I Want to Take his Face … Off

We all know who Nic Cage is. He’s a dangerously unhinged actor who had a pyramid constructed to house his remains. When you see him screaming, “Not the bees! Not the bees!”; it’s easy to forget that this guy won an Oscar. He is a genuinely good actor, but he owes a lot of money to the IRS, and will take any job he can get.

Nicolas Cage is weird. He named his son Kal-El. He’s plenty weird onscreen too, delivering some of the most bipolar performances in movie history. You can see the same histrionics in the role that won him an Oscar on display when he dresses as a bear and cold-cocks a woman.

In Face/Off, one of his bigger roles, Cage plays a terrorist who switches faces with the FBI agent vowing to bring him to justice. He costars with John Travolta, who plays the FBI agent who switch faces with the terrorist he vows to bring to justice. And then the doves come out.

Face/Off starts out with a little boy, no older than five, getting shot in the head. It’s a John Woo movie, so no punches are going to be pulled. The next scene ends with a plane crash and gun ballet and someone getting flattened in a wind tunnel. This is the first eighteen minutes of this film.

John Woo had a long career in Hong Kong before coming to the US. The first time I saw Hard Boiled, I couldn’t get clips from it out of my head. The grace of the dives, the flash and crack of the guns. A baby urinating on the hero to put out a fire. Hard Boiled was a bloodbath, but sentimental, like all John Woo movies.

I haven’t seen all of his movies, but I have to say that Face/Off is in his top three (that I know about). With a Hollywood budget and stars, he shot a bloody gunfight around a five-year-old boy listening to “Somewhere over the Rainbow.” He ends the movie with a brutal gunfight in a church, followed by a high-speed boat chase that ends when their stunt men are thrown onto the beach. This was a bay seemingly made of napalm because everything blew up.

Face/Off seemed like the last few episodes of a long-running show. Agent Sean Archer and Castor Troy have a long history of failing to kill each other, and it shows. There are so many stories between them, I’m surprised a comic book company never got the licensing rights to do prequels. There are so many characters who have names and are given a personality who are in maybe two scenes, from Archer’s best friend, Tito to the agents at the FBI office, to Castor’s brother Pollax, to the vaguely incestuous Demetri and Sasha, who work with Troy.

Even though Nicolas Cage danced, grinned, and got a little pedo as Castor Troy, the movie is never more entertaining as when he’s John Travolta. When Travolta is Sean Archer, he has all the charisma of a sack of mashed potatoes in a toupee, but if there’s one thing he’s good at, it’s mischief. He plays Castor Troy like a sociopathic thirteen-year-old boy.

With John Travolta as the bad guy, Nicolas Cage gets to be the good guy. Where Travolta’s performance ranges from annoyed to angry, Cage brings in some real pathos. This war is weighing on both of them, and it shows.

John Woo’s career didn’t get any better than this. He made some more movies in America, to diminishing returns, including Mission Impossible 2, as well as Windtalkers, the movie about a Navajo Code Talker where the main character is a white guy. Eventually he went back to Hong Kong and has been making the kinds of movies he wants to make.

This was my favorite movie until it got dethroned two years later. I bonded to the moral grayness—when Travolta is Troy, he becomes a father and a husband, and when Cage is Archer, he steals and lies and commits great acts of violence. I was pretty convinced I was a bad guy back then, and it was good to see that you could be bad and do good things.

I also really dug the gun ballet, as well as the mythos, and the finest, as Jason Mantzoukas calls it, “kabuki acting.” I could talk about this movie forever, like how the Troy brothers are named after the Gemini brothers, but I won’t. I’m not qualified to say if this is his magnum opus. What I will say is that this movie was the work of a mad genius, and I salute you. If there’s one word you can use to describe John Woo, it’s sincerity. I think this is how he sees the world. I think that, most of all, is what I connected with.

Life in Plastic is Fantastic

Fort Totten is a border neighborhood with Maryland, and from 1 June until 29 June, all four of the Maryland Metro stops are closed. People are getting shuttled in, but the same number of people are riding. Why do all the cars feel more crowded than usual?

