Writer Harvey Pekar Passed Away at 70

Writer Harvey Pekar was found dead in the early hours yesterday (July 12, 2010). He died at home in Cleveland Heights, OH, where he worked for many years as a file clerk at a Veterans Administration hospital in addition to writing semi-autobiographical comics and jazz reviews.

Pekar is probably best know for his comics, mostly published under the title American Splendor. He drew on his own life experiences and often wrote about seemingly mundane things that, cumulatively, have a great impact on life. The first anthology of these comics won the 1987 American Book Award.

The comics he wrote were drawn by a number of notable artists. Some of these are Robert Crumb, Dean Haspiel, Joe Sacco, and Frank Stack.

This work is the basis for the 2003 biopic that is also entitled American Splendor. The movie won the Grand Jury Prize at the Sundance Film Festival.

The cause of death has not been announced, though the Cuyahoga County Coroner announced an autopsy will be performed. Pekar suffered from a number of health problems including prostate cancer. He and his wife, Joyce Brabner, wrote about his battle with cancer in their book-length comic Our Cancer Year.

Pekar is survived by his wife, Joyce Brabner, and their foster daughter, Danielle Batone. He was born October 8, 1939, in Cleveland, where he lived for most of his life, notably excepting his time of service in the Navy.

Additional resources:
A PEKAR TRIBUTE: Collaborators & colleagues remember 'sweet, curmudgeonly' Harvey
Comic book icon Harvey Pekar dead at 70
Harvey Pekar, Cleveland comic-book legend, dies at age 70
Harvey Pekar dies at 70; comic book author known for 'American Splendor' series
Harvey Pekar lives on via the web
Harvey Pekar, RIP

Why Comics? by Hilary Chute

I enjoyed reading comic books as a kid. Sometimes I enjoy reading them as an adult. Comics have always been for adults (and kids, too). While popular superhero comics have told stories of the physical and moral paragons of our fantasies, comics have also been a place accessible to those who didn’t see themselves represented in other media. The combination of words and pictures, sometimes more of a juxtaposition, that are the language of comics can powerfully present a point of view. Hilary Chute considers the power of comics to communicate the experience of individuals and subcultures in Why Comics?

While Chute focuses on comic books, she considers cartooning more broadly, especially the early cartoons that appeared in British magazines (quickly imitated in the U.S.) and the American newspaper comic strip. While some newspaper comics were designed to appeal to kids, many were meant to attract adult readers. They often depicted people from poor and immigrant communities. In addition, cartooning could also be very artistic and even in the early days of comic strips some artists were recognized for the quality of their images and storytelling, such as Winsor McCay and George Herriman.

Because Chute generally focuses on groups that were historically or currently marginalized, much of the book focuses on underground and independent comics. I’ll admit that I’ve not particularly been a fan of underground comics. My earliest introduction to underground comics in the 1980s was mostly to 1960s and 1970s books that featured drug culture and bizarre or pornographic depictions of sex. In the subsequent years, I’ve come across some incredibly good underground, literary or artistic comics. Chute discusses some of them such as Art Spieglman’s Maus, Marjane Satrapi’s Persepolis and Harvey Pekar’s American Splendor. I’m a Midwesterner and I was amazed to see Pekar’s depictions of scenes I might see in my own town.

Comics were born as a mass media, which may explain some of the stigma attached to them, and mainstream comics have always been produced in factory-like manor with a division of labor (writer, penciler, inker, etc.). Some creators were uncredited, or one name appeared on the work of many (this practice was common in the newspaper comic strips, too). Undeground and art comics were more often the work of an auteur, who produced the entire work. This opened up comics to more individual perspectives that strayed farther from the mainstream. Comics can powerfully represent personal experience or memories because it is like memory: it mixes words and images, it can readily present comparisons and contrasts, and it can show past, present, future, real and imagined on the same page.

I don’t plan on adding a lot of underground comics to my reading list, but I did enjoy Chute’s book. If someone is looking for an introduction to comics that are outside the mainstream and done well, Why Comics? is a good place to start.

