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okay, 3-2-1, let's jam

@pebblesandjamjam / pebblesandjamjam.tumblr.com

Welcome to J. A. Micheline's blog. She's a writer & comics critic. Enjoy the party.
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JAM’s Top 8 for 2017

I retired the concept of publication years in 2016 and that tradition holds this year.  When you meet a book matters more than when the book met the world. You’re a certain sort of person when the text comes into your life and if you read it at a different time, you’d likely see it in a different way. What’s more: there’s just too much in the world for me to focus on what was published when–so this list represents the best of what I experienced in 2017, independent of its publication date. It represents me, my year, where I started, and where I ended. Hope you enjoy the ride.

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Critical Jam #12: An Unflinching Look

Welcome to the final Critical Jam, J.A. Micheline’s monthly column on criticism.

This series began by positing itself as “an attempt to take an unflinching look at what we do,” so it is only fitting that it ends with an unflinching look at what I have done with it across the last year.

As an artist--and really, as a thinker--I have generally been interested in art as a method of self-discovery. My fictional work and my criticism, at their best, have both invariably revealed fears, joys, concerns, and beliefs that I was hiding from myself. Criticism is partially enthralling as it seeks to unearth truths and solve mysteries: What does this text mean? Why does it mean this? How did it mean this even if that wasn’t its intent? I use these questions to understand the world, myself, and texts in similar fashions. So it follows that occasionally it becomes necessary to turn my sights on my own criticism and learn.

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Critical Jam #11: What We Talk About When We Talk About Scanlations

Welcome to Critical Jam, J.A. Micheline’s monthly column on criticism.

I don’t write about unlicensed Japanese comics. I’d like to. There are some incredible BL cartoonists and books that I’d like to tell you about, for example, but the thing is: no English-language publishers have picked them up for translation, so as far as the English-language critical world is concerned--they don’t exist.

I mean, they do, obviously, but then we get to the tougher questions from readers, namely: “Oh cool, where do I read it?”

One answer is “pick the book up in Japanese.” I do this with some frequency, but this is more practical an answer for me than a large swath of manga fans, as (1) I live in a city with Japanese booksellers--yes, Amazon delivers almost everywhere, but their selection of Japanese titles is much narrower than what’s available in a full fledged bookstore--and (2) I can read Japanese, so the investment becomes much more worthwhile.

But for everyone else, there is another answer that is only spoken in the privacy of DMs, in the back alleys of cons, in the ghost town IRC channels of the world: scanlations.

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Critical Jam #10: We Must Be Better

Welcome to Critical Jam, J.A. Micheline’s monthly column on criticism.

There are many painful things about being a marginalized critic, but there is one truth to which I keep returning: it is the loneliness that hurts the most. It’s the thing that makes you tired, the thing that makes you feel futile. It occurs whether your work gains traction or whether it languishes in silence. You can get a hundred thousand retweets, a million reblogs, nine job offers, or just cold hard cash and still, the feeling is the same: I am by myself. I am the only person who will do this work. If I don’t do it, no one else will.

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Critical Jam #9: Psalm for the Newly Anointed

Welcome to Critical Jam, J.A. Micheline’s monthly column on criticism.

I don’t know if you’ve noticed, but: nobody’s in charge.

For newer media especially--games and comics and whatever comes next--there is no established authority, no canon of critical texts that guides the consumer, the critic, the creator. There’s nothing enshrining us, nothing empowering us. No true criticism; a legitimation crisis.

This is freeing in some aspects, but frustrating in others. In her January Crown on the Ground column, critic Emma Houxbois touches upon the transience in comics criticism in particular, though her points are applicable to the present states of criticism elsewhere:

“One of the truest and most fundamental realities of comics criticism is that it’s a transient field with a very short life cycle. People come into it with little to no formal training because there’s little to none available and they have a crack at it until they move onto something more fruitful or diminishing returns catch up with them. As a result there’s no established and easily accessible canon, there’s little in the way of bodies of work to build from and refine the field, especially since the waves of consolidation and site shutdowns have wiped out massive amounts of it.”

