2012 Road Trip Notes on the Go, Day 6: Waters Running Deep

As we packed our belongings this morning in our hotel room, I paused while checking the bathroom and noticed a centipede trapped in the sink. I’m not sure how he wandered into it, but he struggled to find purchase on the slope. Just as he would make progress and elevate himself several proud millimeters, invariably he would encounter water droplets from our ministrations, adhering to the sink and obstructing his path. After watching him try a few lateral moves in vain, my wife extended our complimentary copy of USA Today to him like a lifesaving rope and left him on the sink to pursue his appetites or frighten the housekeeper, whichever came first.

Our morning route wove through the south end of Colorado Springs, circumnavigating the former wildfire zones to the northwest. We never saw any of the much-publicized damage to forests and homes, nor were we interested in ogling it. We were heartened to see several local businesses with fundraising jars and cans at their registers, doing their part for charity, relief, and kindness. My wife spotted T-shirts for sale with a slogan to the effect of, “Community Doesn’t Burn.” For want of timely precipitation, opportunities to love and provide were born in response.

Our first attraction was Seven Falls, a mountainside chain of seven vertically successive waterfalls, each one a tributary to the next one below it. Several nearby geological formations also sport shapes vaguely resembling other things if you squint at them just right and use your imagination. A lengthy staircase leads healthy visitors several stories high, permitting a meaningful gaze upon the seven-part waterway from above, and connecting to a mile-long trail leading to the grave of a local author. Across from the falls and on the other side of the larger of two gift shops, an elevator carries visitors to a deck perched high enough to observe the falls in their entirety, but from a distance.

That was pretty much our entire Seven Falls experience: the one set of falls, the ways to see them, and the surrounding peculiar rocks. We arrived a few minutes before 9 a.m. as the first customers of the day. Neither gift shops nor snack bar were open yet. We enjoyed a two-way elevator ride, some brief marveling at the star attraction, and several minutes of my family watching me ascend and descend the first several dozen steps of the staircase without incident. Without a mood for a mile-long walk that early to pay respects to an unfamiliar author, we were over and out by 9:30. Paying admission to view some water grated on us a little. It was too simplistic an application of the basic roadside attraction formula: find unusual natural thing A; surround with gift shop B and cafe C; develop heavy marketing plan D; rake in profit E.

To the southwest, several miles past the town of Cañon City, lay another example of man corraling water for entertainment and employment, the Royal Gorge Bridge and Park. The centerpiece is the Royal Gorge Bridge, reputedly the highest suspension bridge in America, crossing nearly a thousand feet above the Arkansas River and spanning over 900 feet across canyon sides. Timid visitors can cross the bridge slowly in their car, viewing the sights from within a heavy metal capsule that wouldn’t save them if the cables were to snap. Bold visitors like us can walk across the bridge themselves and experience firsthand the swaying in the wind, the occasional loose board, and the sight of the gorge bottom between the cracks.

Walking across on foot also provides better photo ops. Each of the fifty state flags is hung across the length of the bridge in alphabetical order. We had to unfurl the snarled Indiana flag ourselves, then sighed as a group when we found it frayed and in dire need of replacement.

The bridge itself isn’t the only activity available. Their railway elevator can transport over two dozen visitors to the foot of the gorge for a closeup of the Arkansas River. We had fun watching a sextet of rafters courageously concentrating on rowing their way downriver, rather than sticking to the safety of a riverside deck. A few amusement park rides offer unrelated thrills for small children, as did a boisterous stage performer who fancied herself Minnie Pearl reborn, complete with shrill yet accurate “HooowDEEE!” that could be heard from blocks away. An overzealous local club was on hand to sell fundraiser lemonade to anyone not tempted by the park’s own free-refill amenity.

If you successully cross the bridge, promises of more entertainment await you on a series of adjacent hillsides. We were afraid to approach their pretend mountain-man shanty-town. A “wildlife park” had spacious enclosures for several bighorn sheep, a herd of bison, and some elk. A “petting zoo” allowed direct physical contact with a couple of cows, two llamas, and all the goats you want, including one particularly crafty kid who worked his way onto the roof of the goats’ shelter and tried gnawing at some stray grass wedged between the slats. Burro rides were available for anyone between 22 and 48 inches tall, thus disqualifying our party. A bungee-like contraption swung paying victims through midair and over the gorge in ways that interested none of us.

Once we concluded that the far side of the bridge wasn’t quite the draw that we thought it was, we tried making our way through the rising midday heat to the aerial tram that would spirit us to the other side. I followed their cartoon map to the best of my ability, guided us slowly up a few consecutive inclines, and stopped when I thought I was several feet short of victory…only to see the correct location still two hills away. At the same time, we also watched a park trolley pull past us, loaded with passengers riding to the other side in style. We fumed, fussed, and decided to cross the bridge on foot once more, back to the starting side. We already knew the way.

Once we returned to square one, we cooled down at their largest gift shop and celebrated our successful stubbornness with cheap cafe lunch. My elk bratwurst suited the occasion just fine. Although the ancillary activities were underwhelming, we found the gorge and bridge to be an impressive display of the peculiar relationship between man and water. In this instance, water and its surroundings maintained whatever forms they pleased, and man worked around them.

Four miles of winding roads returned us to Highway 50, which stretched directly east from Cañon City to our next night’s base in Pueblo. On the way we stopped in the town of Florence for photos of their Veterans Memorial Park, containing a veterans’ memory wall and several parked, decommissioned Army vehicles apparently donated by nearby Fort Carson — a Phantom II jet, one medical chopper, one war copter, a small tank, and a howitzer. It was a brief diversion that partly made up for no one being enticed of my offers to drive us to other local attractions such as the Dinosaur Museum or the Colorado Museum of Prisons.

After checking in to our Pueblo hotel, my wife and I let our son hang out with his friend Uncle Laptop while the two of us excused ourselves for a romantic time at Pueblo’s own Historic Arkansas Riverwalk. As it turns out, the Arkansas River flows from Cañon City forty-plus miles to Pueblo, where the city has contained and reconfigured it into a peaceful riverwalk, not unlike San Antonio’s famous Riverwalk or Indianapolis’ own White River Canal Walk. Pueblo’s Riverwalk is shorter than either of those for now (construction on one side may or may not have foreshadowed future extension), but not without its own charm. By sheer happenstance, we showed up the same night as a planned Farmers’ Market, which allowed us to view and sample local wares such as multiple varieties of goat cheese. (That was my favorite stand, anyway.)

Two restaurants offer dinner seating on their Riverwalk. Angelo’s Pizza looked overcrowded, so we opted instead for an Italian meal at The Sicilian, a recently opened establishment whose modest prices and quality meals shamed all our Olive Gardens back home. If their Eggplant Rollatini hadn’t already won me over, their cannoli would have for certain. Without my Italian-hating son with us, we relished a moment alone with a fabulous meal and waterway scenery. I wouldn’t’ve minded staying and enjoying the company of this tamed portion of the Arkansas for a while after that, but gathering stormclouds threatened us with a less captive, more aggressive form of water.

Our evening at the hotel was slightly deprived when we flipped through TV channels and witnessed the casualties of the DirecTV/Viacom brouhaha that has apparently gripped the nation with fear and rioting while we’ve been away from home and ignoring entertainment news. We had the same problem with the previous night’s hotel, as a good third of the hotel channels were now blank screens thanks to DirecTV’s corporate protest of corporate greed. With fewer options at our disposal — by which I mean no Adult Swim King of the Hill reruns for our second night in a row — we were forced to settle for lesser fare, such as a rerun of an episode of The Office we’d all hated the first time around. The subsequent top-notch Parks & Rec rerun was more to our liking.

Scraping the bottom of the TV barrel, we even sat through part of an episode of Wipeout, which I’d never seen before. In this poor man’s Ninja Warrior, or perhaps an even poorer man’s Double Dare, blustery contestants face physical humiliation for prizes and fleeting fame. Every slippery obstacle or jarring punishment sends the contestant unceremoniously plummeting into the water below the course.

Beyond fulfilling the necessities of life, bodies of water have been co-opted by man for countless secondary uses: to exemplify natural beauty; to foster creativity in overcoming or traversing it; to embody tranquility for quality-of-life enrichment; even to stimulate local economic gain.

But to see so much water wasted in service of something as low as reality TV? I felt embarrassed for that poor, sullied water.

2012 Road Trip Notes on the Go, Day 5: Beauty and Breakdowns

Today we bade farewell to our hotel outside Denver. Unfortunately, we departed just in time for rush hour and spent twice as long in the car as expected. We stopped for gas in the town of Castle Rock partly to let the traffic die down, partly for snacking purposes (some of us were burnt out on three straight days of the same hotel breakfast), and partly because I was amused to see a town sharing a name with a Stephen King motif, even if the town predated the setting.

When the coast was clearer, we headed south to the Colorado Springs vicinity, veered west for a return engagement with the great and powerful Rockies, and paid a visit to the Garden of the Gods, a coincidental collection of naturally occurring rock formations in unusual shapes great and large — a few monoliths, a couple shaped like animal heads, and some towering in pairs. Our favorite was Balanced Rock, a large, precariously perched roadside boulder that remains inexplicably secured. In addition to the uniquely shaped geological specimens, one other sight was new to me: Mennonite tourists using cameras much nicer than mine, tricked out with zoom lenses and tripods.

Five minutes down the road was our next attraction, the Manitou Cliff Dwellings. Over a century ago, a collection of Anasazi homes was uprooted and relocated in the side of a mountain near the town of Manitou Springs for preservation and education purposes. Visitors can enter any door or window and snake their way through the passages connecting each facade or dwelling, including one two-story, multi-family unit. That is, you can do so if you’re not in line behind a youth group on a field trip who’ve already filled all the ex-domiciles to full capacity. Fortunately for them, no ancient Anasazi fire marshals were anywhere in sight to cite the kids for overcrowding.

Alternatively, you can check out their multi-level museum and gift shop, which together occupy somewhere between two and eight stories. The layout was confusing, far from straightforward, separated me from my family at least once, and led me to two or three dead ends, each one filled with quality merchandise such as feather-shaped lollipops displayed like a war bonnet, the same pile of inseparable magnetites you can buy in every gift shop nationwide, and lethal weapons such as the “Deerslayer Boomerang”, a cardboard children’s tool that would cost one dollar if ordered from a comic book ad in the 1970s.

On the other side of US Highway 24 was downtown Manitou Springs, a tourist town comprised of numerous small businesses (including one comic book shop!) and one Subway. With limited time before our afternoon appointment, we fetched lunch at one of the restaurants nearest the public-parking area, a bar-‘n’-grill called the Keg. I wasn’t sure this was a family establishment that would serve my seventeen-year-old son, but no one broached the subject. It was his first opportunity to watch his lunch being cooked by a tattooed chef wearing a concert T-shirt in lieu of a garish fast-food uniform. Nevertheless, I can testify that my Mile-High Roast Beef sandwich was authentically meatier than any Arby’s product I’ve had to date. All the Slipknot logos in the world couldn’t have affected my enjoyment of that.