If you’re interested in this book, you may also be interested in

The Amazing Adventures of Kavalier & Clay by Michael Chabon

Amazing Fantastic Incredible by Stan Lee, Peter David & Colleen Doran

American Splendor

The Book of Lies by Brad Meltzer

Comic Book Nation by Bradford W. Wright

Maus by Art Spiegelman

Men of Tomorrow by Gerard Jones

Reading Comics by Douglas Wolk

The Secret History of Wonder Woman by Jill Lepore

Stan Lee by Bob Batchelor

Stan Lee by Jordan Raphael and Tom Spurgeon

Superman versus the Ku Klux Klan by Rick Bowers

The Ten-Cent Plague by David Hajdu

Will Eisner by Michael Schumacher

Chute, Hilary. Why Comics?: From Underground to Everywhere. New York: Harper, 2017.

American Splendor (Film)

The recent passing of Harvey Pekar put me in mind of American Splendor, a 2003 film based on his autobiographical comics. Pekar appears as himself in some documentary-style scenes and in others is played by Paul Giamatti. The film moves from the real to the recreated to comics-like pictures and animation. It may sound like a mishmash, but in bringing Pekar’s life to film, it works. The Sundance Film Festival awarded it the Grand Jury Prize.

Pekar was an interesting guy and I’d recommend reading at least some of his comics, which were drawn by several notable artists. For a quick introduction, see the film.

Comic Art in America by Stephen Becker

Cartoons did not originate in the United States, but Americans were innovative in the art, and its artists invented the newspaper comic strip and comic book. Stephen Becker wrote a survey of American comics of all types from their origins until his book was published in 1959: Comic Art in America.

Becker covers every type of cartoon in the book. Comic strips get a lot of attention because that is where a lot of the development occurred and gave rise to something distinctly American. Though comic strips are a thread throughout, Becker devotes chapters to editorial cartoons, single-panel humor and even animation.

Many of the comics Becker discusses are still published today, such as Beatle Bailey and Blondie. Others are well-known because of their former popularity or lasting influence: Krazy Kat, Terry and the Pirates, Flash Gordon. Others are largely forgotten, even if they were pioneers of their time that shaped the work of others or the popular taste. Fans of particular types of cartooning may notice omissions that seem glaring, at least in hindsight; the chapter on comic books makes no mention of Will Eisner, though perhaps his fame stems more form later work.

Of course, the intent was not to be exhaustive. It’s a single volume, not an encyclopedia. As a survey for a general audience, it works very well. At the time, it probably reminded readers of old favorites that had fallen out of print. It might introduce modern readers to those old masters for the first time. Necessarily it does not address some of the great work that came out after it was published; I suspect Becker would have been delighted by Bill Watterson’s Calvin and Hobbes, as many of us are.

Becker was primarily a fiction writer. Comic Art in America is very informative, but it is not primarily an academic book. Neither does Becker come off as entirely fan-ish, though he certainly has the tone of someone who enjoys comics and finds them interesting, especially humor and editorial comics from newspapers and magazines. He mixes commentary with history and spices things up gossipy tidbits.

The book was published in a larger format to accommodate reproduction of comics that originally appeared in an even larger broadsheet newspaper. Though it has the look of a coffee table book, it is not dominated by images. The images are an accompaniment to the text. Even so, one can enjoy it for the comics reproduced in it, though many are of their time and may not make much sense without the context provided by Becker.

If you’re interested in this book, you may also be interested in

American Splendor (Film)

Kirby by Mark Evanier

Miss Mizzou by J. B. Winter

The Spirit by Darwyn Cook

Why Comics? by Hilary Chute

Becker, Stephen. Comic Art in America: A Social History of the Funnies, the Political Cartoons, Magazine Humor, Sporting Cartoons and Animated Cartoons. New York: Simon and Schuster, 1959.

Men of Tomorrow by Gerard Jones

Jones, Gerard.  Men of Tomorrow: Geeks, Gangsters, and the Birth of the Comic Book.  New York: Basic Books, 2004.

