Tales of an obsessed comics geek, Part I

The author with a prized copy of Marvel Team-Up Annual #5, circa 1982.

I’ll do some crazy stuff to get my comics. 

It’s easier now, that I live in a big city with a few very good comic shops, and of course the internet, but back in the ‘80s a young Nik spent a lot of time on the comics hustle. 

I got sucked into the addiction that would claim most of my life by spinner racks at Lucky’s in 1982, where our family would sometimes stop in after church. Marvel’s Star Wars, Roger Stern’s Amazing Spider-Man, Gerry Conway’s Batman, Claremont’s X-Men, John Byrne’s Fantastic Four… these were the hooks. These spinner racks were like Christmas trees to me. 

Right around that time circa 1983, an actual comic book STORE opened for the first time in my small California mountain town, right on Main Street. It was called McNeil’s, and run by a laconic man who seemed ancient to this 12-year-old. There were long boxes full of OLD comics, which I could never afford, and stopping by there on the way home from school once a week became a must. You’d inhale that peculiar smell of old comics, an entire room filled with them, and I was done for. 

But then McNeil died (he actually WAS ancient), and the store soon closed. Back to hustling for comics off the spinner racks at the supermarkets across town, or occasional trips to the amazing Comics & Comix down in Sacramento, which was like a Catholic visiting the Pope for me. Unfortunately, a pre-teen kid couldn’t get down there very often. 

I’d go hunting for anything, once even walking a ridiculous distance in summer heat to find the only comic even slightly interesting was an issue of G.I. Joe Vs Transformers. I didn’t even really LIKE G.I. Joe. 

Then another comics store opened in town, in a weird suburban spot just down the road from my house. It was called Kayo’s, run by a peculiar little elf-like man out of what seemed to be a converted front living room, with the rest of the house crammed away behind another door. 

It was a tiny but decent comic shop at an amazing time for comics circa 1986. DC was suddenly exploding with the creativity of Alan Moore, Crisis and Dark Knight. We were just getting into the great indy comics era then, with publishers like Eclipse, First and Renegade putting out strange, cool books that weren’t at all like the Marvel and DC stuff. Mr Monster, The Flaming Carrot, DNAgents, Cerebus. I picked up the third issue of some oddball black and white comic about ninja turtles on Kayo’s recommendation. I do wish I’d kept that. 

Kayo’s was a good fix, so of course it closed down. But then they opened again. And closed again. They did this several times over the course of a couple of years, moving around town to various locations – an old beauty parlor, a tiny space hidden upstairs in an office building downtown. 

Kayo was one of those hustling optimists you often see in life, sweating and trying to hold something together. He loved comics, but couldn’t give the business a go. The makeshift appearance of his shops said something – they seemed slapped together overnight, ready to move at a moment’s notice. One of the stores closed so suddenly that the next time I popped by it was empty, abandoned save for a big box of old Comics Buyer’s Guides left out on the porch. I took them all, of course. 

But he was my comics fix for a few desperate years there. Kayo hit his low when he was briefly selling comics out of a motel room. I still remember knocking on a hotel room door and getting an issue of West Coast Avengers from him. There was something vaguely seamy, absurd about the transaction, me a teenage kid going to cheap hotels to buy my comics. 

Kayo vanished eventually, but not without a whiff of scandal. There was a crime in the family, maybe even a murder – not him, but as I vaguely recall it was a son or a son-in-law – something that briefly made the local news, and then shortly after Kayo and his comics disappeared forever. I often wonder about the mysterious Kayo. 

But he left with me getting a final prize – in the final throes of his business, everything had to go, and so I ended up buying a comics spinner rack from him for $20, and hauling the stupid, awkward thing at least a mile or two back to my parents’ house. I kept it for years, moving from California to Mississippi with it, on into college, into tiny apartments. Eventually in my more vagabond years it ended up in a barn at my parents’ house, covered in spiderwebs, before it vanished entirely from my history. 

The comic shops I grew up with were always temporary, and the hustling, impermanent state of Kayo’s summed something up about them. But eventually that would change. Comics would get big time.

Next time: Flashy new shops, Batman goes Hollywood, and a move to Memphis

The Mandalorian: The Star Wars scene I’ve wanted for 38 years

If I absolutely had a pick a favourite scene from all the Star Wars movies, it’s a mere 47 seconds in The Empire Strikes Back. We’re introduced to a disreputable mob of bounty hunters hired by Darth Vader to hunt down Han Solo. 