High above the town is the Pikes Peak Cog Railway station, which offers a handy train ride from Manitou Springs (elevation: 6,571 feet) to the top of Pikes Peak (elevation: 14,110 feet). Your alternatives to reach the top are: (1) a long hike, for which our family is ill suited; (2) a three-hour daredevil drive, which my wife refused to let me attempt; or (3) invent a flying machine, for which our family is also ill suited. The Cog Railway isn’t cheap, but it’s a once-in-a-lifetime chance for about the same price as admission to a bad amusement park.

Our departure was scheduled for 1:20. We began boarding at 1:00. We steeled for takeoff at 1:20. After sitting for another half-hour or so, we learned another train somewhere on the track was experiencing technical difficulties, At first they moved our train onto an alternate track so the impaired train could return to the station. Then they moved us back onto the main track. Then we returned to the alternate track again. Throughout the merry rearranging games, our cheerful conductor did her best to keep us entertained with situational updates, good-natured bad jokes, and individual anecdotes about the nearby apple tree, the nearby bench, and any other random objects we could see through our windows.

After an hour of waiting in a train that wasn’t getting any more air-conditioned, finally they moved us even further forward into their official train repair shop, had us disembark and walk back to the station so trains could be swapped around and tourism service could resume. This awkward transition allowed the Railway time to issue customer refunds if desired, resell those seats to new customers, and sell off any seats that had been previously unsold prior to our aborted departure. I can’t fault them for wanting to maximize service on what would prove to be a totally off-schedule day, but when we boarded our substitute train, it was discouraging to find that the additional elbow room we had claimed from those formerly empty seats was now revoked, leaving us more cramped than we had been before.

A full ninety minutes after our scheduled time, our journey to the Pikes Peak summit commenced at long last, The trip is roughly seventy minutes in each direction, and includes numerous sights beyond the mere breathtaking scenery — occasional rambunctious marmots; one waterfall; the ruins of a century-old shack; obsolete spigots that were necessary when steam engines ruled the Railway; trees murdered by pine bark beetles; storm clouds threatening other cities and states; and more, more, more. We also had the pleasure of company provided by a family from Tennessee sitting next to us, to whom my wife did most of the talking because the train engine drowned out their conversation too thoroughly for my poor hearing to catch consistently.

The top of Pikes Peak was a greater place than I could have imagined. We could see clouds drifing below us. We could view other states from afar. We could venture onto one of several outcroppings and have our photos taken by relatives terrified for our lives. We could warm up inside the Pikes Peak Summit House, a gift shop whose offerings includes hot coffee and renowned fried cake donuts that were fresh, crisp, and tender, not doughy and stale like Dolly Madison shelf-cloggers.

The top of Pikes Peak was also a more painful place than I could have imagined. In our rush to finish lunch and board the train on time (all that hurrying in vain, in retrospect), we forgot our jackets in the car, The summit is a few dozen degrees colder than the base of the mountains, and made for some discomfort among us older folks, (My son thrives in winter temps and was unfazed by his surroundings.) Despite drinking plenty of water all day and during the ride, I still found myself light-headed for the first several minutes up high in the thinner reaches of the atmosphere. (Donuts and decaf seemed to help cure that, or perhaps it was mere acclimatization.)

Despite borrowing chewing gum from our Tennessee companions (a necessary defense according to some sites), I also encountered troubles with my ears popping multiple times during our ascent, then stuffing themselves shut during the descent. I was practically deaf throughout said descent, as the noises of the world were buried under the incessant drone of train-engine combustion, muffled even further by altitude maladjustment, with occasional interruptions from the conductor’s intercom instructions and from half-conversation excerpts as spoken to others by my wife sitting next to me. I didn’t enjoy the isolation.

We returned to the station richer for the experience in general, yet not quite whole. By the time we adjourned to our hotel in Colorado Springs, the stuffiness had subsided somewhat, but whenever we weren’t in the presence of machinery or background music, everything around me sounded as though I were listening to the world through a seashell ocean-sound filter. This isn’t my first experience with a temporary hearing issue (see also: a Metallica concert I attended in 1992, one super-amped They Might Be Giants gig a few years ago), so my tentative plan is to sleep on it and see what happens. Sometimes these things fade. If it’s my hearing that fades instead, we’ll escalate the issue to the next level,

Thus endeth the adventure of the American who went up a mountain but came down a wreck. This bout of pain and suffering naturally called for an obvious dinner choice tonight: Smashburger second encore!

We rightly assumed that Colorado Springs also has a few locations, After tonight’s above-average meal I’m now officially sick of them, but I acquiesced to the majority vote with the knowledge that this may be our last Smashburger visit until either they reach Indianapolis or we conveniently schedule a future road trip in one of their present states of operation. Maybe by then I won’t be tired of their awesomeness anymore,

2012 Road Trip Notes on the Go, Day 4: Dallying in Downtown Denver

After our big day up in the mountains, a day down in the city seemed an appropriate counterbalance.

As all Denver tourists are required to do, we checked in at the west side of their gold Capitol Dome, where one of the steps allows visitors to experience the sensation of standing exactly one mile (5,280 feet) above sea level. It’s not an impressive height compared to the mountains, the nearby skyscrapers, or even the several steps above that step. What makes it special is that moment when you know you’ve achieved math-geek precision in physical form. Unless you hate math or measuring, in which case it’s just an ordinary stair-step with a large label on it.

Our first indoor activity was a tour of the Molly Brown House, former home of a two-time boat disaster survivor. The century-old brick exterior blends in with the other houses compacted into the same block, but the interior was, for its time, a forward-thinking modern marvel of electrical wiring, indoor plumbing, and exotic-artifact-based decor. While feasting our eyes on her collection of unusual items (my favorite was a genuine bearskin rug, just like in cartoons), we also learned about her crucial involvement in the early development of the juvenile justice system, and in the creation of the Dumb Friends League (a common-knowledge name in Denver, far more amusing to us foreigners from other states).

We also saw the second floor, which has a wide space where Mrs. Brown would invite bands to come play, opening the window so their music could waft out the window for the neighborhood to share, or for large outdoor parties to enjoy. This same window offered a gorgeous view of the Rocky Mountains and the Capitol Dome before office buildings were inconsiderately built across the street in later years and ruined everything.

As her husband’s eventually considerable earnings afforded her the opportunity for private tutelage and intellectual pursuits, she also amassed quite the book collection. I managed to note the names on her large collections of Dickens, Thackeray, O. Henry, Balzac, Bret Harte, and Memoirs of the Courts of Europe before I dropped my pen and watched in horror as it rolled against the wall behind an antique plant holder. Fortunately the docent was gracious enough to help me navigate a path to it without contaminating anything priceless. She very nicely overlooked my faux pas, as did the other tour-group members — a mother and daughter from Austria, and two men from Bloomington, in our very own home state of Indiana. This isn’t our first what-a-small-world vacation moment, but they’re always one of our favorite kinds of surprise joy.

The tour ends with the obligatory backroom of Titanic commemoration. One interactive portion allows children to write down their answers to the question, “What do you think we can learn from the disaster of the Titanic?” The most sensible answer I read was, “To make more life boats.”

The gift shop is expectedly well-stocked with all imaginable Titanic books (including one fictionalized trilogy!), Titanic merchandise, Titanic documentaries, and several copies of Debbie Reynolds in The Unsinkable Molly Brown. If they had copies of that one James Cameron flick on hand, I overlooked them.

From there we headed several blocks due west to the Denver Art Museum. With limited time at our disposal, each of us picked one section for the entire group to visit. My son, fan of all things Japanese because of how much more awesome they are about everything they have ever done in every field in all of existence compared to us losers from any other nation, predictably selected the Asian section. Highlights included various hand-painted screens, ridiculously intricate bamboo carvings, and line-art pieces by 19th-century artist Tsukioka Yoshitoshi that reminded me faintly of the delicate works of early Frank Miller.

I picked the Pacific Northwest Native American section, because all museums east of the Mississippi seem to feature arts and crafts by the same five or ten tribes, and I was curious to see what else is out there. I wasn’t disappointed as I beheld totem poles, argillite tools, unique masks, and other samples from tribes such as the Tlingit, the Haida, the Inupiaq, and the Kwakwaka’wakw, which I dearly, truly hope isn’t pronounced “wocka-wocka-wocka”.

My wife randomly chose the pre-Columbian and Spanish Colonial art section — again, not sections we typically run across in our usual stomping grounds. Much of what I perused was all about Catholic imagery, but I had to raise an excited eyebrow at one room that positioned paintings of Christ next to Mexican paintings about chocolate. This was one of my new favorite museum rooms of all time.

We had to leave the museum early for a lunch reservation at the world-famous Buckhorn Exchange, century-old establishment, proud possessor of State of Colorado Liquor License #1, servers of exotic game dishes, and displayers of numerous stuffed animal heads. Restaurants like the Buckhorn, with or without grand taxidermy, are several levels above my pay grade under normal living conditions, but we decided to splurge just this once. Speaking only for my own meal, I can say that quail was a delicious main dish, especially in its pear/apricot glaze; the game tips in a sort of Stroganoff sauce were an appealing appetizer; and our server was courteous and very engaging. By and large, I personally was content. Outnumbered by those who agreed to disagree, but content.

The remainder of our afternoon was spent wandering Denver’s downtown 16th Street Mall. Basically, it’s a downtown just like any other large city’s, except several areas are zoned off for pedestrians only, and shuttle buses carry shoppers from one end of the mile to the other, with impressive frequency and for no charge. The shoppers themselves were a gratifyingly wide variety of all possible demographics racial, social, economic, or otherwise distinctly categorical — tattoos next to ties, business suits next to nightclub wear, and mohawks on all ages from six to sixty. We’re more accustomed to The Way Things Are in Indianapolis, where particular malls and shopping districts tend to be more about birds-of-a-feather than about all-just-getting-along. On the other hand, I’ve never witnessed an actual arrest in one of our shopping strips back home, but I’d like to think the high young man we saw being accosted by four officers next to a waiting ambulance was an aberrant exception.

The stores didn’t look radically different from back home, unless Japanese fast food or Filipino stands count. The only two buildings we entered were a Colorado gift shop, at which my wife fulfilled most of her souvenirs-for-relatives checklist; and the free tour at the Federal Reserve Branch Bank, which requires a thorough security exam before you can enter and view three minutes’ worth of exhibits. At least they were nice enough to offer visitors free bags of shredded out-of-circulation money. I was thinking they might make great pillow-filling, but my wife was thinking further ahead to their potential as Christmas stocking stuffers for our nephews.

After our legs were once again worn down to nubs, we returned briefly to the hotel, relaxed and regrouped, and then ended our tourism day with a crowd-pleaser of a dinner best summed up in two words: Smashburger encore! Having discovered their fine product on Day 1 in St. Charles, MO, by popular demand I searched online for more locations for the benefit of those who’d experienced lunchtime issues earlier. Imagine our surprise to discover Denver is the Smashburger’s hometown.

And they all ate happily ever after.

2012 Road Trip Notes on the Go, Day 3: Misty Mountain Marathon

We’ve never been so happy to have rain on our vacation. Our various Colorado clerks and service reps were even more joyous for any weather other than “hot with a chance of combustion.”