In other words--with nothing shoring us up, we are vulnerable, scattered, and easily erased. Though some handful of us are protected by the pillars of major publications, the vast majority exist on social media, in the comments sections, and websites that fall just as soon as they rise. With a few exceptions, none are household names and none (individually) wield the power to make or break their subjects. This instability, the absence of permanence reflected both in where criticism can be found as well as its shifting flagbearers, has a great deal to do with why people like to say that modern criticism is dead, bad, or somewhere in between.  

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Critical Jam #8: On Conflicts of Interest

Welcome to Critical Jam, J.A. Micheline’s monthly column on criticism.

I am not incredibly concerned about conflict of interest within criticism. This might be the wrong attitude to take, but then, I’m not that concerned with people who think it is, and so, the cycle continues.

In general, the idea is meant to protect something, but I can’t be sure what. Some of it is straightforward: if the critic is being paid by the creator or the creator’s publisher, they stand to financially benefit from positive critical reception and therefore criticism is a no-no. Fine, good, no troubles there. There’s also an important question--one I will not go into here--about general access, about how critic-creator relationships influence whether a creator’s work gets covered at a publication over others, even if it’s not by the critic themself.

That last clause is the one that interests me most, though.

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I've been rereading your essays at Women Write About Comics on Mark Waid's Strange Fruit (#1 and #2). They and the accompanying links have provided a wealth of perspective. I wanted to first thank you for that. And secondly, I was also curious if you have any willingness to look at comics work in progress either now or at some point in the future?

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Hey! Thanks for reading my work and thanks for the kind words. I do actually consult on race/gender in comics (and other fictional media) for a reasonable rate. 

I’m still working on setting up a full website, but for now, if you’d like to contact me about work, send me a message here and we can talk about the scope of the project, how you’d like to get started, etc.

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Critical Jam #7: A Right to be Hostile in 2016

Welcome to Critical Jam, J.A. Micheline’s monthly column on criticism.

It’s been twenty years since Aaron McGruder’s daily comic strip, The Boondocks, first appeared on Hitline.com in 1996. It’s been ten years since it ended, after being syndicated in over 300 U.S. newspapers and transformed into a successful animated TV show. Twenty years since it started, ten years since it ended and--not much has changed.

Yeah, sure, an oppressive regime unlike any previously seen on American soil is about to take power, but the gap between where we were before and where we are now is likely smaller than most think. As many marginalized people know, we have been on the brink of this for at least the length of my 26-year-lifetime and, more probably, much longer than that.

And, so, reading A Right to be Hostile: The Boondocks Treasury in 2016 feels more familiar than it should. Some of the conversations are dated and highly specific to the times--a sequence about Napster, a running bit about Miss Cleo--but a lot more feels painfully close to the here and now. The names change, but the game’s the same.

(November 6, 2000)

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Critical Jam #6: On Critical Positivity

Welcome to Critical Jam, J.A. Micheline’s monthly column on criticism.

I’ve had quite a few conversations about positivity, recently. Not the annoying version where everyone wants you to conform to the Nothing To See Here party line, but instead the version where someone deeply likes something and would like to express it. I have to say, for my part--hating comes pretty naturally. I am a natural-born hater. I can never let somebody have their moment without at least thinking of what could have been better. I’m being glib here, because criticism is so frequently conflated with hating that I may as well take ownership of the term--but my hating is what makes me an all right critic, probably. Still, in the end, no one likes a Debbie Downer. To maintain the perception of fairness, consumers usually like to read even-handed criticism or even-handed critics--people and pieces that like some things but dislike others.

This actually becomes tricky in a bad world where most things are bad, though. Or should I say, it becomes tricky when you don’t believe the world is bad or that most things are bad. Then accurate critics become haters, or more generous critics become easily satisfied, and so on. But a lot of the trouble can come when a reader thinks you’re hating because it simply cannot be as bad as you say. Which is much more to do with them than it is with you, so take heart, young critic, and hate away if you think it appropriate.

But you know, there are other kinds of critics. Specifically, the ones with whom I have chatted and feel like no one wants to hear about how much they love something. I wrote earlier about the 10/10 review, discussing review inflation, the significance of numbers, and other things--but in general, I think many critics find it hard to be positive within a critical community. Even the colloquial understanding of the word ‘criticism’ comes with a connotation of negativity. For some, writing only about positives means writing uncritically--which is not necessarily so.