There’s Boba Fett, of course, cult icon for the ages, and another five briefly glimpsed characters – spindly robot IG-88, reptilian Bossk, battered Dengar, Cronenbergian nightmares 4-LOM and Zuckuss. These characters are seen, don’t speak, and with the exception of Boba Fett, they’re never heard from again in the movies. (Although some harried crew member apparently threw the IG-88 model in the cluttered background of a Cloud City scene for extra set dressing, spawning endless fan theories.)

Those 47 seconds launched the imagination of a million dweeby kids and an entire subsidiary industry of books, comics and cartoons looking at just who or what those dirty bounty hunters were. That’s the best of Star Wars, to me – the lived-in sense, the countless possible back stories of background aliens and extras running around with ice cream containers.

I got kind of obsessed with those bounty hunters, even the goofy-but-fun novels exploring them. I can launch a detailed explanation of how 4-LOM and Zuckuss’ names apparently got messed up by Kenner when they made the action figures, so even though they’ve corrected the error, I still always think of Zuckuss as 4-LOM and vice-versa. 

I liked the seamy, lived-in side of Star Wars. The opening hour or so of Star Wars: A New Hope, before it left Tatooine, is rich with worldbuilding for me. The strangeness of moisture farming. The inscrutable Jawas and their building/vehicle stacked with stolen droids. I liked the grimy Sandpeople, and the eternal mystery of what’s under all that wrapping. I liked the menagerie of aliens in Mos Eisley, and coming up with complicated back stories for each of them. My friends and I would imagine action figures for all of them. Most of them have actually been made in the ensuing 40 years of Star Wars fandom. 

Yet at the same time, I don’t want everything explained in Star Wars. I didn’t want to know about the midichlorians, I’m still pretty sure I didn’t need to see Darth Vader as an 8-year-old boy, and I didn’t care that much about how Han Solo met Chewbacca, even. Everyone wanted just a little more Boba Fett, but nobody really wanted baby Boba Fett holding his father’s decapitated head, did they? I hate to admit it, but I even find the Jedi Knights kinda boring. To me, Star Wars eternally has to keep that balance between fan service and overdoing it, and lately, it usually does the latter. 

But then along comes The Mandalorian, and in my complicated relationship with Star Wars I’m hooked again by mysterious characters, aliens in the desert and those bloody Jawas. Two episodes in, it’s a pleasure, Clint Eastwood’s Man With No Name in outer space and a streamlined, pulpy blast. To be honest, this playground is the one I wish they’d explored in all these years of Star Wars-sploitation, the grungy underbelly of Jabba’s palace and the Mos Eisley cantina. 

And there’s one scene that literally had me bursting with pent-up fan glee, as an IG droid (IG-11, not IG-88) goes into action against a bunch of mercenaries. FINALLY! I thought. After all these years, Star Wars is actually showing me one of those mysterious bounty hunters from Empire doing something, leaping into action. 

IG-88 in the original film was entirely static, giving fanboys leave to imagine anything. But to see IG-11 spinning, talking, firing blasters, moving with a weirdly Frankensteinian zombie-like walk that is exactly how I imagined such an awkward droid might move…. well, some of us have weird dreams in life and are easily pleased. I dreamed of seeing IG-88 hunting down quarry, or of Bossk wrestling a wookie or 4-LOM/Zuckuss doing evil stuff. Instead I got midichlorians, too many Death Stars and someone who’s not Harrison Ford pretending to be Han Solo. 

After 38 years, Star Wars finally gave one thing I really wanted from all its sequels, prequels and sidequels. And what a bounty it was. 

I can’t stand it, I know you planned it: My top 25 albums of 1994

Everyone’s favourite year in music is probably the music of their youth, but come on, people – objectively speaking 1994 was one hell of a year for popular music. 

It was 25 years ago now, and I can slap together a list from memory easily of 25 fantastic albums from ’94 that I still listen to regularly. 

1994 was a crazy, buzzing year in my memory – graduated university, grabbed my first job at an actual newspaper, fell in and out of love a bit, and spent a hurly-burly summer working as an intern at Billboard magazine in New York City, surrounded by and swimming in the music of the times. Some of the music I discovered that summer – Guided By Voices, Freedy Johnston – still grab me today. Others were just in the air, like Nirvana or Green Day. 

Yes, this list is a bit white, alternative and male, but to be fair that’s what I was listening to in 1994. It’s the songs that stick with me a quarter of a century on, a soundtrack to a year I’ll never forget. My top 25 albums of 1994, in alphabetical order: 

1. Tori Amos, Under The Pink: One woman wearing her heart on her sleeve, confessing everything, afraid of nothing. 

2. Bad Religion, Stranger Than Fiction: Punk unafraid to preach, and soaring with erudite anger at the state of the world. 