Our entire day was spent in, around, and hugging the Rocky Mountains, which we finally located once the storm system lightened up. Fortunately all roads dried quickly, and temperatures stayed in the low 70s all day long. As the driver, I was afforded the opportunity to navigate the winding, twisting mountain roads with half my mind paying attention to the road and the other half overwhelmed by dozens of miles of looming, gargantuan majesty.

We started at the Red Rocks Amphitheater, a concert venue built into a mountainside, reportedly with fantastic acoustics. Numerous joggers convene there early in the morning for workouts, zipping up and down the stairs, back and forth across the rows. A setup crew was working onstage for tonight’s scheduled concert (weather permitting), the Beach Boys, on their 50th anniversary tour and far from their natural setting. The reverberations were keen enough that I could overhear one-half of a conversation between two joggers standing fifty feet away, one of whom was facing the side wall.

The drive up Alameda Parkway to the amphitheater was scenic in its own right. Back at ground level, the same parkway leads in the other direction directly to Dinosaur Ridge, but Google Maps hadn’t taken into consideration that this straightforward route was permitted only for pedestrians, bicyclists, and shuttle buses. That meant we had to leave the parkway, drive back north to the interstate, drive to the very next exit, then drive back south to where we nearly began. The folks at the gift shop were among the friendliest we’ve met this week, but we made the mistake of taking a self-guided walk up the ridge rather than taking the optional shuttle bus with a helpful, informed tour guide.

Without the bus or the guide, our experience amounted to an uphill one-mile walk to view one set of dinosaur footprints, several examples of variegated stratification, some plant fossil imprints, and one or two very tiny, singular fossils embedded in the cliff walls, no full sets of skeletons. After missing out on whatever the tour guide told the paying customers, we found the subsequent one-mile downhill walk back to the car a little disappointing. The healthier, better equipped bicyclists zipping past us up and down the route each added just a few grains of salt to our wounds. That salt was then washed away when the rain returned for a few minutes. This was not our finest hour.

From there to Lookout Mountain was a jaunt of less than ten minutes, thankfully by car and not by foot. We weaved through a network of posh mountainside homes to reach the Buffalo Bill Museum and final resting place of the man, the myth, the legend, and his wife. Since the only other restaurant along the way had been shut down, our lunch wound up being at the museum’s Pataska Tepee cafe, decent diner food at gift shop prices. Mr. Cody’s gravesite, adjacent to a panoramic lookout, notes his accomplishments as a husband, an Indian fighter, and a Masonic lodge brother.

Even more fun than all of the above was the adventurous trip down the other, more dangerous side of Lookout Mountain. That led us northward through Boulder (which resembled some of our upper-class suburbs back in Indy, except Colorado has ten times as many bicyclists), up through Lyons and into Estes Park, where we later stopped to check out the famous Stanley Hotel, Stephen King’s inspiration for The Shining and filming location for the Steven Weber TV adaptation (not Kubrick’s version). Alas, its lot is gated, secured, at at first glance not welcoming to any busybodies without reservations. Also odd: whereas the fictional Shining hotel is isolated from civilization, the Stanley is a stone’s throw away from a dense, sprawling conglomeration of tourist shopping traps.

Estes Park is also the eastern gateway to Rocky Mountain National Park, a natural smorgasbord of mountains, more mountains, animals, and still more mountains. Mostly I remember miles upon miles of looking and staring and pondering and then staring some more, with an occasional sidelong glance the road in front of me to confirm I wasn’t colliding with anything. In addition to the Alluvial Fan falls and the bighorn sheep meadow (empty today, alas), we also saw several squirrels, one weird black-and-white bird, and two sleeping snakes we didn’t dare disturb. By this time our legs were all damaged to varying degrees, so we enjoyed God’s grand works more from the car than I would’ve preferred, but it was a direct consequence of overextending ourselves. Enjoyed immensely, sure, but overextended nonetheless.

This is not unusual for us. Every one of our road trips has had its share of setbacks, oversights, and moments of humility. We accept the situation, note the results mentally for future reference, and make sure we took plenty of photos anyway. Today’s lessons learned the hard way:

1. Mind your altitude changes. The drive up Alameda Parkway, the walk up to the amphitheater, the excited walk down its sixty-odd steps, and the beginnings of the walk back up said steps combined with the thinner atmosphere to leave my wife dehydrated and struggling to breathe. We had all expected me, the least healthiest of us three, to succumb to illness first. No one would have bet on her to draw the short straw. I made the trip back to the car, fetched two bottles of water, and returned to where she left off, thankfully without falling ill myself. After some resting and drinking, her condition improved, but we paid more attention to our physical statuses the rest of the day. (Rest assured the subsequent Dinosaur Ridge two-mile round trip was marched at an extremely slow pace, foolhardy though it might’ve been nonetheless.)

2. Let your credit card company know your travel plans. My wife faithfully notifies her provider every year. I’ve always interpreted this as a polite courtesy on her part, not a mandatory task. When we tried to check in Sunday night at our hotel, my card was declined without comment. I wrongheadedly dismissed it as a card reader error. When we stopped for gas today in Boulder, lightning struck twice. Sure enough, after one unhappy phone call to my provider, I found my card had been flagged for “suspicious activity” because I’m out of town. We’re all straightened out now, but I was not excited about having to make other arrangements. I should be grateful that they’re watching out for my interests, but those two awkward moments in hindsight feel more as though I were subject to the whims of an overprotective parent.

3. Remember your time zone at all times. I keep forgetting we’re in Mountain Daylight Time rather than Eastern Daylight Time, and consequently failed to do the math in time to realize that Bunheads started at 7 p.m. here, not 9 p.m. I’ve another item to add to my back-home to-do list, then.

4. If someone offers you a shuttle bus that’s inexpensive or free, you say YES.

2012 Road Trip Notes on the Go, Day 2: the Plains, the Plane, the Hills, and the Bill

Today was 270 miles of Kansas plus 160 miles of Colorado. The unifying visual theme was unseemly drought damage.

The rolling hills of eastern Kansas didn’t last long and gave way to a lengthy journey earmarked by occasional herds roaming freely around endless, sickly yellow waves of grain. Breaking up the post-hillside monotony were countless anti-abortion billboards and handcrafted signs, all dotting the charred, flattened landscape. So many heartfelt expressions targeting the same thoroughfare gave the impression that Kansas’ share of I-70 is a teeming powderkeg of wanton lust and convenient Planned Parenthood centers.

After a hotel breakfast of lukewarm buffet sandwiches, our first diversion was in Abilene at the Eisenhower Presidential Library and Museum. We don’t normally brake for every Presidential museum, but a combination of historical significance, convenience, and lack of competition made this the perfect follow-up to yesterday’s brief stop at the Truman Museum. The gift shops at both museums were even selling the same “Ike and Harry 2012” merchandise, which appears to tie in to a website that I’m too tired to read closely at the moment.

The Eisenhower complex consists of the visitor center/gift shop, a functional research library, a museum, his boyhood home (tours only, no freely roaming inside), and a chapel containing the final resting place of President and Mrs. Mamie Eisenhower, along with their son Doud, who passed away too soon at age four. A small church stage and modest pews provided visitors the opportunity for moments of reflection. It was as apt a place as any for us to be on a Sunday morning, hundreds of miles away from our home church.

The less apt follow-up was a stop at Abilene’s Russell Stover factory, whose storefront sells all the Stover candies and Whitman’s sampler that a family could want, whether or not any holidays are imminent. The intense smell of chocolate pervades their air and punches you in the nose when you enter, even if you like sweets. Their backroom is all clearance-sale items — bags filled with deformed factory rejects, and numerous pallets of holiday leftovers dating back to at least Halloween 2011. I spent fifty cents on a timeless sugar-free sampler, while my son splurged on a three-dollar eighteen-inch-wide heart-shaped Valentine’s Day gift box, the kind whose unwieldy size says, “I’m really, really sorry that you think my stalking you is creepy instead of charming.” After paying, he opened his goodies and found that half of them tasted precisely five months old, and the other half were cherry-flavored, which to him is even worse.

Another recurring motif in Kansas, besides suffering flora: military things. As we passed the exit for Fort Riley, we noticed a parking lot out back filled with ominous black helicopters. (As great a photo as it may have made, parking outside a military base to take photos may have sent a wrong message.) Kansas’ very own Manhattan wasn’t nearly as awesome as the Manhattan we visited last year, but it did have a sign proclaiming itself the future home of the National Bio- and Agro-Defense Facility, which sounds only slightly benign. Still further down the road, stationed in the town of WaKeeney was a small, decommissioned fighter jet for any and all looky-loos to come poke and prod. When we detoured for an impromptu photo op with it, an older couple of geocachers were peering into the holes and opening the hatches in search of their elusive quarry of the day, deposited somewhere within this one-vehicle roadside exhibit.

We also digressed through the town of Oakley, home of a large Buffalo Bill statue and Buffalo Bill Cabin, ostensibly a gift shop but closed for the day. I’m not sure if this was a one-day inconvenience or a transitional state. Behind it, another house was in mid-construction. A flyer told us the cabin itself is for sale, but not the property. Moving and foundational arrangements, per the flyer, will be left to the discretion and responsibility of the buyer. We passed on the generous offer.

Prettier and closer to the interstate was a towering easel in Goodland, upon which rests a giant-sized replica of one of Van Gogh’s sunflower paintings, part of an ambitious Canadian painter’s planned seven-continent project. The painting itself is lovely at any size. The construction crane parked underneath the mega-easel was less photogenic.

After Kansas, our first 160 miles of Colorado were vaster, slightly hillier, even yellower fields. We were disappointed that their fair state’s alleged mountains weren’t simply flocked at the border to impress and intimidate us immediately upon entry. It’s our understanding the mountains will present themselves tomorrow once we venture further west into Denver proper.

We couldn’t decide whether or not to be disappointed that our approach to the hotel was surrounded by storm clouds. In light of recent conditions and events, I wouldn’t blame the residents if they threw the storms a ticker-tape parade.

2012 Road Trip Notes on the Go, Day 1: Trumans and Burgers

[The next nine days’ entries will be typed on the fly with minimal copy-editing or rewriting as time, energy, and hotel wi-fi access permit. Our photos, of which there are typically too many each year, will be uploaded and posted sometime after our return home.]

After driving 570+ miles from Indianapolis we’ve arrived safely in Topeka for the evening at a six-story hotel with only one working elevator, a short-handed staff, a passkey that worked exactly once before malfunctioning, and a wi-fi network with an easily guessed password, for which I’m grateful so I don’t have to add one more phone call to the staff’s burdens.

Today’s drive was planned as a nine-hour burn-through rather than a series of sightseeing escapades. Our ultimate goal is Colorado, for which Kansas is our way station. That’s not to say Kansas won’t have its share of highlights, but most of those weren’t planned for today. Despite construction sites the first leg of the journey through west Indiana and all of Illinois went smoothly until we entered Missouri and had to compete with aggressive St. Louis drivers in their natural element. In Illinois we stopped once at its former capital Vandalia to see their Madonna of the Trail — one of several such monuments nationwide — and to lament the disrepair of what once must have been their former main street, too common a sight in formerly bustling small towns.