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Critical Jam #5: It’s About Ethics in Marginalized Criticism

Welcome to Critical Jam, J.A. Micheline’s monthly column on criticism.

I read something recently that touched on writing about ethics. I’m trying to remember what the source is and if I do, I’ll edit it in, but the thrust of the position was this: when writing about ethics, rather than providing an absolute solution--which is likely self-limited and only applicable to the writer--it is better to represent the complexities of the human condition.

I will try to attempt this here.

I have an answer that corresponds to my values and what is important to me, but as we say, here on the Internet: your mileage may vary.

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unpretty

tim drake’s snapchat is 90% him making bruce wayne do normal middle-class american things and filming the results. popular youtube compilations include the one where they’re at denny’s at two in the morning and tim keeps trying to get bruce to order a moon over my hammy just so he’ll have to say it, the one where they’re at disneyworld and bruce gets increasingly frazzled culminating in him actually physically picking up gaston for reasons no one can entirely recall, and everyone’s favorite series “bruce wayne doesn’t understand walmart”

having thought about it the best part is probably when a pranking fails because bruce has such a bizarre patchwork of knowledge/skills and it does not occur to him to hide most of it. tim puts a ghost pepper in bruce’s food but bruce just eats it like nothing is wrong. the same thing happens with the chocolate-covered crickets. it turns out bruce can lick his own elbow. bruce can lasso a runaway robot lawnmower like it’s a calf at a rodeo. whenever tim expresses shock that bruce knows how to do something he says “i did go to college, tim” as if that explains anything and it becomes a meme. whenever anyone does something fucking absurd it just gets tagged “i did go to college, tim”.

The camera came uncomfortably close to the face of a man ignoring it. He was very good at it. He was reading a book about, of all things, the history of denim. It was not the sort of book that made it easy to ignore cameras, but he remained stoic.

The caption said helpfully: [been doing this for 30 mins]

“Bruce. Bruce. Bruce. We need to go Walmart. Bruce. I need it.”

“Ask Alfred.”

→→→

“It’s a surprise for Alfred.”

“You can’t surprise Alfred.”

“Bruce, please.”

→→→

“It’s not a matter of permission, I’m saying you literally can’t surprise Alfred.”

→→→

[he hates when i say that]

“Bruuuuce.”

“No.”

“This is bullroar.”

Bruce finally set down his book with an expression of the most profound disgust.

→→→

[oh no now we’ll be here all day]

“—either curse or don’t, just commit one way or the other instead of—”

→→→

The camera took its time panning over a black BMW.

“Can I drive?”

“No.”

→→→

[after this he took away my music privileges]

Bruce was driving, looking stoic again. His face lent itself well to stoicism. The radio played, at high volume, “Sandstorm” by Darude.

→→→

“I’ll play something different this time.”

“You had your chance and you blew it on a meme.”

→→→

[SJGJDH;FUKC 😂😂😂]

“I’m boooored.”

“Hi, bored,” Bruce said, eyes still on the road, and Tim groaned loudly. “I don’t give a shit.”

The view shifted and audio clattered as Tim dropped the phone, barking a laugh.

→→→

The phone was wobbly as Tim followed Bruce into the store. “Can I get a trampoline?” he asked, camera pointed to one outside the store.

“We have three trampolines.”

“But I want that one.”

→→→

They were in the chip aisle. “Have you ever had a Dorito? One Dorito? In your whole life?”

“I am a person. I eat food for people.”

→→→

The camera followed a bag of Nacho Cheese Doritos into the cart.

“We’re not getting those.”

“We need to get sour cream, too.”

“No.”

“You’ll love it.”

“No.”

→→→

Tim had put the seatbelt of the cart’s seat, intended for toddlers, around a giant plastic jar of orange cheese puffs.

“I thought you were getting something for Alfred.”

“I’m getting groceries while we’re here.”

“None of this is food.”

→→→

[$3 pickles blowing his mind rn]

Bruce was holding a gallon jar of pickles with an expression of incredulity.