3. Barenaked Ladies, Maybe You Should Drive: Their open-hearted power pop swung between sentimental and wordy, and here they hit the perfect balance. 

4. Beastie Boys, Ill Communication: It still seems wrong that the Beastie Boys are over now, but we’ll always have “Sabotage.” 

5. Beck, Mellow Gold: “Loser” was everywhere, but this is overall a fundamentally weird, ramshackle record, ambling along to its own strange beat. 

6. Blur, Parklife: Is “sassy” the right word here? Britpop’s finest hour IMHO, swinging and smart and cynical. 

7. Johnny Cash, American Recordings: A giant takes the stage for a valedictory round that very nearly surpassed all he’d done before. 

8. Nick Cave And The Bad Seeds, Let Love In:  A noir tale of a tall handsome man, in a dusty black coat with a red right hand.

9. Elvis Costello & The Attractions, Brutal Youth: A burst of venom and flame from someone who’s not quite an angry young man any more, an overlooked and underappreciated gem. 

10. Green Day, Dookie: Pop-punk propelled along at 1000 miles an hour, ephemeral and yet unforgettable. 

11. The Grifters, Crappin’ You Negative: Rusty grunge from deep in the heart of Memphis, a hidden gem I wore out on road trips through Mississippi in the summer of ’94. 

12. Guided By Voices, Bee Thousand: Glittering shards of surreal power pop, hit records from another dimension – it hooked me on GbV for life.

13. Hole, Live Through This: Subtract all the Courtney Love baggage you might have – this album is still one fierce wound of a record.

14. Freedy Johnston, This Perfect World: Heartbreakingly gorgeous, wistful songwriting by a guy who should’ve been huge. 

15. Nine Inch Nails, The Downwards Spiral: The sound of not knowing, and screaming in the dark. 

16. Nirvana, MTV Unplugged In New York: A curtain call, a last bow, what might have been, what never was.

17. Pavement, Crooked Rain, Crooked Rain: Unfolding like songwriting origami, nuggets of obscure beauty – go back to those gold soundz, and keep my advent to yourself. 

18. Pulp Fiction Soundtrack: Music curation is an art form, and Tarantino’s never done it better than this perfect mix tape. 

19. Tom Petty, Wildflowers: You belong among the wildflowers; the late Petty’s greatest album, contemplative and gorgeous and at peace. 

20. REM, Monster: Fuzzed-out and distorted, REM at their peak of fame, and their still strangely askew, enigmatic run of hits. 

21. Soundgarden, Superunknown: IMHO, Pearl Jam’s stuff hasn’t really endured that well; Soundgarden’s angst-filled grunge has. 

22. Velocity Girl, ¡Simpatico!: Effortlessly charming, sunny grunge-pop, well worth seeking out. 

23. Velvet Crush, Teenage Symphonies To God: Power pop with a ‘90s sheen, sweet harmonies and teenage kicks. 

24. Weezer, The Blue Album: One of the great power-pop debuts of all time; I hear it makes you feel just like Buddy Holly. 

25. Neil Young, Sleeps With Angels: Of the approximately 457 albums Neil Young has released, this one has the beauty of a dusty abandoned saloon falling apart somewhere way out in the wild west. 

Bubbling just under: Sugar, File: Under Easy Listening; Outkast, Southernplayalisticadillacmuzik; Sebadoh, Bakesale; Veruca Salt, American Thighs; Portishead, Dummy; Meat Puppets, Too High To Die; Youssou N’Dour, The Guide (Wommat); Frank Black, Teenager of the Year; Alice In Chains, Jar of Flies. 

Meanwhile, elsewhere on the internet…

Time once again for a brief round-up of writing I’ve done elsewhere on the internet recently, not that I don’t love the blogging for free but someone’s got to keep the cats in cat food…

Bird of the Year is one of New Zealand’s biggest social media events, with everyone weighing in on their fave avian, whether it’s the humble kiwi, the plucky penguin or the rocking ruru. I wrote a story over at Radio New Zealand about the contest and specifically about how we can help birds year-round by doing things like volunteering for Bird Rescue:

Bird of the Year competition: Keeping the good vibe flying high

Meanwhile, back in my home state of California, everything’s on fire, which sucks, and thousands of people have been forced to have their power shut off, which sucks even more. I wrote a little about that from my perspective way the hell down here in Aotearoa for The New Zealand Herald (story paywalled):

California’s fires and why New Zealand should worry too

Lastly, we just went through a Rugby World Cup, and while NZ lost and we are a traumatised nation, it was a big event for streaming services which hosted the tournament for the first time. Here’s a story over at Stuff about it:

Spark’s first big test: How did it fare?