Lunch was in St. Charles at a small national chain we don’t have in Indiana called Smashburger, which specializes in cooked-to-order burgers on four different types of buns (including wheat and pretzel). My St. Louis Burger was just fine, and the Smashfries (topped with olive oil, rosemary, and garlic) were above-average for a burger joint. In a shocking turn of events, my finicky son declared their non-greasy fare the best burger he’s ever had. We relished this moment of positivity for all it was worth.

The second leg of the trip was marred by an I-70 accident in Columbia, MO, that bottlenecked traffic for a while and somehow ended with a delivery truck lying on one side and having its other side torn off. We pray no one was seriously injured in what must have been one horrific action sequence. We exited for a while and avoided the blockage momentarily, searching in vain for a roadside attraction whose directions were apparently obsolete. When we returned to the interstate, several more minutes of patient sitting were necessary until drivers resumed inching forward. We whiled away the minutes by watching a small girl in the van in front of us tearing tiny handfuls of stuffing out of her poor scapegoated dolly and tossing them out the window, letting them drift away like so much unwanted dandelion seed.

Fortunately Missouri allowed us one successful sightseeing stop in Independence at the Harry S. Truman Presidential Library and Museum. The obstructions in Columbia delayed our arrival until fifteen minutes before closing time, but the staff, going above and beyond in the name of courtesy, allowed us access to the central courtyard — burial site of President and Mrs. Truman, as well as their daughter and son-in-law — free of charge. I would’ve bought something from their gift shop in gratitude, but they didn’t seem to have a single “DEWEY DEFEATS TRUMAN” mock newspaper anywhere in stock.

Dinner in Topeka was at Bobo’s Drive-In, as seen on Guy Fieri’s Diners, Drive-Ins and Dives. Despite their brief TV fame, I was surprised that a Saturday night found only three other cars in the lot. Their sandwiches were acceptable and affordably priced, though we had to forgive them for forgetting one of our burger topping requests. Half my onion rings had fused in the fryer into one unified mega-ring. My son, already taken aback at the concept of eating dinner in a car like primitive cultures of the distant 1960s, began having unhappy flashbacks when he realized their side dishes were held in the same paper food baskets as his school lunches. I was fine with my own experience in general, but it was a far cry from the sky-high bar set by our own beloved Mug-‘n’-Bun Drive-In back in Indianapolis.

Today’s most irrelevant note: the Missouri Department of Transportation is abbreviated “MoDOT”. As a Marvel fan, I couldn’t help imagining an alt-universe version of MODOK whose sinister plans involved world domination through infinite road construction and the ability to blast killer potholes in any flat surface.

“Once Upon a Time” Season 2 Cast to Add as Many as 700 More Disney Characters

Once Upon a Time was originally written off by Internet comics fans as an alt-world version of Bill Willingham’s Fables, but felt no slings or arrows as it became ABC’s highest-rated new drama of the 2011-2012 season. The complex saga of fairy-tale characters trapped in the modern world without their memories was a nonstop roller coaster that leavened linear storytelling with non-linear flashbacks and delved into themes of identity, belief, vengeance, betrayal, and true love. The basic cast of Snow White, Prince Charming, their long-lost adult daughter Emma, her forsaken son Henry, his adopted mother Mayor Evil Queen, and her ally/nemesis/ally/nemesis Rumpelstiltskin were joined each week by a strong, nuanced supporting cast who each had a turn living out their origins and defining their roles in the scary new world of quaint little Storybrooke.

The happy news three weeks ago was that Meghan Ory’s Red Riding Hood (a.k.a. Ruby the world’s greatest detective who’d rather be a waitress) would be upgraded to full-time regular status in season 2. This week Entertainment Weekly brought announcements of two more recurring characters being added to the show, neither of whom I’ve ever watched in anything: Jamie Chung as Mulan and Sarah Bolger as Sleeping Beauty. Those two are in addition to already existing recurring characters Dr. Jiminy Cricket, Ruby’s grandma restaurateur, the Blue Fairy, Amy Acker’s other fairy, the madder-than-mad Mad Hatter, Sidney Glass the queen’s tool, August “Pinocchio” Booth, the tormented Belle, my personal hero Grumpy, the blondish doctor who has yet to reveal his true Disney name, and a handful of other one-shot Disney properties such as Maleficent and Pongo.

I trust the showrunners know what they’re doing and will be adding new characters organically as the flow of the season allows them, rather than cramming them in all at once as if the series were a virtual clown-car of corporate merchandise mascots, all suffocating each other as they vie for our attention and the approval of their Disney overlords. I can only imagine this trend taken to an extreme as we run out of princesses by season 4 and have to start scraping the Disney barrel for too many unnecessary live-action reboots. The possibilities for casting and subplots abound:

* A Hawaiian girl named Lilo with a most exotic pet.

* Chernabog from Fantasia as the season 3 Big Bad, having conquered and assumed control of Fairy Tale Land while Mayor Evil Queen has been in absentia.

* Pocahontas as a lawyer representing for Storybrooke’s minorities and/or environmental causes, switching specialties every other episode for plot needs as TV lawyers are wont to do.

* Dumbo’s mother incarnated as an overprotective plus-sized mother of Henry’s new mute, big-eared friend.

* Bob Newhart and Zsa-Zsa Gabor reprising their roles as Bernard and Bianca, now retired adventurers who bicker sweetly while their rambunctious brood carry on the family business.

* Don Novello resumes as the demolitions expert from Atlantis: the Lost Empire, except now clad in his old Father Guido Sarducci costume.

* Aladdin’s magic carpet as a hybrid sports car, purple with gold trim, and as alive as Herbie the Love Bug.

* While I’m thinking about it, Herbie the Love Bug wouldn’t be unwelcome, either.

* Zach Braff as a small, jaundiced paranoiac who won’t stop ranting about the sky falling.

* Goofy as the world’s worst sports instructor, still making that terrified “YAAAA-HOOIE!” cry that never fails to make me chuckle.

* Robin Williams as a live-action genie. If this never happens, the show and its promises are all LIES.

Of course, a cast this size would require a budget of several million dollars per episode, possibly as much as one-tenth the cost of an episode of George Lucas’ Star Wars dream show. Cuts will need to be made somewhere to accommodate producer mandates. CG effects may be toned down somewhat in favor of placards that advise the viewers at home to “just use your imagination.” More time for extra commercials may be necessary, cutting episode running times down from forty-five minutes per episode to about ten. I also wouldn’t be surprised to see Storybrooke open its very first Subway franchise.

The schedule for next weekend’s San Diego Comic Con includes a Once Upon a Time panel (Saturday the 14th at 11 a.m. — note it on your SDCC calendar app!) that will no doubt shed more light on what’s in store for season two, in addition to giving lucky fans a chance to express their gratitude to the cast in person. Personally, I’m crossing my fingers in hopes of a Grumpy and the Fairy spinoff. I’d claim myself a front-row seat for that, even if it was…for a price.

“Amazing Spider-Man” Reboot Likely Superior to What “Spider-Man 4” Might Have Been

Sam Raimi’s Spider-Man 2 remains one of my favorite super-hero films, but Marc Webb’s Amazing Spider-Man approaches the same old origin from such a unique perspective of its own, I’ve decided I don’t mind their mutual existence. If I can handle the separate-but-equal Marvel-616 Spidey and Ultimate Spidey holding their own concurrent series, I suppose it’s not too far a leap to afford the movies similar tolerance, regardless of the debates about “How soon is too soon?”

Honestly, after the corporate-mandated mishmash that was Spider-Man 3, I’m relieved that Sony had the gall to buck popular opinion and return to square one. If the downward spiral had been allowed to continue, Spider-Man 4 would have been the franchise’s answer to Batman and Robin (some would argue SM3 was just that — witness Peter crossing over to the Dark Side, where there’s soulless dancing and self-inflicted haircuts), and Spider-Man 5 would have been a two-hour QVC Spidey Merchandise Marathon with no actual story, just five villains as hosts and a 1-800 number flashing onscreen all through the movie, with the house lights still turned on so viewers could use their cell phones to order while they watch. In much the same way that Christopher Nolan’s Batman Begins eliminated the stigma from the Dark Knight Detective’s own series, Amazing Spidey restores honor to his own series by returning to the classic super-hero movie formula, by which I mean it only has one villain and fewer opportunities to push new action figures on us.

The web-swinging technology has improved to the point where I can no longer tell which Spideys were live stuntmen versus which were pure CG renderings (as opposed to the first film, which often switched to an animated Spidey only slightly more convincing than Kirk Alyn’s Superman cartoon-takeoffs). The speed-ramping effects to achieve super-cool slo-mo poster shots was annoying at first, until I realized that, for once, Spidey actually did look cool in action. Admittedly, some cityscape sequences felt more like cut-scenes from the Spider-Man: Shattered Dimensions PS3 game, but that may simply be because video game art has been catching up to movie effects in recent years. I opted for the 2-D version, but even without a set of Upcharge-o-Vision glasses, the visuals were dynamic and occasionally wondrous without being a complete blur.

As our new Peter Parker, Andrew Garfield brings a winsome vulnerability and a more impish demeanor to the role, while at the same time seeming fiercer when pushed to his limits during the mandatory scenes where he’s unmasked for the sake of Acting. While Cliff Robertson and Rosemary Harris nailed the original Stan Lee/Steve Ditko versions of Uncle Ben and Aunt May, I found the younger versions reinterpreted by Martin Sheen and Sally Field to be a worthy, loving old couple whom you could believe spent thirty-seven years together as a finely tuned family unit. As for Emma Stone’s version of Gwen Stacy — who’s far from helpless, yet just sensible enough to know when she needs to vacate the premises instead of playing victim-to-be — I’d be very content if this series allowed Gwen never to be murdered or usurped by Mary Jane as the original comic-book Gwen was.

I wasn’t exactly giddy at the choice of the Lizard as a villain, but his presence works in the context of the rewritten origin, which takes a cue from the Ultimate Spider-Man comics and gives Peter’s deceased parents a scientific backstory set at the blatantly nefarious OsCorp. Whereas the comics used this setup as an excuse to reinvent Venom, the movie offers a logical series of mad-science events that result in sufficient excuse for two animal-based characters to be spawned at once. Rhys Ifans does what he can with his few all-human scenes, but I wish that Dr. Curt Connors had been allowed to retain his wife and son from the comics. Poor li’l Billy Connors’ shocked reactions to the dad he loved unconditionally used to deepen the tragedy of Connors’ circumstances even more. Even so, at least the Lizard’s makeup and visual effects are well above Black Lagoon quality, though his stiff plastic-surgery grins reminded me of Jack Nicholson’s unsightly Joker makeup. Despite that, as the Lizard tore through the streets of Manhattan (and sometimes through its citizens), I couldn’t help wondering how much better the TV series V would’ve been if the Visitors had been this formidable.

I liked the modernized look chosen for this film, rather than Sam Raimi’s timeless, occasionally old-fashioned design, which was a great recapture of Lee and Ditko’s world, but not necessarily one that needs to be enforced in perpetuity. I’m glad J. Jonah Jameson was nowhere in sight, because replacing J. K. Simmons would be a fool’s game. Filling the gadfly role with Denis Leary as Gwen’s dad (constantly irritated, but a hard-working hero when needed) was a smart move to sidestep that issue. Flash Thompson was what he needed to be, albeit capped with a final scene that was a great nod to the comics, though I have to wonder how in the world an aggro basketball jock could gain admission to the renamed “Midtown Science High School” that Peter and Gwen attend in this version for some reason. Would a typical New York high school have been an inadequate setting here? Or was this a subtle plug for magnet schools?

