this is the case. I would like to see more intelligently written science fiction comics about these characters.
Y The Last Man 54 -- I have thoroughly enjoyed the run on this title, but this one issue has to be the most dissapointing so far. This issue features the return of two side characters, Cayce and Henrietta, the sincere but lost ultra-feminst artists who showed up a few issues ago. The story opens with the two of them trying to make a move about empowering women, but their actors quit the movie with complaints that is just another action flick. They argue for a bit with Cayce tossing out this explanation, straight from the feminist handbook of the 70s--"We're appropriating the trappings of male-dominated cinema, and subverting them to make the first truly female action hero." When pushed on other female action heroes, such as Ripley and Sarah Connor, Cayce replies "That's not the point! those movies were all made by men for men."
The irony here is stupendous, since there is only one man left in the world and he is neither making the movie nor likely to see it. Vaughan's point about the inability of true believers to release their beliefs even when they are no longer valid or necessary is clear. Later Cayce and Henrietta pick up a comic book that some young girls have been reading. Inspired, Cayce decides to switch media to deliver her message and creates a comic book for herself. The story is very familiar; all of Earth's women have been killed in some sort of plague, leaving a sole survivor to wander the world. The last few panels find our hero Yorick reading the comic and expressing his disapproval of it.
Perhaps this issue will be the starting point for an arc, but in and of itself it is terribly unsatisfying. Maybe the creators felt the reader needed some whimsy following the events of the last few issues and as we are about to begin the final arc, but I think there are better stories that can be told. I'll have to hold final judgment until the next issue, but this issue itself felt like we were treading water and not given anything of value for our being forced to stand still. However, I do believe this is one of the best titles coming out of Vertigo right now, and I'll miss it when it's gone.
Tales of the Unexpected 5 -- Forget the lead story in this anthology, that of the Spectre and his new host working out their relationship. What's more interesting is the back-up story featuring Dr. 13 and his daughter fighting Nazi gorillas with a lisping ghost, a vampire and old-time boy hero, Genius Jones. Up to now, the adventues that the team has been sharing have been whimsical and fun, harking back to the golden ago of DC, but with no real sense of purpose. The stories acted like serial for serial's sake. All of this changed, though, when someone got around to talking to Genius Jones about why the group has gathered together (Genius Jones, for those who are unaware, was stuck on a desert island with all the books in the world...and he read every one of the books, so now he knows everything there is to know. Give him a dime and ask him a question, and he will answer it.). Suddenly the fourth wall is broken down as Jones explains that the team is gathered together because the architects don't believe the members need to exist. When pushed to explain further, he explains that the architects decide "who's who...and who isn't. They are the official guides to the universe when it was decided that one fashioned by the architects that preceded them didn't make cents...they knocked the old one down and built a new one. This is the fourth time it's happened--in this universe." Brian Azzarello's sly commentary on the existence of universes based solely on how much money they bring down is funny and somehow poignant all at once. Don't the charactrers have a right to have their story told? They certainly believe so and decide to confront the architects. The issue ends with some of the long-suffering characters being trapped under the foot of a giant monster with the heads of four dead presidents in yet another image of the power of our dollar over their lives. It was fun before just to see these strange old heroes being brought back, but now that they are actors in a metacomic and talking to the reader, I'm really looking forward to seeing where this one goes.
Spoilers ho!
Batman 663 -- So Grant Morrison takes an issue to write out the story prose style, with a relatively unknown artist illustrating the story as if it were a children's reader. Of course, the subject matter in this case is the Joker, not exactly kids' fare, but we've seen this before and better. There are two failures with the issue--first, to make this work, the story has to be good, not only plotwise but stylistically. And honestly, this is just not good writing. The idea that the Joker goes through phases helps to explain how he can act so differently in various appearances, but then so does the explanation that he is insane. Morrison does add a nice touch, that when Joker changes his phase, he gets rid of the henchmen left alive at the end of the previous phase. Harley Quinn is very significant to the latest phase of Joker, but we don't realize she is being set up by the Joker until she does. And this is all set up nicely by the opening scenes of the clown's funeral, as former henchmen for Joker lay one of their comrades to rest.