We’re all exhausted. We’re all in drab colors, as if our souls had been drained. On one side are the manual laborers. On the other side are federal workers, along with non-federal office workers. There are even tourists. There’s seats, but I’d have to sit next to someone, so I stand.

For a moment, the mob of students with their backpacks and white-guy afros parts and I get a glimpse of someone I can only call Barbie. The blonde sat down, her back straight, her legs demurely crossed. Her sundress went all the way to the floor, and it appeared blinding pink, but was really white with small red flowers. She looked pleased with herself.

The train pulled into Judiciary Square, and she jumped out and cat-walked out of the station and out of my life, taking the color with her.

That felt like magic.

Regenerational Divide

All my life, I’ve been trying to figure out something about the show I’ve been watching since I was a kid: if Doctor Who is the same person, incarnation after incarnation, how are they so different? Like, for example, it’s not easy to picture Jodie Whittaker as the same person as Jon Pertwee.

A few years prior, I had illustrated all the Doctors up to that point (including Matt Smith, even though we were still firmly in David Tennant territory), in a very cartoony style, so I took that style and reviewed my life, going back twenty-five years. Each year after that, I’ve drawn myself, including the years when I had otherwise quit drawing altogether (you can tell which years those were).

Later, I wrote a screenplay to challenge the question, in which a character based on me met up with four of his younger selves, going back to age nine, and I understood perfectly. Forty-eight-year-old me would not be able to stand a twenty-six-year-old me, and nine-year-old me was a monster. Without further ado, here are twenty-two incarnations of me.

And now, on my forty-eighth birthday, I’m taking care of a cat shortly after my last one passed away, so I guess that makes me a parent.

Enjoy your Sunday! I know I will.

Fangs for the Ride

I have to tell you about this movie I just saw. It’s called V for Vengeance, and it’s about adopted sisters, two vampires and one finding a cure for vampirism. On the poster, one of the sisters is holding a crossbow, which she never does in the movie. I had put it on to have something in the background while I tinkered with my latest work of art, but Oscar set up camp on my arm, so I had to watch it.

I really enjoyed this movie. One of the sisters is armed with a stake made out of the same kind of tree the cross was made out of. They call it the Jesus Stake. She had the Jesus Stake because she called dibs when it was brought out. There is a government agency called the Federal Vampire Corps.

I don’t love this movie because it’s good. I don’t love it because it’s so bad it’s good. I love it because it tries so hard. For example, a hilarious philosophical debate about eternal life goes on between an impeccably groomed man who likes to shout and a young woman in a baby tee, and short-shorts, using words like elucidate.

The death scenes, of which there’s a spectacular one (well, more than one) near the end of the movie, are on par with Paul Reubens on the movie Buffy the Vampire Slayer. It wasn’t supposed to be hilarious.

The writing is not very good, but it follows the formula. The character you’re expecting to betray the good guys betrays the good guys. One of the sisters is falling for the Judas, but their romance is awkward motel sex, so you can’t really buy it. The dialogue is … fine? I guess. It’s influenced by Joss Whedon, but without the pop culture references.

Speaking of the writing, this movie has Chekov’s switchblade boot. You figure out pretty quickly when the lethal footwear will come in handy. You may not expect any twists, but they come up with an even dumber use for them that you really don’t see coming. Of course, this is used to kill the bad guy. (If you’ve seen this kind of movie before, I’m not spoiling anything.)

On the other hand, the actor who plays the lead is actually really good. Her character is a vampire who drinks too much alcohol and gazes contemplatively into the distance when she’s not killing perverts on the highway. The actor (whose name I didn’t get) portrays her with sass and joie de vivre, and she’s a real bright spot.

Most of the actors aren’t that great, but Graham Greene’s in it. The fight choreography is choppy and raw, but quite good. For budget reasons, they didn’t use their vampire powers much, but when they did, they were cool and different.

I guess what I liked about this movie is that it could have been good with a budget, even the script, the weakest part. I don’t recommend it because it isn’t good, but I had a good time.