In one or two places, I was irked. In some places, I was blown away. In general, I was content. Whether it counts as a reboot, remake, relaunch, reimagining, recycling, or whatever, I’m not much concerned at this point. After Spider-Man 3 I’m just happy to be able to call Amazing Spider-Man a comeback.

(For those who are wondering: there’s a bonus scene not too far into the end credits, none at the end of the credits. It’s the exact same kind of end-scene we had in the Avengers series — ominous foreshadowing of evil scheming by a shadowy man. His identity is ridiculously easy to guess unless this movie is your very first experience with a Spider-Man product. If you paid attention to the trailers or even read this entry closely enough, you can guess who he is without even seeing the movie.)

Road Trip Clip Show: a Salute to Vacation Days, Part 2 of 2

Continuing my stroll down Memory Lane to revisit the spirits of road trips past, while looking forward to the spirit of road trips yet to come.

2009: South Dakota and friends

Our longest drive to date, our first foray into the Mountain Daylight Time zone, and our introduction to South Dakota, land of a thousand casinos. There’s more to see than mere impressive Mount Rushmore.

The Badlands greet you on your way into Rapid City, major tourism hub.

Badlands of SD

Custer State Park, located in the Black Hills, is inhabited by animals accustomed to being spoiled rotten by tourists. They have no compunction about invading your personal space, and may be the secret masters in charge of the park. Notice how Intrusive Burro is very intrusive.

Custer's Bad Burro

When you’re done with Rushmore, you can visit the other massive stone monument in the area, the perpetually in-progress Crazy Horse statue. The ongoing project is taller than Rushmore and funded entirely with private donations. The nearest approach is even more distant than Rushmore’s observation area, but you can do what I did for an extreme closeup: max out the digital zoom on your camera, pop a quarter into the stationary viewers, jam your camera lens into the viewer eyepiece, and snap away.

Crazy Horse, zoom within a zoom

Since we were only a few dozen miles away anyway, we spent one day on a diversion into neighborly Wyoming, home of Devil’s Tower, the free-standing mesa As Seen On Close Encounters of the Third Kind. Bring your own mashed potatoes.

Wyoming's Devil's Tower

2008: Virginia

Our primary destination was Virginia Beach, but I spent the week under the weather and trying my best not to dampen our spirits. The three of us also discovered something unanimous about ourselves on this vacation: none of us actually enjoy beaches. Consequently, many of our stops on the way to and from Virginia Beach were more interesting to us.

Largest of those was the U.S.S. Wisconsin, decommissioned and moored in Norfolk. Tours are guided by retired veterans proud to be serving as tour guides even when the weather is in the triple digits.

The USS Wisconsin

One of the nicest looking places in the area was Natural Bridge, great for scenic photos and some of the most unusual roadside attractions nearby. One caution: if you love animals, you might want to skip their zoo.

Us at Natural Bridge

All photos are excerpted from lengthy travelogues that I wrote for each of our last several vacations for fun and posterity. If it weren’t for humility and concerns about copyright issues (will theme parks really throw a tantrum if their mascots appear in your published photos?), I’d consider compiling them into a genuine Book, also for fun and posterity.

Road Trip Clip Show: a Salute to Vacation Days, Part 1 of 2

Once all the necessary errands are run and all defensive countermeasures are in place, we’ll be taking off this weekend for our annual road trip. Each year we drive hundreds, sometimes thousands of miles to other states to view their museums, witness amazing works of God and man, check out roadside attractions of varying degrees of imagination and quality, and generally see firsthand what lies beyond Indiana.

Our 2012 road trip will take us through Kansas to Colorado, including a circuitous route through Denver, Colorado Springs, and Pueblo. With the Waldo Canyon fire now 70% contained as of today and the other extant fires being beyond the scope of our plans, we’re feeling less intrepid and more emboldened to sally forth toward the Rockies and whatever they might surround. We’re challenging ourselves to find good points about Kansas as well.

In honor of Independence Day, one of America’s busiest traveling holidays of the year, and in honor of the fact that I have less free time this week because of vacation preparations and mandatory family-holiday quality time, I present a cursory look back at our road trips from previous years, select snippets of a few of my favorite faraway things.

2011: Manhattan

Our first time in New York City became my favorite vacation to date. The sights, the sounds, the subways, the cleanliness, the overwhelming density of activity options — it was like three vacations packed into one and then marinated in adrenalin.

Naturally we photographed Times Square too many times. We attended The Lion King, found ourselves blown away and wishing the other shows had been inexpensive enough to attend four or five more.

Times Square ad frenzy

Most people view the city from atop the Empire State Building. For a few dollars less, and with no haranguing from enthusiastic street guides, you can ride to the upper floors of 30 Rockefeller Center and see most of the same rooftops. At that height, the view plus or minus a few stories isn’t appreciably different, unless we missed something really cool on 30 Rock’s roof.

the view from 30 Rock

A couple of New Yorkers we know thought it odd that we included Grant’s Tomb on our itinerary. My wife the history buff insisted after reading his autobiography. This seemed like an awful lot of building just to provide a tomb for two, but I was happy to oblige.

Grant's Tomb: Conveniently on the Way to Harlem

2010: Pennsylvania via Ohio

Our primary destination was Philadelphia — again, because of history — but our attention wandered to numerous other sights along the way.

My personal favorite: Eastern State Penitentiary, a former famous prison that’s now a “stabilized ruin” you can visit and view from within. Most notable features include a cell once occupied by Al Capone and a self-guided audio tour narrated by Steve Buscemi.

Eastern State Penitentiary, second floor

Diverging from the Pennsylvania Turnpike for several miles allowed us opportunities for small-town roadside wonders such as this giant quarter in Everett, created as part of a local contest.

Everett's giant quarter

On the way to Pennsylvania, we stopped for lunch at the Thurman Cafe in Columbus, a certified As Seen on Man v. Food pit stop. Below is the Thurman Burger, which is larger than some house pets. Not even in my overeating college days could I leave a clean plate after this meal.

Thurman Burger, Thurman Cafe

More to come tomorrow!

Today’s Unrelated Things: the Stalker and the Stick

Basic-cable true-crime melodrama is my wife’s thing, not mine, but she noticed the description of one of tonight’s reruns of the Investigation Discovery docuseries Stalked: Someone’s Watching mentioned “a comic book author”. I’m easily excitable whenever our interests converge, so I dropped what I was doing and joined her for quality TV time that ended up disturbing me instead. The December 2011 episode titled “Signed, your Deadliest Fan” was a half-hour run-through of the experience of Colleen Doran, creator of A Distant Soil and artist of various commendable works (Sandman, Orbiter, the underrated Zodiac), who spent years at the mercy of a “fan” who subjected her to no small amount of devious psychological Hell.

As Doran recounted her story to the offscreen interviewer, I felt sure I wasn’t the only comics reader reminded of Harlan Ellison’s classic essay, “Xenogenesis”, about the real-life horror stories endured by science fiction writers at the hands of poorly raised readers oblivious to the pain caused by their own reprehensible actions toward their ostensible idols. I’m glad that Ellison was forthright enough to set “Xenogenesis” down in print, but I really don’t like to be reminded of it. I hate knowing that I share a hobby or a fandom with extremist malcontents who failed at paying attention to the good-is-better-than-evil motif portrayed in 90% of all comics ever. Understanding that other humans are not your toys shouldn’t be a challenging lesson to learn.

“Xenogenesis” doesn’t appear to be online in any reputable downloadable form. I think I still have the copy I clipped out when it was reprinted in Comics Buyer’s Guide many a moon ago. The Stalked episode is available to view via tvguide.com; alas, it costs money. Doran also wrote an even more distressing follow-up about the episode with links to her past writings about the ordeal, covering details that the producers omitted or glossed over, such as the part where the offender in question is now out and about on his own recognizance. I can see how this non-minor detail would interfere with the show’s need for closure.

(Less saddening aside about the show: I was jarred out of it for a moment during a dramatization in which “Colleen” apprehensively attended a New York comic con as a special guest circa 1987. In one brief shot, we see her cheerfully signing copies of The Unwritten. Anachronism and complete un-relation to Doran aside, the next time Peter Gross needs a month’s vacation, she would seem a great fit to me.)

* * * * *

On the brighter side of my day, the mailman finally delivered my tangible rewards for supporting Rich Burlew’s The Order of the Stick Kickstarter campaign. It still boggles the mind how a project that started as a quixotic quest to reprint a few old collections became a record-breaking runaway train of generosity gone wild. My pledge level permitted me a graphic novel I didn’t have, along with far too many additional stationery-section goodies that were added as prizes later in the campaign.

I’m especially tickled pink by the OotS coloring book, which includes coloring pages for each of the major stick-figure cast members, plus value-added puzzles and drawing challenges. I’m tempted to color a page and post an example for all to see, but then my coloring book wouldn’t be a mint-condition collectible anymore that I can use to fund my post-retirement world traveling.

(Caveat emptor: intense typo Nazis should think twice before purchasing a copy if the opportunity arises, because one section in the answer key misspells “situations”. I’ve seen your kind act as wet blankets in the name of proofreading in many a venue, but do realize Burlew is under tremendous pressure to fulfill his part of the deal and has a lot on his plate. It would be most gracious of you to forgive, forget, and refrain from insisting that the mere existence of “situtions” sullies his good name and ruins everything. Please do not declare the whole thing a sham or demand triple your money back and your next ten graphic novels free. As Stalked taught us, fan entitlement is an ugly, destructive force of evil.)

Questioning My Reality after Preferring “Madagascar 3” to “Brave”

After seeing Brave and Madagascar 3: Europe’s Most Wanted within a week of each other, I was surprised to conclude that this is the second year in a row in which I’ve liked a DreamWorks CG-animated film more than a same-year Pixar release. Last year’s narrow victory of Kung Fu Panda 2 over Cars 2 was…well, a paltry competition, but still.

For the most part, Brave was still very good for what it was. I could appreciate the uneasy conflict between a mother and daughter who fail to see eye-to-eye, but who eventually learn to accept each other’s differences through a series of intense situations. However, swap their gender and you find yourself with the same uneasy conflict last seen in How to Train Your Dragon. Whereas the latter was more epic in scope, Brave by comparison was a more intimate struggle whose own four-legged antagonist was a bit smaller. Both were also set in long-ago Scotland, had characters with limbs amputated by beasts, and beefed up their supporting cast with a healthy dose of Craig Ferguson. I didn’t want to keep comparing the two so unfairly, especially since Dragon is presently my favorite DreamWorks CG film, but my mind wouldn’t stop.