Movies I Have Never Seen #4: Shock Treatment

What is it: Like most people who’ve found themselves somewhat against the grain in life, I dig The Rocky Horror Picture Show. It’s pretty much the definition of a cult classic, still playing in midnight shows around the world 44 years after its 1975 release. Seeing it in a vintage theatre in high school was one of my great cultural awakenings, and fittingly, I saw it again in a theatre just this past Halloween in a terrific benefit showing here in Auckland, complete with New Zealander creator, writer and co-star Richard “Riff Raff” O’Brien in attendance. I don’t do the costumes – nobody wants to see me in fishnets – but there’s something truly wonderful about a Rocky Horror screening, with everyone flying their own personal freak flag and screaming crazy stuff at the screen for a bizarre little film that somehow sticks with you.

And then there’s Shock Treatment. Shock Treatment is the little-known 1981 quasi-sequel to Rocky Horror, again written by O’Brien and directed by Jim Sharman. It’s loosely the tale of Brad and Janet (recast, woefully) taking part in a surreal TV game show experience and being “reinvented” into superstars. But in execution, it’s kind of a mess.

Why I never saw it: Even today, Shock Treatment is pretty obscure. My main vague memory of it was the cool, eye-catching poster design (above). You can find it with a bit of searching on YouTube, though. 

Does it measure up to its rep? Disappointingly, yes. Shock Treatment is a film that isn’t quite sure what it’s trying to say. You can’t really create a cult hit when you’re trying so hard to. Shock Treatment is a muddle of early ‘80s glam-pop, a satire of reality TV, and a tale of empowerment. Unfortunately, it’s a little too similar to Rocky Horror in that it’s again a tale of Brad and Janet finding their bliss. Unlike Rocky Horror’s smooth, straightforward plot, a mish-mash of horror movie cliches, Shock Treatment is maddeningly hard to follow.

A charismatic foil like Tim Curry is badly missed here, although O’Brien’s creepy Dr. Cosmo is one of the better things about the movie, but he’s not in it enough. Rocky Horror stars Patricia Quinn, Charles ‘No Neck’ Gray and Little Nell also show up in small roles. Recasting Brad and Janet was a bad idea (bizarrely, the events of Rocky Horror are never mentioned, leading you to wonder if it’s a reboot or a prequel or what). Jessica Harper is a very stiff Janet who only comes to life in the movie’s final act, while Cliff De Young’s Brad Majors is awful – his entire performance is lacking the wit and insight Barry Bostwick’s Brad brought to a single line in Rocky Horror: “It’s beyond me / Help me mommy.” 

All in all, Shock Treatment feels too much like hard work. Many of the songs are pretty enjoyable, but like most of the movie, they’re overproduced and chaotic. Rocky Horror is a strange beast of a film too, but it’s consistent and genuinely warm at times. Shock Treatment never invites you in, and you never feel like you want to shout back at the screen. 

How’s it different than I thought: While it’s wacky and strange, Shock Treatment is never as transgressive as Rocky Horror. It mocks lots of things, like Reagan’s America and TV game shows, but it never really bares its fangs. 

Worth seeing? If you’re a die-hard Rocky Horror fan, it’s worth checking out. Once. But nobody’s going to be throwing rice at the screen for this one. 

Jojo Rabbit: So, are we allowed to laugh at Nazis?

Can Nazis be funny? It’s not a question you expect to ask yourself when sitting down to watch a movie by New Zealand’s biggest name in Hollywood, but Taika Waititi’s Jojo Rabbit forces you to ask it. 

Jojo Rabbit seemed a pretty oddball project for Waititi to take on after the hits of Boy, Thor: Ragnarok and Hunt For The Wilderpeople, but it’s part of a long lineage of stories that mock the Nazis to make a point. It took in nearly $1.2 million at the New Zealand box office over Labour Weekend. But is a movie that imagines Hitler as a kind of cuddly imaginary friend for a young German boy during World War II in good taste or bad? 

It won the People’s Choice Award at the Toronto International Film Festival in September, but critics are more mixed on it – The Chicago Sun-Times called it “irreverent, edgy, provocative envelope-pushing satire,” but the Los Angeles Times thought that “its so-called audacity smacks of calculation and emotional cowardice.” 