Reviewing Gerard Jones’ history of the comic book industry makes me feel like I’m pitching a new show to the cable networks.  It’s a little like Mad Men.  There is less suavity, but plenty of smoking, drinking, and womanizing.  There is room for some gratuitous nudity.  Many of the comics publishers came from got started in spicy pulps and nudie mags.  They were hustlers from the street, too, many with mob connections.  So we can have a touch of Boardwalk Jungle, though the violence is contained to the muscular fantasies of young men wanting to overcome a sense of powerlessness.  Of course, there may be comparisono to The Big Bang Theory, especially when you have scenes of young men working side-by-side at typewriters and drawing boards, helping and competing with each other.  Most aren’t geniuses, but plenty are awkward and pretentious.  It even has a great name: Men of Tomorrow.

The book is a mostly chronological look at the development of comics.  It starts with the pulp publishers.  As the pulps declined for various reasons of economics and taste, the comics rose their peak in World War II.  Patriotic superheroes were depicted punching Hitler in the face before America entered the war.  Superhero comics declined after the war, especially due to competition from television, though other genres did well.  Some of them, especially crime and horror, attracted the attention of reformers who wanted a clean and upright media safe for children and a culture longing for conformity and peace.  Comics found a new life as baby boomers came of age, partly because of interest in new dysfunctional heroes of Stan Lee and his collaborators and partly because cheap underground comics were exploring the youth counterculture.  Finally, comics became an almost mainstream medium, especially superheroes who successfully moved into film and other media.

There are almost too many people discussed in this book to mention.  Harry Donenfeld and Jack Liebowitz built a shady distributor of sex stories and porn into a pillar of a major media corporation.  Along the way, their conflict with Superman creators Jerry Siegel and Joe Shuster became the stuff of comics legend that occasionally broke into mainstream consciousness.  In many retellings of this story, Donenfeld and Liebowitz are demonized and Siegel and Shuster lionized.  Jones mostly resists this urge, treating the New York publishers with some fairness and showing how the cartoonists from Cleveland were the cause of some of their own trouble.  There is a host of other notables from trash publishing (Hugo Gernsback and Bernarr McFadden), organized crime (Frank Costello and Mayer Lansky), failed teachers and academics (Charlie Gaines and William Moulton Marston), and finally from comics (Charlie Biro, Bob Kane, Jack Cole, Jack Kirby, and many more).

Many of these people grew up in Jewish immigrant families.  Their successes and failures in the 1920s and 1930s, their readiness for war in the 1940s, and their search for an identity both American and Jewish in the postwar year reflects the journey of a larger community.  In addition to being a story of comics, it is a story of how Jews, immigrants, science fiction, and geeks moved from the edges of American society toward the mainstream—or maybe the mainstream widened to encompass them.

If you’re interested in this book, you may also be interested in

The Amazing Adventures of Kavalier & Clay by Michael Chabon

American Splendor (Film)

Stan Lee by Jordan Raphael and Tom Spurgeon

The Ten-Cent Plague by David Hajdu

Will Eisner by Michael Schumacher

Google

Interesting Stuff Nov. 8, 2010

American Splendor writer Harvey Pekar died of accidental prescription drug overdose (find more about Pekar and his passing here and here)
Comics $1 cheaper, 2 pages shorter
DC’s Final Crisis timeline
Electronic Frontiers Foundation’s Bloggers’ Legal Guide
Interesting Stuff Oct. 8, 2010
Mickey misbehaves on Wii
NASA Blast Reveals Lots of Water on Moon
Super-hero hoarders
Taste buds in lungs
The ten great American cities that are dying of thirst
Unusual job: Executive Director of the Washington State Potato Board
Where Infrastructure Estimates Come Up Short