An All Hallows Eve That Will Live in Infamy

To explain to you what went wrong on Halloween night, 2003, I have to tell you about Satanicide.

If you’re an educated Satanicide fan, at some point you have had this conversation in your head: “Doesn’t –icide mean to kill? Killing Satan? They’re on God’s side? Or are they just that stupid?” You never learn the answer to that question because the band in question rocked your face off. Satanicide was a Spinal Tap style of band, i.e. comedy, but can actually rock out.

Front man, the voice, Devlin Mayhem, was played by Dale. Devlin represented hard, biker rock. His chaps even had flame-detailing on them because Dale’s girlfriend (now wife) is amazing at that kind of thing.

Aleister Cradley, played by Phil, is a glam rocker, complete with teased hair and spandex tights. Part of his joke is that he’s an f-word but doesn’t know it. In the Satanicide movie, Aleister moons over Devlin while their cover of “My Heart Will Go On” plays in the background. I thought it was funny. Other people might not. This will get me into trouble during the Halloween in question.

Satanicide goes through a lot of bassists, and their replacements are always relatives of the first one, Baron von Goaten. None of the von Goatens could speak English, and, mentally, they weren’t operating on the same world as the rest of us. Last I checked, they all wore masks to hide their Frankenstein hideousness from the world. I’m pretty sure the second Baron was my contemporary. He might have been the first. His name was Jake, and he was the sweetest guy. The von Goaten clan represents European metal, which is some weird, scary shit.

English punk was represented by Sloth Vader. One minute, he was tearing some shit up in London, and then he wakes up in a dumpster in New Jersey, so he joined a band. Griff, the English guy behind Sloth, was a big guy. He loped along like a bear. So when I tell you he routinely did stage dives on top of me, you won’t question my commitment to taking one for the band.

I first saw them because Beth invited me to a show. She did that within five minutes of meeting me, before she even asked me for my name, if I remember correctly. Since that initial concert, I don’t think I missed more than one show during my last two years in New York. Beth’s boyfriend was Dale, so we had the inside scoop. I even recommended a fragment of a song that Devlin sang at one of their concerts (“P is for pussy, that’s good enough for me!”)  

In 2003, Beth thought that it would be funny if, on Halloween, Steve and I dressed as Devlin and Aleister, respectively, and go to a Satanicide show. I thought it was a brilliant idea, but my execution was loathesome and half-assed. I wore a curly wig when Phil’s was straight. I couldn’t find exciting tights, so I wore these pants that looked like a cheetah-print pajama bottom. I wore makeup like a drag queen, thanks to Beth. Steve’s costume was on point. We were a terrible mismatch.

Right before we left Steve’s apartment to go to the bar, we had to decide if we were going to eat something for dinner or do vodka shots. We didn’t have time for both. We chose vodka shots. Later at the bar, before the concert, we did shots again, more than once. We watched the show with beers in our hands. After the show, I had a Jack and Coke.

It was in that state that I encountered Moby. That Moby. He went to high school with Beth and Steve. I called him a homophobic slur. The reason I did was because juvenile gay jokes were part of the Satanicide experience. However, this did not endear me to him. Next, I encountered Ed Helms, who was a very, very loosely defined neighbor of Dale. Ed Helms is a cool guy. On the street you will recognize him as Ed Helms, but he looks completely different than the dork that is his brand.

I sat down at the bar and ordered another drink. After I finished it, I swear there was an earthquake, and I fell off the stool. Immediately, I was escorted out of the bar. I ran into Beth and Steve outside, having a cigarette, and we all agreed to call it a night. Beth went off on her own adventure while Steve took me home and put me on his couch.

That’s where I proceeded to puke all night, like young Regan on The Exorcist. That was not the worst part. The worst part is that I tried to cover it up.

Steve missed this because he went out alone after he’d dropped me off. Later, he described himself as kind of a zombie, but one with a single-minded focus on eating a slice of Ray’s Pizza. When he arrived at the storefront, he lurched up to the counter and somehow ordered a slice, which they brought to him lickety split. As he was walking away, tasting victory in the mozzarella and sweet tomato sauce, he noticed the long line he had just cut in front of.