“—costs extra to not waste food?”

“It’s Walmart.”

“Even taking into account the economies of scale—”

→→→

[putting his degree to use in the pickle aisle]

“—it just makes no sense even as a loss leader, unless the goal is to drive the competition out of business and hope they don’t go bankrupt in the—”

→→→

[i think he’s buying a pickle company??]

Bruce had every appearance of furiously texting on his phone, or possibly composing emails.

→→→

[lmao he did]

Bruce was now on his phone, looking impassive as ever as he contemplated the giant jar of pickles.

“—the business itself is perfectly sound. Yes. Obviously. Dead serious. Look, if you—”

→→→

Tim put a gallon jug of ranch dressing into the cart.

“Absolutely not.”

→→→

Tim was in the frozen section, his reflection visible in the glass.

“I bet Alfred would love some pizza rolls.”

“Your lies demean us both, Tim.”

→→→

Bruce was standing in the toy aisle, rubbing the bridge of his nose. “I understand the concept of blind boxes perfectly well, thank you.”

“Then why are you acting confused?”

Why does Thomas the Tank Engine—”

→→→

[🌈🌈🌈]

Bruce was making a face of disgruntled bafflement at a display of baby clothes.

“—disturbed by the amount of aggressive heterosexuality being foisted on these babies.”

“Yeah,” Tim agreed. “What about the gay babies?”

“I can’t tell if you’re joking but I’m unironically concerned.”

→→→

[gotham pride]

The camera panned over a display of hero-themed hats. Most of the Batman hats had sold out, while the Superman display was nearly full. It panned back to Bruce, who was taking a picture with his own phone.

“Who you texting it to?”

“Friend in Metropolis.”

“Metropolis sucks.”

“Yes. Yes it does.”

→→→

[no escape]

The camera peered out slowly from behind a clothing display. Bruce was surrounded by enthusiastic and friendly women. It was impossible to tell what they were talking about.

→→→

[???]

Bruce was holding a dress up against himself. The women around him seemed delighted and were nodding their approval.

→→→

[i’ll strike while he’s distracted]

Tim dropped another two four-movie collections of Shrek on top of the considerable pile he’d already amassed. He panned up to check that Bruce had not caught him before grabbing another.

→→→

[busted]

While Bruce put DVDs back on the shelf, Tim surreptitiously grabbed a Shrek coloring book.

→→→

[he’s gonna get a fish]

Bruce was frowning at the wall of fishtanks in silence. Finally he said, “These fish are very unhealthy.”

→→→

[HE’S BUYING ALL THE FISH]

The man attempting to help Bruce looked baffled. Bruce gestured to the entire display of fish with a nod. The man shook his head. Tim brought his phone close to a betta, blue and red with a tattered and graying tail.

“We’re here to save you,” Tim stage-whispered to it.

→→→

Bruce was now engrossed in conversation with multiple employees.

“—if I bought some tanks — they’re much too small but as a temporary measure — we could transfer them directly and it might be less distressing for the fish.”

“Maybe I could get one of the big dolly carts from the back?” one young man suggested.

→→→

The low camera angle suggested Tim was trying to be surreptitious.

“—for trying to unionize is completely against the law,” Bruce was saying, his voice low. He was helping three other employees transfer fish into large plastic tanks.

“At-will employment,” one woman said.

“We’d have to prove that was why they fired us,” someone clarified. “Otherwise they can say it was for no reason.”

“You’re shitting me.”

→→→

“—fucking with my hours hoping I’ll quit.”

“What? Why?”

“If they fired me, they’d have to pay unemployment.”

“That’s why they won’t let me work full-time.”

“What the fuck.”

→→→

[omg he’s stealing the employees now]

“—in Gotham, but there’s more opportunities outside of manufacturing if you’re willing to move.”

“Wait, so do you mean like for management?”

“No, no, that’s the starting wage for someone working assembly, quality control, that kind of thing. We’re all unionized, none of this at-will bullshit.”

“So if I—”

→→→

The woman from earlier was showing Bruce her phone while the others continued moving fish.