Will Eisner by Michael Schumacher

Schumacher, Michael. Will Eisner: A Dreamer’s Life in Comics. New York: Bloomsbury, 2010. Will Eisner was a great innovator in comic books who spent his entire adult life working in the field. Michael Schumacher’s biography of the man, Will Eisner: A Dreamer’s Life in Comics, is a chronological review of his life and major works. Several things set Eisner apart as a comics writer and artist. From the beginning of his career, he thought comics could be serious art that could be more than cheap entertainment for kids. Unlike many comics artists, he was also a savvy businessman. He expanded the scope of comics from entertainment to education. Though his early work in comics is of high quality and displayed great creativity, he pushed himself to do more and better things with his chosen medium. Comic books were held in low regard in their early days, even by the writers and artists who created them. Most of the creators who worked in the field were just biding their time and making ends meet until they might move into more lucrative and respected work in books, magazines, and commercial art. It was also a market open to Jews, like Eisner, and other minorities who had a hard time breaking into other markets. In contrast, Eisner always saw potential in comic books to be serious art that could communicate to people in unique ways. While publishers were interested in gimmicks and characters that sold magazines, and Eisner provided them with that kind of material, Eisner’s desire was to focus on great storytelling through comics. He got his chance when he produced The Spirit, a comic made to be a weekly insert for newspapers. He negotiated a level of creative control over the comic that was uncommon in the industry. Eisner enjoyed the process of negotiation. This had much to do with his success as a businessman. For most of his career, Eisner ran his own shop producing comics for other publishers rather than working as an employee for freelancer. He was intelligent and flexible in his business dealing. He reaped the financial reward of his artistic work in a way few comics artist of the time did. Schumacher attributes this dual nature as artist and businessman to his parents. Eisner’s father was a painter who barely scraped through the depression; his mother wanted to see her children to something practical and have stable jobs. When comics began to face troubles in the postwar years, Eisner was already moving on to the education market. He had proven the concept of educational comics while he was in the army and created comics that supplemented preventative maintenance programs. He expanded this work later, contracting to produce a preventative maintenance magazine for the army during the Korean War, and expanding educational comics to other customers. In the last decades of his life, Eisner returned to telling stories through comics. Rather than returning to the genre stories he told earlier, he told longer, deeper, more personal, and sometimes autobiographical stories. Though not the inventor of the term "graphic novel," he was an innovator in telling longer stories through comics, tackling subjects that previously were the realm of mainstream literature and nonfiction. He developed relationships with publishers and editors that pushed him to produce great work. Schumacher doesn’t find all the work of this period to be great, though some is incredible. It seems to be a complaint that not all of Eisner’s work was as good as his best work. Though their may be something to this, we see in Eisner a man who is pushing into new areas of the art and publishing of comics when most of his contemporaries had long retired. If you’re interested in this book, you may also be interested in The Amazing Adventures of Kavalier & Clay by Michael Chabon American Splendor (Film) Maus by Art Spiegelman Stan Lee by Jordan Raphael and Tom Spurgeon The Ten-Cent Plague by David Hajdu Will Eisner’s The Spirit by Darwyn Cook

Reading Comics by Douglas Wolk

Douglas Wolk’s book Reading Comics has two major sections. In the first section, outlines a framework for comic book criticism. First, he makes it clear that the comic book (or graphic novel) is a distinct medium. Comics are not half-assed attempts at some other media such as film or prose.

Next he draws a distinction between mainstream comics and art comics. Mainstream comics have always been an corporate effort. It is corporate in the sense that it has been controlled by publishers. It is also corporate because most mainstream comics are the product of a team (a writer, an artist—sometimes separate penciller and inker—a colorist, and a letterer). Both of these types of corporate authorship give rise to a house style.

This gives rise to one of the major points of distinction between mainstream and art comics. Mainstream comics are dominated by a house style. Art comics are an expression of the style of the cartoonist. There is an element of auteurism in this understanding of art comics. An art comic, to a much greater degree than a mainstream comic, is a single artist’s interpretation of what he sees or envisions. Art comics are valued as an expression of their creators’ visions. The more skillful the cartoonist, the more likely he is to produce good comics.

There is more to Wolk’s framework of comics criticism than this, but it seems to me to be the central element. Wolk does not claim to be making a comprehensive system of criticism. Comic books are too new a medium for that, especially because comics criticisms is necessarily younger.