Madagascar 3, on the other hand, benefited tremendously from how forgettable I found the first two. I remember the main and supporting characters, and a few flourishes from the original that are referenced in this one for effective callback resonance, but not my actual overall opinions of them. It was a pleasure hearing Ben Stiller and Chris Rock riffing to their heart’s content for a general audience. I was practically giddy from overdosing on the manic wit that propels the film forward at breakneck speed. I’m enamored of the moral of the story, that nostalgia can prevent us from seeing how confining our former boundaries were until we confront them and realize the power of moving on to wider stages. I also enjoyed turns from incoming performers such as Bryan Cranston (a Siberian tiger with a tragic story), Martin Short (a fawning, barely talented sealion), Academy Award Winner Frances McDormand (an unstoppable French animal control specialist on a vendetta), and X-Men 3‘s Juggernaut as a miniature circus dog with a ‘tude. This may also feature the best performance by a mute circus bear in cinema history. I entered the theater expecting no effect on my apathy; I exited with a smile on my face and the very few lyrics to “Afro Circus” stuck on Repeat in my head.

I’m having a very hard time reconciling these two opinions. In pondering my blasphemous imaginings of a world where Pixar is no longer the automatic king of everything, I wondered if any statistical comparisons have been drawn between the two. As luck would have it, such comparisons have been done and overdone. I decided to compile figures anyway for my own amusement, chronologically for all CG releases from each of the two companies — not of American box office grosses, but of ratings on the world-famous Tomatometer™.

Those results to date:

1995: No Dreamworks CG department to speak of; 100% for Toy Story, the grand pioneer of the medium.

1996-1997: No entrants. Each studio lay dormant, making plans and revving up their engines.

1998: 95% for Antz; 92% for A Bug’s Life. This flawed comparison is a prime example of how the Tomatometer fresh/rotten binary system lacks nuance. I didn’t hate Antz, but I’d be surprised if anyone favors or even remembers it to this day. I’m also mystified as to why Pixar hasn’t allowed an encore yet for Flik and friends. Were their merchandise sales really that anemic?

1999: No Dreamworks CG releases; a rightful 100% for Toy Story 2.

2000: No entrants. Remember when each studio used to craft one film at a time, no matter how long it took? Pixar has obviously expanded their staff and resources to sufficient capacity to maintain a steady pace of one new film per year as productions overlap. Meanwhile at DreamWorks, their WikiPedia page lists an alleged, ambitious overkill slate of twenty-two projects in various stages between ideation and completion. That either speaks to their success, foreshadows an animation glut in our future, or includes direct-to-DVD fodder to be distributed by DreamWorks but created by other, smaller animation houses.

2001: 89% for Shrek; 95% for Monsters Inc. I enjoyed the cleverness and performances in Shrek up until the exact moment where the plot pivoted because of a Three’s Company-style stupid misunderstanding because of ill-timed eavesdropping. Those are an automatic fail in my book. While that meant a forfeit in favor of Pixar, I thought some of Billy Crystal’s ad-libs weren’t exactly among his best. Given the choice, I’d rather watch clips of his past Oscar-hosting gigs.

2002: the last mutual skip year. Going forward, the mission statement for both studios was to crank out new movies every year or die trying.

2003: Still no new Dreamworks CG releases; 98% for Finding Nemo, the greatest Ellen DeGeneres film of all time.

2004: 89% for Shrek 2, which I thought was the best of the series; 36% for Shark Tale, which seemed like a case of casting famous faces first, then writing a script around them later. DreamWorks thankfully took notes from Pixar’s methodology and has relied on this poor creative formula a lot less than they used to. Meanwhile, The Incredibles, my all-time favorite Pixar film sans Woody or Buzz, impressed with 97%.

2005: 55% for the first Madagascar, whatever it was like. I do remember it looking crudely drawn. Cars was originally scheduled this year but delayed to 2006 for any number of rumored reasons, from quality control to internecine corporate shenanigans.

2006: 74% for Over the Hedge, shrewder and funnier than I expected in its barbed consumer-culture satire. 74% for Cars, which I thought was just fine. I suspect some negative reactions were Mater’s fault. He didn’t bother me. I know people here in Indiana not too different from him.

2007: 41% for Shrek the Third (no argument here); 51% for Bee Movie, proof that not everyone loved Seinfeld as much as some entertainment magazines did; and 96% for Ratatouille, Pixar’s first attempt at something besides an epic adventure, and a blessedly successful one at that.

2008: 88% for Kung Fu Panda, which I tried to tell everyone around me was seriously awesome (especially in super-sized all-powerful IMAX), but no one would listen to me because of either Jack Black or disdain for kung-fu flicks. Their loss. The 64% for Madagasacar 2: Something Something Animals improved on its predecessor in ways I no longer recall. 96% for WALL-E, which I really liked but didn’t fall head-over-heels in love with, as some of my peers did. Can’t really put my finger on why. Maybe it’s a subconscious thing about environmental lectures.

2009: 72% for Monsters vs. Aliens, which was quite a nifty League of Extraordinary B-Movie Creatures; 98% for Up, which made me bawl before the end of the first half-hour, but knocked itself down from an A+ to a mere A because of doggie biplanes. No one steals Snoopy’s shtick and gets away with it, not even Pixar.

2010: 98% for How to Train Your Dragon (thank you, critics, for validating me); 58% for Shrek Forever After (which I avoided after hating the third one); 73% for Megamind (not a fan of Will Ferrell movies, but was pretty happy with this despite sad reliance on AC/DC); and naturally 99% for Toy Story 3, weakest of the trilogy but hardly a weak film.

2011: 81% for Kung Fu Panda 2, okay but not nearly as seriously awesome as the first; 83% for Puss in Boots, which I also avoided because of Shrek the Third (my loss, perhaps); and 38% for Cars 2, certifiably the Worst Pixar Film of All Time. If you think of it as three back-to-back episodes of Cars: the TV Series, it’s really not so disappointing in those terms. If this had been released direct-to-DVD, it might have attained the same kind of regard that Disney fans hold for The Lion King 1½. Again I blame the Mater-haters.

2012: As of this evening, 76% apiece for Madagascar 3 and for Brave. It’s a tie!

On average, the DreamWorks track record has improved in the years since its Shark Tale nadir. Pixar isn’t exactly churning out third-rate filler just to pad the Disney release schedule, but no longer seems bulletproof, either. I look forward to future works from both, as long as none of them is Flik vs. Antz, which I would view as a sign of creative bankruptcy, unless Flik wins.

Additional notes:

1. List does not include Aardman productions released through DreamWorks, as much as I recommend the majority of them.

2. List excludes non-Pixar Disney CG fare because it is presumed inferior due to lack of Pixar authorship, with the exception of Tangled. The jury can’t wait to deliberate on Wreck-It Ralph.

3. List obviously excludes productions from other well-known studios such as Blue Sky and Robert Zemeckis’ ImageMovers because my free time for late-night writing is not unlimited. Their inclusion would also distract from the whole two-sided rap-rivalry vibe of the competition.

4. I lament that the list excludes traditional animated films, just as movie executives do nowadays. Recent works in this medium have been flawed in ways that could not necessarily be blamed on said medium (e.g. mediocre stories; unfunny jokes; reliance on star power over creativity); and yet, when those flaws hurt them at the box office, the medium was blamed and practically scuttled as a whole in America. This, in my mind, is an even greater shame than Shark Tale.

My Geek Demerits #3: Speaking and Writing Without Cursing

Full disclosure: I wrote 75% of the following piece in March 2012 in response to a question from a good online friend who finds it odd that I don’t use profanity, except in very rare cases when milder ones appear in proper nouns such as Hellboy.

I was raised in a household whose adults never used them in front of me. Like all children raised in such atmospheres, I learned them anyway from the neighborhood kids. I tried them out occasionally, and eventually developed a finely tuned on/off switch inside my head that worked instinctively whenever I entered or exited polite company. All throughout my young-stupid-male years, from high-school until my mid-twenties, they occupied one of the largest compartments in my communication toolbox.

When I changed career tracks in 2000, it didn’t take long for them to disappear from my spoken-word vocabulary. Not only did I want to project a more professional image, whether on the clock or off, I also found I was much more relaxed and less angst-ridden once the frustrations and disappointments of my previous job were lifted off my shoulders. In the twelve years since, I’ve uttered precisely one profanity aloud — one day as I walked around Monument Circle and came mere centimeters away from being flattened by a speeding white kidnapper van barreling around a corner flagrantly disregarding us pesky pedestrians. Losing momentary control of my tongue seemed a preferable alternative to losing control of my bladder.

For a time, my online interactions were a different story. Harsh language remained a part of my online communication because, frankly, it seemed like everyone else around me was doing it. Whether on Usenet or on message boards, it served as a necessary defense against the other dysfunctional participants and/or a badge to prove you were part of Team Internet. After spending much of 2002 rethinking my life in a number of serious philosophical ways (to put it with gross inexactitude), eventually I phased Carlin’s Seven Words and many of their lesser sidekicks out of my online responses and works as well.

The why of it all is a combination of thoughts and decisions accumulated over time.

When explaining this to my online friends, I started with the simple standard of the words labeled “profanity” as comprising the specifically designated section of the English language that is the immediate go-to choice of the ungodly and the unprofessional. Also from the Department of Other People’s Typical Responses, there are Bible verses to be cited. I’m actually terrible at memorizing Scripture for a convoluted reason that could comprise a short essay in itself, but Colossians 3: 8-10 comes closest to nailing what occurs to me from the basic Christian standpoint.

Beyond those, I naturally added bullet points about why I don’t cuss anymore:

* People use it too often when they want themselves to be taken SERIOUSLY, when in fact they’re basically just being hostile. They use contempt as a cheap substitute for confidence.

* People admire them, especially the F-word, for their ridiculously flexible use in nearly every part of speech, to describe, modify, or reductively summarize just about anything that comes to mind, regardless of whether they’re being complimentary or derogatory. I’m of the opposite mind. A word with unlimited uses effectively becomes meaningless and cries out to be replaced by more vivid descriptors. The English language is a sophisticated system with plenty of alternatives, especially if it’s being used as a needless synonym for “very” or too shorthand a dismissal of a bad person, place, or thing. If I’m fully conscious of what I’m writing (as opposed to blithely typing on the fly for everyday back-and-forth with others), I try to avoid ubiquitous multi-purpose words like “make”, “do”, or “get” on similar principle.

* They’re an easy way to cut yourself off intentionally from a wider audience. If you only want to be read by people exactly like you, it’s your privilege as an artist to cater to them as you see fit. If you want to be read by anyone not like you, realize that there’s a cultural demographic out there whose thoughts on this subject are more simplistic than mine, but who’re less likely to cut you the necessary slack to tolerate your indulgence. Puerile direct-to-DVD family movies turn a tidy profit for a reason, and it’s not because they’re being used for skeet shooting.

* Conversely, no one worth paying attention to will reject a given work for not having enough cursing. I’ll grant you that substitutes like “frag”, “frick”, “frig”, et al., are aesthetic abominations, but most works — well-liked classics, even — managed for decades without resorting to lowest-common-denominator-speak. I’m not convinced All About Eve would’ve been twice as epic if Bette Davis had talked more like Sarah Silverman. Or take something as recent as Mission: Impossible: Ghost Protocol, which had more colons than profanities. Amazingly, it didn’t suck and moviegoers flocked to it. I can also add an extra paragraph about the adult virtues of the average exemplary Pixar film as generally quality material that never lacks for emphatic dialogue.

