The Virgin Read: She Does Not Prefer Small and Hairy, But If That Is All That Is Available, It Will Do

Wolverine: Switchback
Written by Joseph Clark & Gregg Hurwitz
Art by Das Pastoras & Juan Doe
Published by Marvel Comics

At one time, I was self-conscious about reading comic books on the subway.  It wasn't so much that I care what people think, but more about the possible response it might solicit.  (I once had to deal with the obnoxious flirtations--I assume that is what it was--of a white man with dreadlocks when I was attempting to read Watchmen.  That event, while now a few years in the distant past, nearly turned me off reading these things altogether--it certainly is why I've never read beyond the first chapter of Watchmen.)  Since then though, I've been pretty much left alone.  However, I still wonder if some zealous comic book fan will see that I’m reading a comic book and want to launch in and discuss the issue I’m reading, and all the preceding ones as well.  Which, of course, is a conversation I won’t be able to keep up.  Either that, or I’ll turn out to have a lovely discussion with someone, only to find out later that I loathe them in the cyber form.

Nothing like that has happened yet, excepting Mr. Dreadlocks.  I read Wolverine Switchback #1 (one shot!) on my subway ride home tonight.  I started it at Canal Street and was finished by the time I got to Atlantic Avenue.  So, that’s cool.  I mean, I didn’t expect it to take up my whole ride, but I didn’t think it would fit so sweetly between stops.

It’s a good subway read.  (You can quote me on that one.)  I mean, it has all of the blood/gore/violence/grotesque stuff – but it’s quite artfully drawn.  I wasn't embarrassed to be looking at it.  I was intrigued and kept perusing the pictures, and it seems like I haven't done that in a while.  It’s interestingly written.  It set up a “what’s going on?” question in this reader’s head immediately.  Overall, the whole story and art together felt like a Fincher movie, and parts of it really reminded me of Twin Peaks, but there was something else.  I can’t pinpoint the other thing.  In fact, I asked my dear husband, who hates comic books and comic book readers, “What was the other movie or show that had a creepy sheriff who took the law into his own psychopathic hands and is killing folks?” 

He said, “All of ‘em.”  Ha! 

Okay, I guess he has a point.  Although it was interesting, and it's always fun to be creeped out by a bloated, twisted Sheriff, it is a story that’s been done before.  In various ways.  The first to come to mind is the creepy demon Mayor in Buffy (of course).

A few questions came up for me in regards to the story, though.  I loved the panel where we see Woverine hanging alongside the front end of a car in a room where the perimeter is lined with mummified skeletons, wrapped in a seated position with knees bent and feet flat on the floor – but with exposed skulls.  It tells a great story.  But how could he really have all those skeletons there?  I mean, weren’t there funerals?  Sure, the Sheriff resents all those “latte sippers drivin’ up through here,” but I’m sure they had I.D. on them.  I don’t think he’d have that many decomposed bodies as trophies.  But it certainly did make for good art.  Also, the affront of these folks doesn’t seem to really match the punishment doled out – the level of revenge.  Know what I’m sayin’?  I mean, I understand that "he's crazy", but isn't this getting into a pretty specific form of crazy?

I really did love the art in this one though.  Pastoras can really draw the little subtle details--the looks in these characters eyes--geez.  That's the sort of detail that (it seems to me) is often overlooked in real life, and often missed by the camera.  The ability to draw it with this much expression really impressed me.  In reading more and more comics I’ve come to notice that sometimes they might have a good writer and a good artist, but they just don't compliment each other.  That wasn't the case here.  The art fills in the story where words won’t do.  It’s pretty fantastic.  (Again though, it seems to be kind of light work.  This is what these two creators want to do?  Wolverine kills crazy sheriff?)

Oh, and there’s a second story here, too.  I didn’t realize it.  I thought it was an ad at first. Basically it is just a day in the life of Wolvy.  He just can’t have a beer without witnessing the beginnings of a crime or an injustice, darn it all, and then he’s gotta go kick some dumb ass.  In this case, it’s a really red (like, "really red" in that it's all pretty much one color) story about Wolverine’s claws getting stuck while he’s hanging from, what, a cave ceiling?  He lets these illiterate crooks have what they think is the satisfaction of beating him while he provokes them with “yo’ momma” jokes until his claws become freed.  Then he slaughters them.  The end.

I felt like somebody was staring at me and saying, “You still craving some good old fashion Wolverine after that creepy Sheriff story?  Are ya? Okay.  Sit up and beg for it.  Beg!  Good girl.  Here’s your Wolvy treat.”  Thanks, I guess.

And that's all I got.  I'm not really sure how far I need to go into this one.  I mean--he's Wolverine.  It doesn't strike me as something you need a lot of comics experience to figure out.

-Nina Stone, 2009

Comments

[david brothers]

A friend of mine has a word for those subway conversations with creeps, though it applies to any conversation with a creep, really-- "infinite conversations."

You don't start or encourage these on purpose, but once they're started, the initiator will keep going, despite one word answers, lack of attention, or even "Hey, this is my stop."

I've gotten into a few of those with a Mr. Dreadlocks ("Hey man how about Obama yeah yes we can!" "Uh, yeah") and I hate them every single time.

Switchback was a fun comic, at any rate. It was good enough that I didn't even realize how much of a cliche the evil fat sheriff was. The art kept pulling me into the story.

The Juan Doe story was just muddy and dumb. If Wolverine's claws are so razor sharp he can cut through metal, why can't he cut through rock? Dumb.

[Mory Buckman]

As someone who often initiates "infinite conversations", I apologize. The thing is, I have very specific interests. And it's not every day that I get to talk about them, so any perceived opportunity is A Big Deal. My inclination would be to milk it for all it's worth, because who knows when the next such opportunity will be. In my eagerness to talk, it's easy for me to not notice the signs that the other party isn't interested until the "conversation" has been going on for a while. It's an Asperger's Syndrome thing.

The way to get me to shut up (and I'll bet it'd work on other Asperger's ramblers) is to directly tell me "I'm not interested in hearing about this.". It might take a little insisting, but eventually he'll stop talking and won't be offended. (That is, unless he really never has any human contact, in which case he'll be so desperate that you'll need a chisel to get him off.) But that's the right way to deal with it.

[Mory Buckman]

Oh, and I forgot to say: You might think that's rude, and that little indications and implications are forceful enough. You'd be wrong on both counts. A person so desparate to talk about something that he goes on and on and on isn't going to notice anything until it's shoved in his face.

[Sharif Youssef]

I think the show you might be asking about was American Gothic. It had a creepy Devil sheriff who pushed people down stairs. http://en.wikipedia.org/wiki/American_Gothic_(TV_series)

[Tucker Stone]

I know Nina can tell the story better than I remember hearing it, but my understanding was that Sergeant Dreadlocks wasn't interested in talking about Watchmen, but was more interested in having some irie time with a girl who was reading Watchmen. The way she told it to me was pretty much "hey, Watchmen. And a vagina, together! c'mere."

[Tucker Stone]

I remember that show. Gary Cole and the "whadda you mean, drifting?" guy.