In the second section of the book, Wolk discusses the works of particular cartoonists. Some of these work heavily or mostly in mainstream comics, but the focus remains on how the artist interprets and expresses his vision in comics, with or without the expectations of mainstream comics.

One of the great examples of this is Alan Moore. Moore’s work for mainstream publishers had turned the mainstream, and especially the superhero genre, on its head while still producing comics that work excellently as mainstream comics. Moore bucks the trend of artsy cartoonists by being a writer only; all of his comics are mainstream-style collaborations with an artist. Wolk mentions several works of Moore, but the grand example is Watchmen. Moore, and especially Watchmen, has cost a long shadow on mainstream comics. He has pushed the mainstream to be much better, and eager imitators have unfortunately produced some horrible comics by learning all the wrong lessons.

Several cartoonists receive attention: the dark, strange visions of Steve Ditko (cocreator of Spider-Man), the epically deep world-building and beautiful drawing of Jaime Hernandez, the epic opus of Cerebus comics by Dave Sim, the artistry of Will Eisner, the power of Frank Miller (sometimes overpowering), and the consciousness-expanding ouvre of Grant Morrison (another writer, but not artist).

Even though the book is not new, it introduced me to cartoonists and comics that were new to me. It was worth the read for that, though Wolk’s perspective on the development of mainstream and art comics is interesting, too.

If you’re interested in this book, you may also be interested in

American Splendor (Film)

Comic Book Nation by Bradford W. Wright

The DC Comics Guide to Writing Comics by Dennis O’Neil

How to Read Literature Like a Professor by Thomas C. Foster

Maus by Art Spiegelman

Men of Tomorrow by Gerard Jones

Writing for Comics with Peter David

Douglas Wolk. Reading Comics: How Graphic Novels Work and What They Mean. Cambridge, MA: Da Capo, 2007.

200 Books Reviewed on Keenan’s Book Reviews

First Time Reviews

365 Thank Yous by John Kralik
The Abolition of Man by C. S. Lewis
Acts
American Splendor by Harvey Pekar
Batman created by Bob Kane

Caves of Steel by Isaac Asimov
Change Your Brain Change Your Body by Daniel G. Amen
The Checklist Manifesto by Atul Gawande
The DC Comics Guide to Writing Comics by Dennis O’Neil
The Drunkard’s Walk by Leonard Mlodinow

The Essential Engineer by Henry Petroski
Exodus
Finding Your Writer’s Voice by Thaisa Frank & Dorothy Wall
God’s Secretaries by Adam Nicolson
The Gospel of John

The Gospels
Have a New You by Friday by Kevin Leman
Histories and Fallacies by Carl R. Trueman
How to Get Control of Your Time and Your Life by Alan Lakein
How to Read Literature Like a Professor by Thomas C. Foster

How to Write & Present Technical Information by Charles H. Sides
How to Write Horror Fiction by William F. Nolan
I Can Make You Thin by Paul McKenna
In the Beginning by Alister McGrath
Jonah Hex created by John Albano and Tone DeZuniga

Judge Dredd created by John Wagner and Carlos Ezquerra
King James Bible
Little Shifts by Suzanna Beth Stinnet
Love and Respect by Emerson Eggerichs
Newton and the Counterfeiter by Thomas Levenson

Numbers
On Becoming a Leader by Warren Bennis
Our Cancer Year by Harvey Pekar and Joyce Brabner
Paperboy by Henry Petroski
The Pilgrim’s Progress by John Bunyan

The Procrastination Equation by Piers Steel
Romans
Scott Pilgrim’s Precious Little Life by Bryan Lee O’Malley
Scott Pilgrim vs. the World by Bryan Lee O’Malley
The Sherlockian by Graham Moore

The Ten-Cent Plague by David Hajdu
Thanks! by Robert A. Emmons
True Blood by Charlaine Harris
The Ultimate Weight Solution by Phil McGraw
Vital Friends by Tom Rath

Walk Away the Pounds by Leslie Sansone
War Against the Weak by Edwin Black
Wide as the Waters by Benson Bobrick
Writing for Comics with Peter David
Zorro created by Johnston McCulley