No, the problem here is the style of Morrison's prose. An example: "The eyes of the two men lock into place like dancers in a tango. It's as dangerous to look the Joker in the eyes as it is to train a telescope on the sun, they say, but Batman has faced down this blue-hot lunacy before." Maybe to some readers this just sings, but to me it is forced and clumsy...and perilously close to a mixed metaphor.And most of the writing is like that, metaphor piled on slightly different metaphor, image beside incongruous image. Perhaps the style is meant to suggest Joker's insanity, but ifthat was the goal, itdoesn't have to be so heavy-handed and, ultimately, obtuse.
The other problem is with the art. John Van Fleet uses a computer for photo-realistic illustrations through the story. The images themselves are okay, even though they have that artificiality of screenshots from your favorite computer game. Some are fascinating and some are unrecognizable. But more troubling is the strange placement the pictures have in the book; sometimes the art literally gets in the way of the words, so that the path through the text is uncertain. And the last page, with its very few words, is very difficult to parse. Either Batman has been shot in the head or he's growing a rose from his head, like one of the Meanies fom Yellow Submarine. But that image doesn't quite fit in with where the last words of the story take us. So I've spent a good 15 minutes reading adn studying that last page and I can honestly say I have no idea what's happened.
I like the story being told, I really do. I'm just not sure the story was worth the cost of the offputting writing and art.
Green Lantern Corps 9 -- I've been enjoying this arc, "The Dark Side of Green", as writer Keith Champagne has introduced the Green Lantern Corpse. Led by a Durlan (and it's nice to see a militant Durlan rather than the usually passive Cham of Legion of Superheroes), the Corpse acts much like the Impossible Missions squad--they take the missions no one else wil ltake and if anyone dies along the way, the Guardians disavoew any knowledge of them. Recruiting Guy Gardner into that group seems natural enough, and their foe, a genetically enhanced Dominator, is a very nice change of pace. Add into the mix a new Green Lantern, R'amey, an ultra-cute alien who looks like nothing less than a full-grown fairy, and there appears to be tension galore between the philosophies of the members of the Corpse. But by the end of the issue, when we find that R'amey may actually be the most powerful of the bunch and her mild exterior hides the soul of a radical warrior, the story turns the reader's expectations on its mutual ear. Guy protests the killing of the Dominator is not necessary when they capture it and is shocked when the luminous fairy rips the Dominator to shreds. Then the capper comes when the Durlan tells Guy he is not good enough for the Corpse because (surprise surprise) Guy has a conscience and will not blindly follow orders. Of course, Guy has never been as extreme as his stereotype paints him, and this issue just emphasizes that.
Of some concern is the fight scene, but it is not a breaker. I had to parse the battle sequence a number of times to figure out what exactly happened, but elsewhere, the art is stylish and effective.
The end of the issue implies that we have not seen the last of the Corpse or the Dominator, and I hope that this is the case. I would like to see more intelligently written science fiction comics about these characters.
Y The Last Man 54 -- I have thoroughly enjoyed the run on this title, but this one issue has to be the most dissapointing so far. This issue features the return of two side characters, Cayce and Henrietta, the sincere but lost ultra-feminst artists who showed up a few issues ago. The story opens with the two of them trying to make a move about empowering women, but their actors quit the movie with complaints that is just another action flick. They argue for a bit with Cayce tossing out this explanation, straight from the feminist handbook of the 70s--"We're appropriating the trappings of male-dominated cinema, and subverting them to make the first truly female action hero." When pushed on other female action heroes, such as Ripley and Sarah Connor, Cayce replies "That's not the point! those movies were all made by men for men."
The irony here is stupendous, since there is only one man left in the world and he is neither making the movie nor likely to see it. Vaughan's point about the inability of true believers to release their beliefs even when they are no longer valid or necessary is clear. Later Cayce and Henrietta pick up a comic book that some young girls have been reading. Inspired, Cayce decides to switch media to deliver her message and creates a comic book for herself. The story is very familiar; all of Earth's women have been killed in some sort of plague, leaving a sole survivor to wander the world. The last few panels find our hero Yorick reading the comic and expressing his disapproval of it.