* I would be lying if I said I limit myself to reading or watching G-rated material. And yet, it’s one thing to recreate a harsh reality (The Wire, Saving Private Ryan) or achieve a specific artistic effect (Glengarry Glen Ross, Reservoir Dogs). Sadly, not everyone is David Mamet or David Simon. Precious few people are, in fact. It’s another thing altogether to use it just because it’s ostensibly “funny” (see: countless R-rated comedies that don’t understand the concept of the punchline) or just, y’know, expected. “Everybody does it” is not only one of the worst excuses for doing anything ever, and among the absolute best methods for perpetuating stupidity, it’s also inaccurate. When overused in a movie or other work, each word becomes like a jarring CD-skip to my ears. After too many CD-skips, I tend to lose my concentration and interest. I prefer not to provide the same disservice to others, whether they share that issue or not.

Bottom line for me personally: nowadays I’ve found I can accomplish my aims well enough with tone, expression, vocab, craft, and occasionally volume if need be. I’m not forced at gunpoint to use profanity as a crutch any more than I’m required by law to work the words “esophageal” or “blunderbuss” into conversation every day. But that’s just me.

Colorado Wildfires Threaten Lives, Destroy City Blocks, Ruin Vacation Plans

My family’s thoughts and prayers are with those in and around the countless areas still being ravaged by wildfires nationwide, who will be coping with the aftermath for what I pray is a much, much shorter time frame than it feels. I can’t begin to imagine the gravity of living face-to-face with such a situation. The online reports and footage have been heartbreaking to hear and see in every area that’s reported them.

In the case of Colorado Springs, our humanitarian interest contains the slightest tinge of selfishness.

Every year we devote our family vacations to embarking on a road trip to a different location, then posting summaries photos and travelogues for our online friends. One nice advantage to living in Indianapolis is its four outbound interstates that provide convenient access to any number of states within twelve to sixteen hours of driving. Last year we dared to make our first foray into astonishing New York City; the year before that, Philadelphia and other places along the way; two years ago, our longest road trip thus far, out to Rapid City, South Dakota; and so on back to 1999, when we started small with an out-of-town comic book convention.

This year we’re planning on taking our very first steps into Kansas and Colorado. In all our vacation history, this may be the first time a natural disaster requires us to rethink our plans.

Our original itinerary began with a straight shot across I-70 from Indy to Topeka to Denver. After spending sufficient time there, the next step would be a left turn on I-25 to visit the wonders of Colorado Springs, then heading down and to the left for Cañon City, doubling back to the Pueblo vicinity, then heading home by daring to venture east through the southern half of Kansas without benefit of interstates and hopefully without a surprise stopover in Children of the Corn Town.

Now that some of my MapQuest routes are on fire, some detours may be in order. The official website for the Colorado Springs hotel where we have reservations says they’re closed for the time being. Google Crisis Response (yet another previously unheard-of extension of the sprawling empire of ConGoogleCo Dynamic) has a convenient map tracking wildfire progress. I’m not sure if its 8-bit graphics are advanced enough to incorporate real-time updating. All I know is, where Colorado Springs should be, the ostensible halfway point of our road trip now looks like a Missile Command base that someone failed to protect from enemy bombing. CNN.com reported as of 9:47 p.m. Friday night EDT that the wildfire was 25% contained, but I’m not convinced that a 75%-contained fire the size of a ZIP code qualifies as a supervised fireworks display.

We have a week until takeoff. We have limited time to decide how to go forward, how much of the area to circumnavigate in advance, how much of our vacation to improvise as we go, and whether or not it’s appropriate to approach a scene of chaos and destruction while wearing a Hawaiian shirt and wondering in obnoxious, stentorian tones where to find all the kookiest roadside attractions.

At the absolute very least, I resolve to stop whining about our local weather this week, which has only been figuratively combustible rather than literally so. I plan to be extremely grateful we didn’t schedule our vacation two weeks earlier. Some charitable effort might also not be out of the question. Whether that’s on location or from afar remains to be decided.

Threat Level Milquetoast: Visiting Indiana Beach Without Kids

Indiana has no Kings Island, no Six Flags, and no Disney theme park, but we have two independent amusement parks to call our own. Holiday World, located in southern Indiana in a town called Santa Claus, is a clean, calendar-themed entertainment machine whose most impressive feature to us Hoosiers is not their steel coasters or their massive water park; it’s the unlimited free soft drinks for all patrons. Yes, free. Drink stations are positioned all around the park with several varieties of Coke products and plenty of twelve-ounce cups. The stations are so plentiful that long drink lines are rarely a problem.

Their competition in the opposite half of the state, just north of Purdue University, is longtime family destination Indiana Beach, located in a town called Monticello — pronounced “monti-SELL-o”, not “monti-CHELL-o” like President Jefferson’s crib. The “beach” part is attached to Lake Shafer, a pretty body of water now surrounded on most sides by tourist havens and summer getaways. After decades of settling for being a mere beach, Indiana Beach began to build up an empire of machinery as the management has added rides one by one over the decades, slowly bringing more action to the area while leaving a little less beachfront.

I’d only been once before because beaches turn me crispy, swimsuits fail to flatter me, and the thought of trying it actually never occurred to me until a few years ago, when my wife floated the idea as a one-tank road trip. My second visit was made possible when my employer scheduled this year’s company picnic there. An excuse and discounted tickets were all the motivation I needed. My son, age 17, was permitted to opt out, leaving us adults to do whatever we wanted. As it turns out, we weren’t really in the mood for wild and crazy. In fact, nearly everything we rode was rated “Mild”, devices fit for AARP members and easily jostled agoraphobes.

The ride nearest the Indiana Beach entrance is the Steel Hawg, a wild ‘n’ twisty steel coaster that inverts and induces nausea. This is a prime example of what we fuddy-duddies merely gaze upon rather than experience for ourselves.

Steel Hawg @ Indiana Beach

The Ferris wheel is more our sad, sorry speed. The ambience at the top was breezy on a hot day and included a comprehensive vantage point above the modest park. The Hoosier Hurricane, their standard-issue wooden coaster, consumes most of the view.

Indiana Beach overhead shot

To our right: bucolic Lake Shafer.

Lake Shafer

You can view Lake Shafer from afar, snuggle up close to it in the water-park section, or — if you jog over to the Honey Creek Bay section — you can now zip-line across it. When Indianapolis hosted Super Bowl XLVI last winter, one of the most prominent and coveted features of its downtown Super Bowl Village was a zip-line along several blocks of Capitol Avenue. Tickets were sold out days in advance. Now every event organizer in Indiana wants one installed, whether temporary or permanent. They’re in danger of becoming this decade’s answer to bungee-jumping.

Zipline @ Indiana Beach

For an even better view, you can ride the two-way Skylift across the park, peering down at the other rides, treetops, and roofs. But don’t forget, unlike these former occupants: the safety bars are there for a reason.

Skylift @ Indiana Beach

This enormous water slide wrapped around a steel coaster is no doubt a consequence of overcrowding, but would be the greatest ride of all time if you could somehow combine the two. That inventor shall be anointed as Emperor Genius of Amusementia.

Water Slide Around Coaster @ Indiana Beach

Or there’s the polar opposite of rollercoasters: the Wabash Cannonball kiddie train, which provides a tortoise-level mass-transit connection between the kiddie rides in the middle of the park and what used to be a miniature golf course on the far end. Sometime after my previous visit that mini-golf course was dismantled and replaced with a couple of benches and a fountain. This substitution doesn’t sound like an exchange that would result from consumer demand.

Wabash Cannonball @ Indiana Beach

If the ironically named Cannonball seems too breakneck, the antique-auto track travels at speeds up to almost 1 MPH, and has the advantage of allowing riders to steer the vehicle themselves and determine their own destiny within the narrow confines of the strict, uncool guide-rail. In case this sounds too exciting for the faintest of heart, an auto with a flat tire is stationed nearby as a demotivational reminder to cocky braggarts that accidents can happen even at 1 MPH.

Antique autos @ Indiana Beach

Our company-picnic passes allowed us dual admission to either the normal Boardwalk rides or the water-park rides. One unexplained exception: the Carousel. When we tried to board, we were rebuked and denied by a ringer for Old Man Witherby who insisted our all-access armbands weren’t all-access enough for the Carousel. I’m not sure what makes the Carousel such a hoity-toity upper-crust dreamlike experience that an additional charge for kiddie-ride passes is required. Maybe it only looks normal from the outside, but on the inside turns into an evil whirlwind like the one from Something Wicked This Way Comes. That would be worth an extra buck or two.

Carousel @ Indiana Beach

We declined to stage a protest, mostly because this random white tiger wouldn’t stop giving us such a piercing, vulturous glare. I imagine spooky kiddie-ride totems are more cost-effective than paid security guards.

White Tiger guards rides @ Indiana Beach

Also on guard: a faux Moai fountain. Because of the similarities between Indiana and Easter Island.

Moai Fountain @ Indiana Beach

When the time came to report to our assigned picnic shelter to commence with the company picnicking, we found our hosts running behind schedule and still carting our foodstuffs out from an unseen kitchen. Despite the unceremonious containers and the “Shelter Chicken” label that makes it sound like an imported shipment from the Wheeler Mission, the fried chicken was surprisingly fresh, warm, and delectable.

Food arrives!

As my son has aged beyond theme parks and our nieces and nephews have their own agendas and parents, I fear my time for this kind of experience is drawing to a close. I still enjoy the food, the company, and the occasional arcade game, but the physical stress and motion sickness aren’t as endurable as they used to be, nor am I enamored anymore of walking long distances through water parks barefoot, topless, and nearly blind without my glasses.

Despite our limitations (some admittedly self-imposed), the good parts of Indiana Beach still kept us going for quite a few hours before we departed around 5-ish when the remains of our energy evaporated. Options still abound under those circumstances, such as a few video arcades that offer old-school coin-op fun, especially a long row of those great Data East licensed-character pinball machines that I could keep playing forever if I were insensitive about how that would bore my wife to sleep standing up. If you don’t mind paying extra, the Shafer Queen ferry can spirit you across the waters and allow you to see vacationing jet-skiers and well-heeled boaters up close in their natural habitat.

In addition to the company-picnic meal, their concession-stand food is also top-notch for its category. Three scoops of vanilla ice cream atop a large elephant ear certainly made my day, and helped me let go of my bitterness at Old Man Witherby and the Forbidden Carousel, which would make a great title for a Scooby-Doo episode.

Comic Book Company Resurrection Scorecard, Part 2 of 2: First Things First for First

Presenting the conclusion of my 2012 C2E2 panel experience. This would be longer, but attending Saturday only left me little time for all the possible indulgences. Many events were scheduled against each other. Tough choices were required. When the dust settled, the two panels that won my attention shared a theme: two former publishers staging a reversal of their fortunes, hoping to reach a new generation of fans and avoid the mistakes that doomed their previous incarnations.