So, are we allowed to make Nazis funny or not? Here’s the case for and against: 

1. Hitler was kind of funny. Most dictator/authoritarian types are. Look at Kim Jong-un, with his beady stare and tossed-salad haircut, or that guy in the White House. Waititi – who’s of both Māori and Jewish descent – plays Hitler himself in Jojo Rabbit. To modern eyes, the preening, sweating moustached dictator can seem like a living cartoon character. 

Mocking the Nazis goes all the way back to when Hitler was alive and ranting, with Charlie Chaplin’s send-up in The Great Dictator back in 1940 still one of the best attacks on the führer. Mel Brooks debuted The Producers more than 50 years ago, with its whole plot revolving around a tasteless satire of the Nazis that turns into an unexpected hit. Director Billy Wilder even made a POW camp funny in Stalag-17, which in turn inspired TV’s long-running Hogan’s Heroes

The problem is that if you make Hitler too satirical, you run the risk of downplaying the very real carnage and horror committed in his name. Taika’s Hitler in Jojo Rabbit never feels truly authentic, peppering his talk with modern-day slang and gestures, but there’s a moment or two when he ramps up the ranting rage and you can see what people were afraid of. 

Because he’s an imaginary friend in a broadly romantic fantasy of a movie, Jojo’s Hitler is kind of goofily cuddly, charming and supportive of Jojo’s ambitions – as long as Jojo sticks to the Nazi party line, of course. Jojo Rabbit ultimately portrays its title character’s interest in Nazis as a boy really just wanting to belong. “You’re a ten-year-old kid who likes dressing up in a funny uniform and wants to be part of a club,” Jojo is told at one point. 

Jerry Lewis in the legendary lost movie “The Day The Clown Cried.”

2. However, the Holocaust really isn’t funny. Jojo Rabbit skirts around the edges of the Holocaust without going too deep. The movie doesn’t stint on showing the human cost of the Nazi regime to Jewish people, but it also doesn’t take us to Auschwitz. 

There have been a few movies that have tried to find the funny in genocide. The late Jerry Lewis directed a movie in 1972 called The Day The Clown Cried about a clown entertaining children in the death camps which was so legendarily misconceived that it was never released, locked away in a vault somewhere and only seen by a few hardy souls. 

That didn’t stop others with similar stories, like Robin Williams at his most mawkish in 2002’s flop Jakob the Liar, or Roberto Benigni inexplicably winning an Oscar for best actor for 1997’s Life Is Beautiful, one of those films which just gets more cloying and baffling with time. Holocaust movies can start off with black humour, but they always have to end with tragedy. 

An entire documentary, The Last Laugh, was made a few years back about whether the Holocaust could ever be funny. In it, director/actor Rob Reiner notes, “The Holocaust itself is not funny. There’s nothing funny about it. But, survival, and what it takes to survive – there can be humour in that.” 

3. Then again, New Zealanders are pretty funny. There’s something that just works about dropping the deadpan, laconic kiwi sense of humour into unusual situations. Whether it’s Jemaine and Bret struggling in New York City in Flight of the Conchords or Taika himself as a laid-back giant rock dude in Thor: Ragnarok, it’s funny as when that chur, bro accent pops up in an unusual place. 

A lot of kiwi humour is about subtly undermining expectations, and taking a look at the world from unexpected angles. Combining that sensibility with a satire of Nazism is a gamble, and whether or not it works in Jojo Rabbit comes down a lot to personal preference. Archie Yates as Jojo’s bumbling childhood mate Yorki is that vaguely absurdist kiwi voice in Jojo Rabbit, with lines like “It’s definitely not a good time to be a Nazi.”

Can we make fun of the Nazis? Sure, but you’re not guaranteed that everybody will laugh at it. You can make fun of the Nazis, but for many people even doing so undercuts their very real evil. You laugh at Waititi’s intentionally broad Hitler, but you might feel a bit cringe doing so. That might just be the point. 

You don’t have to go far on the internet to find outrage boiling away these days. Satire can defuse outrage, but in a world where the far right is on the rise, it doesn’t always feel like hip internet memes are doing much to dispel their allure for some people. 

Yet the alternative to satire is either rage or silence. Satire can’t always knock down walls. But it can knock a few holes in them. Jojo Rabbit is a movie you’re meant to wrestle over. A quote by the poet Rilke appears at a pivotal moment in Jojo Rabbit, perhaps guiding us on how to navigate humour and evil – “Just keep going. No feeling is final.”