Perhaps this issue will be the starting point for an arc, but in and of itself it is terribly unsatisfying. Maybe the creators felt the reader needed some whimsy following the events of the last few issues and as we are about to begin the final arc, but I think there are better stories that can be told. I'll have to hold final judgment until the next issue, but this issue itself felt like we were treading water and not given anything of value for our being forced to stand still. However, I do believe this is one of the best titles coming out of Vertigo right now, and I'll miss it when it's gone.
Tales of the Unexpected 5 -- Forget the lead story in this anthology, that of the Spectre and his new host working out their relationship. What's more interesting is the back-up story featuring Dr. 13 and his daughter fighting Nazi gorillas with a lisping ghost, a vampire and old-time boy hero, Genius Jones. Up to now, the adventues that the team has been sharing have been whimsical and fun, harking back to the golden ago of DC, but with no real sense of purpose. The stories acted like serial for serial's sake. All of this changed, though, when someone got around to talking to Genius Jones about why the group has gathered together (Genius Jones, for those who are unaware, was stuck on a desert island with all the books in the world...and he read every one of the books, so now he knows everything there is to know. Give him a dime and ask him a question, and he will answer it.). Suddenly the fourth wall is broken down as Jones explains that the team is gathered together because the architects don't believe the members need to exist. When pushed to explain further, he explains that the architects decide "who's who...and who isn't. They are the official guides to the universe when it was decided that one fashioned by the architects that preceded them didn't make cents...they knocked the old one down and built a new one. This is the fourth time it's happened--in this universe." Brian Azzarello's sly commentary on the existence of universes based solely on how much money they bring down is funny and somehow poignant all at once. Don't the charactrers have a right to have their story told? They certainly believe so and decide to confront the architects. The issue ends with some of the long-suffering characters being trapped under the foot of a giant monster with the heads of four dead presidents in yet another image of the power of our dollar over their lives. It was fun before just to see these strange old heroes being brought back, but now that they are actors in a metacomic and talking to the reader, I'm really looking forward to seeing where this one goes.
Wednesday, February 14, 2007
True confessions
I've been feeling a little unhappy with my writing output of late. A couple of things are slowing me down; first, I'm reading a novel, Vellum, which I'm having a very hard time getting my head around. Given the reviews I had read that convinced me to give a it a try, I should have expected such a condition, especially since a lot of my reading is confined to quiet time and bed time--so I generally read is short spurts unless something really grabs me. Secondly, there's not been a lot of quiet time of late. In my real life, I work for a software company that is working on a major release and facing up to some difficult decisions about how to move forward, and the workday is more wearying of late than usual. So when I get home from the office, instead of picking up a book that I have to work at to get through, I'm doing fluffy things, like computer games or a nap. However, according to Amazon, my copy of China Mieville's latest, Un Lun Dun, is arriving today, so I may set aside Vellum to read that. And my book group meets this weekend, so I'll get another book selection to work on as well.
I say this all as a sort of introduction to folks who may be coming here from ComicSpace.com. Astute observers will notice I have added a link to this page, to the ComicSpace page for my good friend Eric Nolen-Weathington. Eric has generously put a link on his page back to Perrynomasia and, preparing for more views than before, I thought I would explain why there is a slowdown in my reviews and postings. (I know, I know, a real writer would work through the lull, but see, that's sort of what I am doing at the paying job...). And given that Eric knows a lot more people in the industry than I do (and the ones he does know are far more important than the ones I do [Hey, George!]), a little sprezzatura seems appropriate.
Reading Eric's reference, he describes me as a "good friend" which I am grateful to believe to be true. Eric and I met two decades ago when he was the lead sheepherder at the arcade across the street from North Carolina State University and I worked at the comic/science fiction store two doors down. Whenever Eric had a lull in business, he would come by for a visit and he became a quick favorite of all the employees at Foundation's Edge, eventually leaving the arcade to work at the store shortly after I left for graduate school in New Jersey. I can't remember if Eric was a participant in the epic First Annual and Last Ever Foundation's Edge Air Hockey Tournament, but I know he was around to at least witness the grand finale, where the owner of Foundation's Edge came from behind to beat me. But when I came home for the summers, I would catch up on comics and books with Eric, and we ended up spending a lot of time discussing our interests in both fields. One of those conversations involved pitting heroes from the DC Universe against heroes of the Marvel Universe over Chinese food ("Who'd win, Nightwing versus Forge?" "Hmm, a good hand-to-hand fighter versus a man who can invent anything...'I'll invent a big stick and beat the crap out of him.'") Good times, good times.