Beth went to sleep on the sidewalk somewhere.

I don’t know what happened to Moby.

Steve and I never spoke of how I befouled his couch.

While Beth agrees that the night was pretty horrible, she can’t stop talking about it. She treats it like it’s a warning tale for the youths.

I had a hangover for days. I didn’t quit drinking until 2007, but when I was coming up with reasons to stop, Halloween 2003 was Exhibit A.

Chuck Norris, but with Kittens instead of Guns

I was chatting with my friend Lisa, and she said, “I want to see Chuck Norris, but with kittens instead of guns.” This was a trap, and I fell for it. Immediately, I started looking up Chuck Norris pictures, and when she Photoshopped what she had in mind (it was a terrible Photoshop), I said, “Thank you for bringing this to me instead of going to an AI.” She said, “I hate AI so much.” This was the ethical (and fun) way of entering a prompt and getting an image out of it. So here he is, Chuck Norris, but with kittens instead of guns, as well as proof I did it (thumbnail, pencils, backgrounds, paints).

I’m the Exact Amount of Sexy for This Song

So I can’t use the lyrics to “I’m too Sexy” in my book. I tried. The publisher told me it could potentially cost thousands of dollars (for fifteen words; yay capitalism!). The first version is almost perfect because it captures that moment when you realize, “I’m going to have to listen to this again.” The second version is lame, so I’m not going to do it. The third version is what I’m going with.

Original Version
Because, just as she was trying to make sense of a geometry problem, the jukebox went off. A deep voice, almost comically so, said, “I’m too sexy for my love; too sexy for my love; love’s going to leave me.” Her head slammed down onto her book. Had they seriously not updated the jukebox for ten years, but when this song came out, they thought, this was the one? This was the music they wanted everyone to associate with their family restaurant?

The What-I’m-Not-Going-to-Do Version
Because, just as she was trying to make sense of a geometry problem, the jukebox went off. A deep voice, almost comically so, said the opening lyrics to “I’m too Sexy” by Right Said Fred. Her head slammed down onto her book. Had they seriously not updated the jukebox for ten years, but when this song came out, they thought, this was the one? This was the music they wanted everyone to associate with their family restaurant?

Final Version
Because, just as she was trying to make sense of a geometry problem, the jukebox went off. An aria, with a voice as deep as the bowels of hell, heralded a first-person ballad she had come to know of a man whose sexiness exceeds the tolerance of his love, his car, his cat, your party, several cosmopolitan cities, and his shirt, the latter of which actually causes him pain. Her head slammed down on her book. Had they seriously not updated the jukebox for ten years, but when this song came out, they thought, this was the one? This was the music they wanted everyone to associate with their family restaurant? “I’m Too Sexy?” Really?

Conclusion
This whole ordeal reminds me of the original Cybermen from Doctor Who. The women who designed their costume had something like fifty dollars, so she bought a vacuum cleaner and some floodlights and constructed one of the most iconic bad guys in science fiction TV. Nowadays, if you want something onscreen, you throw millions of dollars at some keyboard jockeys, and they make it happen. Before CGI, you had to work within existing space with limits, and they did some amazing things. Think about how much better A New Hope looks like next to Rise of Skywalker. Being limited ultimately gave me a chance to describe how dumb that song is without using any of the lyrics, and the result is better than I’d originally written it.

(Special thanks to Donna Martinez who helped me brainstorm this approach. Someone, I won’t say who, has earned a space on my acknowledgements page.)

Walking on Down the Hall

There’s something about Three Stories in One. Of all of my intellectual properties, of all my ideas, it has to be the dumbest. It wasn’t just my idea, though. Severian (nee Boone) was there with me in drama class, and when Ms. Lindberg told us to take out seats, we discussed how hard that would be for me, who came to school on my bike, or Boone, who took the bus, and it took off from there. Suddenly, Severian is (kind of) hooking up with Amber, the most popular girl in school, and I was racing cars in the Indy 500.