Additional and Expanded Reviews

The Holy Bible
Into the Depths of God by Calvin Miller
The Road to Serfdom by F. A. Hayek
Simple Pictures are Best by Nancy Willard, illustrated by Tomie de Paola

Continuation of list of 200 books reviewed

First 25 Reviews
Reviews 26-50
Reviews 51-75
Reviews 76-100
Reviews 101-150

What's New July 19, 2010

American Splendor (Film)
Books That Made a Difference to Me
How to Write Horror Fiction by William F. Nolan
Interesting Stuff July 13, 2010
News from My Alma Mater
Newton and the Counterfeiter by Thomas Levenson
What’s New July 7, 2010
Writer Harvey Pekar Passed Away at 70

10 Audio and Video Reviews Posted on Keenan’s Book Reviews

We’ve posted 10 reviews of audio and video media in this blog so far. They are listed below in alphabetical order by title.

American Splendor
Holiday Inn
Jimmy Kimmel Live
The Joy of Supernatural Thinking by Bill Bright
Last Call with Carson Daly
The Late Late Show with Craig Ferguson
Late Night with Jimmy Fallon
The Late Show with David Letterman
The Thin Man
The Tonight Show with Conan O’Brien

Scott Pilgrim and the Infinite Sadness by Bryan Lee O'Malley

O’Malley, Bryan Lee.  Scott Pilgrim and the Infinite Sadness.  Portland, OR: Oni Press, 2006.

Scott Pilgrim and the Infinite Sadness is the third in Bryan Lee O’Malley’s epic series of graphic novels of the title character’s journey from immaturity to—well, so far just being slightly less of a self-centered jerk.  In some ways, this book is the story of Envy Adams, ostensibly Scott’s evil ex.

Envy is the girl that broke Scott’s heart.  To make things worse, she is the lead singer of an awesome band, The Clash at Demonhead.  It turns out Scott broke her heart, too.  She moved on to date another jerk.  Todd Ingram isn’t a shlubby, mooching bassist for a little band like Scott.  Todd is a bassist for a famous band, and he’s handsome, powerful, attractive, secretly womanizing, and endowed with superpowers acquired through veganism—he is a total jerk.  Oh, and he’s one of the evil exes Scott must defeat to date his new girlfriend, Ramona Flowers.

It sounds like a soap opera.  It’s better because it has kickass fight scenes.  It also has character development.  It’s not an easy arc for Envy.  She comes in with the upper hand, ready to exact revenge.  She leaves in defeat.  It’s not all bad.  Vengeful Envy was very much in touch with her anger.  Defeated Envy was also in touch with her sadness and regrets, a sense of her losses and mistakes.  She gained perspective.

This is a middle chapter for many of the other characters in the series.  They don’t change much.  The book provides some of Scott and Ramona’s history.  Some subplots take a step forward.

Based on the close of the book, I suspect Envy will return.  It would be okay if she didn’t.  She reached a point where she could move on.  She completed a pilgrimage, essentially going from one place to another, though it may not have been where she planned to go.  She can find a new bassist and start another journey.

I’d like to mention in my last few words on Infinite Sadness something about the setting of the book.  It takes place in Montreal, actually a fantastical, magical version of the city in which vegans are telekinetic.  The setting is urban and the characters are all young.  It is an alien world to me.  I grew up in a rural area.  When I was a young man in the city, I was in college or working professionally.  At 24 years old, the age of Envy, I was working as an environmental engineer, writing permits and inspecting wastewater treatment plants.  The world in which a guy like Scott plays bass in a band, squanders his days with a high school, mooches of his roommate and still dates a woman who is out of his league is nearly as fantastical one in which a delivery girl uses the space in his head traverse space at supernatural speeds (he’s not using the space much).

Bryan Lee O’Malley also wrote

Scott Pilgrim’s Precious Little Life

Scott Pilgrim vs. the World

If you’re interested in this book, you may also be interested in

American Splendor (Film)

The Astounding, the Amazing, and the Unknown by Paul Malmont

Case Closed by Gosho Ayoama

Maus by Art Spiegelman

Scott Pilgrim vs. the World (Film)

Will Eisner’s The Spirit by Darwyn Cook

Google

Scott Pilgrim’s Progress

Scott Pilgrim vs. the World. Writ. Michael Bacall. Dir. Edgar Wright. With Michael Cera. Universal, 2010.