During that time, I was fortunate enough to be a groomsman at Eric's wedding and his family attended my wedding this past May. And after I came home from New Jersey, Eric and I spent many afternoons playing basketball and chugging Gatorade. He's what I like to call "sneaky fast", while I am merely ponderously big. It was Eric's idea that I go to San Diego the first time, and we had a blast. What followed were more trips to San Diego, Chinese buffet food, and Eric giving me work as a free-lance copy editor for the Modern Masters series. I've been involved with all but one of his books, and for reasons I won't go into here, his name will be coming up again in the near future.
To quote one of his favorite commercials, Eric is "a good guy"; and if you run into him at San Diego or anywhere else, get him to do some of his cartoon voices. He does the best Dyno-mutt I've ever heard. I'm very pleased he never listened to my advice and went to a voice audition in San Diego so he can now hit it big at Two Morrows and Modern Masters (although I swear to you if he ever did go to an audition, he would get a job in a heartbeat). We'll be hanging out some at San Diego, so if you see him at the Two Morrows booth in July, look for me.
Here's to you, Eric, and your fiendish gravity-defying lay-ups. And welcome to any readers who may find their way here from his site.
I say this all as a sort of introduction to folks who may be coming here from ComicSpace.com. Astute observers will notice I have added a link to this page, to the ComicSpace page for my good friend Eric Nolen-Weathington. Eric has generously put a link on his page back to Perrynomasia and, preparing for more views than before, I thought I would explain why there is a slowdown in my reviews and postings. (I know, I know, a real writer would work through the lull, but see, that's sort of what I am doing at the paying job...). And given that Eric knows a lot more people in the industry than I do (and the ones he does know are far more important than the ones I do [Hey, George!]), a little sprezzatura seems appropriate.
Reading Eric's reference, he describes me as a "good friend" which I am grateful to believe to be true. Eric and I met two decades ago when he was the lead sheepherder at the arcade across the street from North Carolina State University and I worked at the comic/science fiction store two doors down. Whenever Eric had a lull in business, he would come by for a visit and he became a quick favorite of all the employees at Foundation's Edge, eventually leaving the arcade to work at the store shortly after I left for graduate school in New Jersey. I can't remember if Eric was a participant in the epic First Annual and Last Ever Foundation's Edge Air Hockey Tournament, but I know he was around to at least witness the grand finale, where the owner of Foundation's Edge came from behind to beat me. But when I came home for the summers, I would catch up on comics and books with Eric, and we ended up spending a lot of time discussing our interests in both fields. One of those conversations involved pitting heroes from the DC Universe against heroes of the Marvel Universe over Chinese food ("Who'd win, Nightwing versus Forge?" "Hmm, a good hand-to-hand fighter versus a man who can invent anything...'I'll invent a big stick and beat the crap out of him.'") Good times, good times.
During that time, I was fortunate enough to be a groomsman at Eric's wedding and his family attended my wedding this past May. And after I came home from New Jersey, Eric and I spent many afternoons playing basketball and chugging Gatorade. He's what I like to call "sneaky fast", while I am merely ponderously big. It was Eric's idea that I go to San Diego the first time, and we had a blast. What followed were more trips to San Diego, Chinese buffet food, and Eric giving me work as a free-lance copy editor for the Modern Masters series. I've been involved with all but one of his books, and for reasons I won't go into here, his name will be coming up again in the near future.
To quote one of his favorite commercials, Eric is "a good guy"; and if you run into him at San Diego or anywhere else, get him to do some of his cartoon voices. He does the best Dyno-mutt I've ever heard. I'm very pleased he never listened to my advice and went to a voice audition in San Diego so he can now hit it big at Two Morrows and Modern Masters (although I swear to you if he ever did go to an audition, he would get a job in a heartbeat). We'll be hanging out some at San Diego, so if you see him at the Two Morrows booth in July, look for me.
Here's to you, Eric, and your fiendish gravity-defying lay-ups. And welcome to any readers who may find their way here from his site.
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