“You painted this?” Bruce asked. She nodded. “That’s fantastic. Are you showing it anywhere? I know a guy with a gallery — actually I know pretty much everyone with an art gallery in Gotham. I think I have a friend who’d really love this, if you don’t mind me making some calls for you.”

→→→

Four more employees had joined the menagerie.

“—almost always hiring in Gotham. People are always moving to cities with fewer evil clowns.” Everyone laughed. Tim snorted. “Employee insurance totally covers acts of supervillainy, though.”

→→→

[trying to crush the revolution]

The employees had not dispersed. In the distance, someone managerial was talking to Bruce. He looked much less amused than Bruce did.

→→→

[THEY CALLED THE COPS]

Tim had switched to the selfie camera, his face pure glee. He turned bodily to show the employees wheeling out tanks of fish out of the store, police lights in the parking lot.

“The manager tried to make Bruce leave but he insisted on paying for his fish and he wouldn’t stop giving people better jobs so the guy said it was corporate espionage and threatened to call the cops and Bruce called his bluff so he did it.”

→→→

[WE’RE BANNED FROM WALMART FOREVER]

Bruce was laughing with the police officers about something. The manager from earlier had been joined by men in suits. None of them looked happy. Some of the employees from earlier were yelling and flipping them off. One man pulled off the shirt of his uniform and started setting it on fire.

→→→

Bruce was on the phone in the parking lot.

“They’re small, most of them are tropical. You can figure out what they are when you get here. How is that racist? I’m not suggesting you already know them, I’m well aware you don’t personally know every single fish—”

→→→

“Either you take these fish or I toss them in the sewer and Killer Croc can eat them. It will be a merciful death compared to what they were getting. It doesn’t matter where I found them.”

→→→

[i’m not allowed near toxic waste]

Tim held the betta from earlier in front of his phone, bringing it dangerously close to Bruce’s face. Bruce had hung up, but seemed to be dialing another number.

“I’m keeping this one,” Tim said.

“Fine.”

“If I drop him in toxic waste do you think he’ll get powers?”

“We’ve already had this discussion.”

→→→

[the pettiest man in gotham]

Bruce was on the phone again, looking out at the empty field beside the Walmart parking lot.

“Yeah, just buy the whole thing. Yeah. Absolutely sure. Green Market’s doing good, we’ll build another one of those. Can we put up a billboard while it’s under construction? A really big billboard.”

→→→

“First of all, if it’s in writing, it’s libel. Second, figures taken directly from their report to shareholders aren’t defamatory. What’s the most they could even sue me for? See, that’s nothing. Bad PR for them, good for us, it's—”

→→→

Tim had switched to the selfie camera again, and was using a sparkling purple filter that made his eyes look huge. He backed into Bruce so that Bruce’s face would be in the shot. “Bruce, look! You’re a pretty pretty princess!”

Bruce raised an eyebrow as he looked at his face on the screen. “I’m always a pretty princess,” he said seriously.

→→→

[he picked the music this time]

Bruce was driving again. He was listening to 100 Little Curses without any apparent irony. This did not mean there wasn’t any irony.

→→→

[i named him wally]

The Walmart betta was now in a tank that held at least a hundred gallons. His underwater castle was resplendent. His tail had grown in, a shimmering gradient of red and blue. Bruce could be seen in the background through the tank, sitting on the couch and reading a book.

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Critical Jam #4: On True Criticism

Welcome to the Critical Jam, J.A. Micheline’s monthly column on criticism.

I re-read an article recently, the one that solidified my decision to start this column--Daniel Mendelsohn’s A Critic’s Manifesto. It’s a beautiful piece that encapsulates a great deal of what I love about criticism as well as what I feel to be true about the work. But it is, as most things are, imperfect. I shudder at the perpetual attachment of pronoun ‘he’ to the term critic--especially as used by a male critic, who purports himself as accountable for the turns of phrases he uses--and the presentation of critics in parallel with either doctors or judges is a particularly weak argument, given both attend professional schools to acquire a very specific set of knowledge, skills, and licenses. One is an artist regardless of whether one attends art school. Critics are simply required to attend life--and the best of us attend it well.

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