Scott Pilgrim vs. the World is a cool movie. It has cool music. It has super-cool, video game-inspired special effects. It has nerdy-cool actors like Michael Cera. It’s based on the series of cool graphic novels by Bryan Lee O’Malley.


Scott is on a pilgrimage—his name is even Pilgrim, in case it wasn’t clear. Like Christian in The Pilgrim’s Progress by John Bunyan, Scott is on a journey from childishness to maturity. Bunyan’s work is an allegory for the Christian life. This film is secular with a heavy dose of fantasy.

Scott’s immaturity is signaled at the beginning of the movie by his announcement that he is dating a high-school girl. Though he is 22, he is spending his time with a 17-year-old girl who hasn’t even kissed a boy. He even shows her his childhood home, though none of his family lives there anymore.

Bunyan’s Christian begins his journey when he feels the great burden he is under (his sin). Scott gets started when he sees Ramona Flowers in a dream and falls in love. Christian travels with a series of guides and sometimes-unreliable companions. Ramona becomes Scott’s companion, too, though she is more inspiration than guide.

The sojourning Christian overcomes a number of obstacles on his to the Celestial City. Bunyan’s geography represents thing that can derail seekers and Christians on their way to maturity in Christ. Scott must battle Ramona’s seven evil exes. They seem to represent the worst aspects of his personality such as childishness, pride, jealousy and manipulation. What seems to be his struggle to prove his worthiness to date Ramona becomes is battle to move from overlong boyhood to responsible manhood.

Scott Pilgrim differs from other journey stories in that it borrows structures from video games. This is more than just special effects. When a video game enthusiast sees Scott get an extra life after one of his battles, they expect it to come into play again later in the story. I think it is a very cool way of cool the way it plays out. I might not make immediate sense to a non-gamer. Video games are mastered by repetition, where a player repeats a level until he overcomes it or his avatar dies. In life, we don’t have get to repeat periods of defeat with new insight, though we often face variations on the same problem until we learn to deal with it a better way. The game-style story gives Scott a do-over in the face of his defeat, but like we would like life to be, he plays it differently and becomes a better person because of it.

If you’re interested in this film, you may also be interested in
American Splendor (Film)
Maus by Art Spiegelman

25 Audio and Video Reviews on Keenan’s Book Reviews

Though we concentrate on nonfiction books, Keenan's Book Reviews sometime reviews other media.  Here is a list of the latest audio and video products reviewed on this blog.

American Splendor

Bedlam

The Big Bang Theory

Boardwalk Jungle

Bride of the Monster

Godzilla

The Green Hornet

Isle of the Dead

Judge Dredd

Knight Rider

The Lone Ranger

Mad Men

Night of the Ghouls

Scott Pilgrim vs. the World

Walk Away the Pounds

First 10 Reviews

Interesting Stuff July 13, 2010

50 Years On, 'Mockingbird' Still Sings America's Song
A PEKAR TRIBUTE: Collaborators & colleagues remember 'sweet, curmudgeonly' Harvey
Comic book icon Harvey Pekar dead at 70
Conan O’Brien Tonight Show Emmy Nomination
Darwyn Cooke is one of my favorite artists
-Almost Darwyn Cooke’s Blog (But Not Quite)
-Comic Art Fans—Darwyn Cook
-Darwyn Cooke Women
-SuperPunch—Darwyn Cooke
Harvey Pekar, Cleveland comic-book legend, dies at age 70
Harvey Pekar dies at 70; comic book author known for 'American Splendor' series
Harvey Pekar lives on via the web
Harvey Pekar, RIP
Interesting Stuff July 7, 2010
June '10's ML Literary Dirtbag
Kurt Busiek& Alex Ross team for “Kirby: Genesis”
Past holds lessons on design of sustainable infrastructure