When I sat at my desk after school that day and wrote it all down, along with some of my own embellishments (there was lots of flying), I inserted Severian’s friend (who I barely liked), Luke, inspired by a Doors song I had just learned, and later in the tale, Wendy, who I’d had a crush on at the time. The storytelling was unique, in that, instead of chapter or scene breaks, each main character’s adventures were presented as a separate story, woven together with titles and “To be continueds.” Severian wrote a sequel to the collection, and we took turns writing them.

Three Stories in One became a mini-phenomenon. This was in the early nineties, so there was no internet to share it on, but it spread anyway. Severian typed it up, printed out a few copies, and they circulated, even coming into the hands of Amber herself (who I’m pretty sure was horrified, though the only hooking up Boone and Amber did was to play games like Ping-Pong). Severian and I were celebrities. In 1995, I condensed my contributions to Three Stories in One into a single collection (which can be read here: https://drive.google.com/file/d/1OciHzg8YdB8wyjGZNZx509v1nCvXPMIO/view) When each story fragment is put on a separate page, it came out to seventy-eight pages. In 1998, I started to teach myself how to draw, and by 2005, with four comics under my belt, I decided to illustrate Three Stories in One. I wasn’t great with faces at the time, all five of us had a distinctive look that was easy to cartoon. I made it fifty-six pages before I started making friends in the town I had just moved to and abandoned the project. However, those illustrations stuck with me, and every once in a while, I like to come back to them.

When we were kids, we talked about Three Stories in One like a pop-culture mega-hit, and I still do, even though I’m only Facebook friends with Wendy and Amber, and we don’t ever interact. The less said about Luke, the better. As for Severian, the last time I saw her was January 1, 2000, and she was presenting as Boone. She and I had a difficult relationship, as we were both mentally ill and not receiving necessary care, and she had a number of issues on top of that. After Newcastle passed away, I sat down and worked on a watercolor to take my mind off of everything. As is the case with most of my sketchbooks, I let the picture tell me what it wanted to be, and it became a dramatic drawing of Wendy. Next thing you know, I made movie posters of all the main characters.

LUKE: A total sleazebag

JEREMIAH: A miserable nerd who rides his bike everywhere

BOONE: A surprisingly cheerful and innocent goth

AMBER: The most popular and perky girl at school

WENDY: The Worst Driver in the World

I’ve made attempts to reach out to Severian, but no luck. I don’t want to do all seventy-eight pages again, but I’d love to do something smaller with these characters, and I’d love for her to writer. Though, if she chose not to, I’d completely understand. It was a difficult time in her life, and one of the main characters uses her dead name. For me, though, it was an innocent time (even though I was unhappy for at least half of it), and I’ve never written anything as bananas since.

Strippin’ for Politics

I know I’ve mentioned this before, but I approached the Unemployed Philosopher’s Guild in 2004 with the idea for a newspaper-style strip about the Bush Administration. They turned me down because there was “No way he’s winning reelection.” This was a big part of the reason I moved to Indiana that summer.

While excavating some old sketchbooks, I found my character drawings for it. See if you can remember twenty years ago and all the wacky characters.

First is Li’l Georgie, the rootin’ tootin’est president ever. His alien friend Li’l CheyNee is always by his side. Li’l Rummie never lets him down, and neither does Li’l Collie. Girls are gross, but Li’l Condi is the exception. And finally, their nemesis is Li’l Frankenheinz. (This one is a little obscure, to be honest—can you guess who he is?)

I’ll be honest, I had zero ideas for actual strips starring them. I was hoping to get other people to write it for me.

All Hail the Pirate Queen

Most of my heroes and villains in MortalMan are based on someone I know. This is M, Scourge of I-80. She jumps from automobile rooftop to rooftop on I-80 through the Midwest, stealing the change from people’s ashtrays. In this way, she is no longer relevant because who keeps change in their ashtrays? Cars don’t even have ashtrays anymore. Anyway, She’s based on my dear friend Emilie, who used to sign her notes “M,” which strikes me as something you could do with a sword. And if anybody I know in this world swashbuckles, it’s her.

I’m not good with likenesses, but I do a lot better when I’m not consulting a reference.