Of the two panels, First Comics drew the smaller attendance. I blame the Kids These Days. When I first discovered the joy and wonder of dedicated comic book shops in 1985, I was overwhelmed to learn that Marvel, DC, Archie, and Harvey weren’t the only options for my hobby dollars. I first learned of their existence from the comics fanzine Amazing Heroes, which reached the racks of my local Waldenbooks for a short time and opened my eyes to a whole new part of my formerly small world. My favorite of those publishers was First Comics, some of whose titles would become must-buys for me for the next several years — Mike Baron’s Nexus and Badger, John Ostrander’s Grimjack, Jim Starlin’s Dreadstar (which moved there from Marvel’s creator-owned Epic imprint), and the shorter-lived, anime-inspired Dynamo Joe (years before anime truly took off in America). Without writing a full essay about each one, for now suffice it to say they weren’t ordinary average four-color fare.

Alas, the company took a turn for the worse after they acquired the Classics Illustrated license and refocused their efforts on hiring talented creators to adapt famous public-domain novels to comics. It was such an initial success that they soon scuttled their entire publishing line except the new CI, a once-magic goose that ultimately didn’t take long to stop producing golden eggs. I was bitter for ages. When I heard First was risen from the grave and holding court at C2E2, it was pinned to the top of my itinerary.

C2E2 First Comics panelPresenting the panel in a poorly lit room were (left to right) original co-founder/editor Mike Gold, who would later move to DC Comics for a memorable time; other co-founder/publisher Ken Levin; and original art director Alex Wald. Not pictured but also on hand was Bill Willingham, more of a household name among comics fans as the creator of Fables, who transitioned from illustrator of RPG materials for TSR to comics artist via First’s first series, the sci-fi anthology Warp (a little before my time). Willingham was double-booked for another panel, but hung out for the first fifteen minutes as a nod to the thirty years passed since First’s startup, and in acknowledgment of their value as an important career stepping stone.

First brought a few books to sell and show off at their Exhibit Hall booth. I was sorely tempted by a collection reprinting Nicola Cuti and Joe Staton’s E-Man, who began life as a Charlton Comics hero but later to First for a two-year run. If only Cuti and Staton had waited or otherwise declined the deal, E-Man might have ended up in the hands of DC Comics along with the other Charlton heroes, starring in a New 52 title and having a twisted analog paraded around in Before Watchmen. Ah, what might have been.

Necessary "Necessary Monsters" creators

Instead of furthering my E-Man collection (which today stands at a paltry three issues, two of those from the Charlton run), I chose to sample an original graphic novel called Necessary Monsters, written and drawn by panel guests Daniel Merlin Goodbrey and Sean Azzopardi (pictured above). Lurking in the pop-culture-supergroup subgenre as League of Extraordinary Gentlemen and Monsters vs. Aliens, the book imagines a covert-ops team comprised entirely of movie-maniac homages. I’ve ceased being a horror fan in recent years, but I’m sometimes a sucker for stories of evil versus eviller (see also: Gail Simone’s Secret Six). Our curious, dysfunctional viewpoint character is a serial killer’s daughter who inherited his power to murder in dreams, but acts less like Daddy and more like the Punisher until the American government conscripts her into service for humanity’s greater good. The art is a little cruder than I’d prefer (faces in particular), but in general the protagonist’s emotional conflict and a plethora of demented ideas (a chicken-headed chainsaw murderer? You saw it here first!) might merit further viewing by fans of the genre. For a value-added bonus, the introduction is by the Kieron Gillen. Completists who love Phonogram and Journey into Mystery now suffer the heartbreak of Gillen incompleteness without this tome on their shelves.

Fillbach Brothers @ C2E2

Also at the panel were the Fillbach Brothers, artists of Dark Horse Comics’ Clone Wars Adventures original faux-manga. As the new First plans to be a haven for creator-owned works, the Fillbachs hope to launch their own title, Frickin’ Butt-Kickin’ Zombie Ants. I can’t possibly add anything else to a paragraph that contains a title like that.

I failed to take a decent photo or write down his name, but the last guest was the artist of an in-the-works relaunch of Zen, Intergalactic Ninja, a title that’s bounced from publisher to publisher for decades. Creator Steve Stern was unable to attend due to a serious car accident. Zen was never my thing, but I believe it has its fans.

To be honest, not much of this sounded at all like the First I knew and loved. This seemed like an idiosyncratic slate of launch titles, which doesn’t have to be a bad thing. Levin spoke of talks with Mike Baron about the possibility of a Badger revival in 2013, but had nothing firm to announce otherwise about old titles, except that the chances for Nexus returning to First from Dark Horse were zero.

My mild concern turned into eyebrows-raised skepticism when Levin announced that the new First plan for reaching comic shops nationwide involved avoiding Diamond Comic Distributors altogether and selling their books directly to retailers. I can’t say I’m an avid fan of the near-monopolistic system that the hobby seems to require today, in which any publisher wanting to sell more than a hundred copies must work chiefly through Diamond, if not exclusively. Granted, yes, Diamond can be circumnavigated. Books that do so are often referred to as “small press” and are fortunate if they can sell copies beyond their immediate geographic region, unless they’re based on a popular webcomic.

Today, two months after that panel, I’m at a loss to find encouraging results online. Necessary Monsters has a dedicated website, but no direct means to purchase it, and no updates since the week before C2E2. One formerly official First website malfunctions if you try visiting directly; if you Google “fillbach zombie ants”, you can backdoor into it, try adding ten million copies of #1 to your cart, and watch as nothing else happens. Another official First website promises to see us soon in San Diego, but I’m not sure if that’s this year’s San Diego con or last year’s.

I’m hoping I’ve merely caught them at a bad time, and that they haven’t already finished before they’d even begun. I do plan to keep an eye to the future and a few dollars set aside, just in case the outlook improves. One tangible upside to this: we couple dozen who showed up for the panel were graciously allowed a free First Comics T-shirt. As it hangs proudly in my closet, I prefer to think of it not as a reminder of what might have been and right now fails to be, but as a memento of what it used to be and what it meant to me.

Yes, There’s a Scene After the “Brave” End Credits

My wife and I are stubborn about receiving our money’s worth for our movie tickets. We really don’t mind sitting through the end credits, skimming for names we recognize, trying to spot buried gags, and waiting for the occasional Easter egg to be hatched. I like seeing if any of the storyboard artists are names I recognize from their previous career in comic books (this is extremely common), or if any bands I like contributed music (not so common). If our patience is rewarded with an extra scene, it’s a super-special bonus.

My son and I attended a showing of Brave this evening in a theater packed with several dozen other patrons, most of whom seemed to know each other, probably a group outing. (Frankly, I can’t remember the last time I was surrounded by so many teenage girls.) And yet, by the time the final minute of the final reel arrived, we two were the last ones around to smile at the capper.

For those who deserted early and missed out because you were dying for a bathroom or you have an intense fear of scrolling words, you can rest assured that, for better or for worse, it did not include any of the following:

* A middle-aged Merida and her husband playing with their children, Hamish and Lamish

* Several outtakes in which Merida keeps slipping into a Valley Girl accent

* An ad for a proposed Disneyland Glasgow resort

* Eight more versions of the Monsters University trailer, including one badly aged Sammy Davis Jr. impression

* 17-minute bagpipe solo

* Merida and Katniss Everdeen gabbing over tea and mocking Hawkeye’s alleged archery training

* A new “Sam and Max, Freelance Police” short by Brave co-director Steve Purcell (Man, if only. *sigh*)

* A cartoon Mel Gibson yelling about freedom, right before being beheaded

* A word from John Ratzenberger about the Will Rogers Institute

* A single male character who’s not a boor, a dolt, a wild animal, or a ringer for Huey, Dewey, and Louie

* A round of applause for How to Train Your Dragon, a better, more epic fantasy about ye olde Scotland

If you haven’t seen the film, a description of the epilogue will make no sense to you. For those who fled and really want to know without seeing it a second time…

[insert space for courtesy mild spoiler alert in case anyone needs to abandon ship]

…suffice it to say that goods previously purchased near the film’s halfway point are finally delivered in one overflowing wagon. It’s nice to know a deal’s a deal, no matter how monkey’s-pawed it was.

Comic Book Company Resurrection Scorecard, Part 1 of 2: the Valiant Return of Valiant

Two months ago at the third annual C2E2 comics/entertainment convention in Chicago, I had the pleasure of attending separate panels celebrating the return of two different comic book publishers that collapsed in previous decades. Each company had a comeback plan, an experienced staff, and creators ready and willing to create. I didn’t write about my experience at the time for a few weird reasons, even when I shared my C2E2 photos with friends, but I’ve kept it in mind as I’ve followed up on their respective results.

Of the two panels, Valiant Comics drew the better attendance. Back in the ’90s, while Image Comics stole the spotlight with superstar artists and characters made of action lines, Valiant offered a more writer-driven approach and built a large following over time through rock-solid storytelling fundamentals and consistent new material every month. That was my understanding, anyway. I avoided Valiant during its prime because every book I flipped through looked pedestrian. (As opposed to Image, where so much looked exciting but read pedestrian.) In its later years I jumped aboard for the Kurt Busiek/Neil Vokes revamp of Ninjak, Fabian Nicieza’s Troublemakers, and the ultimate buddy-hero odd-couple series, Christopher Priest and Mark Bright’s funny-cerebral Quantum and Woody. Naturally, as soon as I became a fan of Valiant, Acclaim Entertainment bought the company and dragged it into the grave when it filed for bankruptcy.

Valiant has shed the Acclaim label and returned to the living with the intent to reboot and make up for lost time. Left to right at the panel were: our humble moderator; Chief Creative Officer Dinesh Shamdasani; X-O Manowar writer Robert Venditti (co-creator of comic-turned-Bruce Willis flick The Surrogates, who was very gracious at their exhibit booth — he came out from behind the table and offered to autograph my Valiant Sampler before I realized who he even was); Executive Editor Warren Simons (formerly of Marvel); and Publisher Fred Pierce (a previous Valiant VP). Also present but out of camera range was Assistant Editor Josh Johns.

C2E2 2012 Valiant Panel

Much of the panel was devoted to projection-screen previews of their first four titles, all of which looked fantastic on screen but will understandably be printed at less grandiose comic-book size in the final product. I’m not the intended audience for some of their plans, such as smartphone interactivity, variant covers and eventual crossovers, but I did understand their decision to set their titles at an initial price point of $3.99 per issue. I wasn’t the other guy in the audience booing them about it. I figured booing the inevitable crossovers wouldn’t change their minds, so I kept it to myself. If they’re too pervasive or catch me in the wrong mood, I reserve the right to abandon ship immediately.

Their launch title, the new X-O Manowar, began in May. For the sake of comparison and for a great price, at C2E2 I also found a bargain-bin copy of an old trade paperback reprinting the first four issues of the original version. Venditti’s new version is paced more deliberately — by the end of issue #2, our hero Aric has just now donned the alien exoskeleton that will allow him to become the one true protagonist. In the original version’s first issue alone, Aric had already been kidnapped from his backwater point of origin, acquired the suit, escaped his alien captors, relocated to the strange new world of present-day Earth, and befriended his first supporting character. His grasp of English was’t up to kindergarten level yet, but he was working on it. The written-for-the-trade approach to today’s version does allow artist Cary Nord more room to show off, with grand visions of attacking armies and alien ship environments and such. (By comparison, maybe it’s cruel hindsight or poor printing to blame, but the original X-O art appears to be Barry Windsor-Smith on rushed, cramped autopilot.) I did, though, have to raise at an eyebrow at a scene where our powerless, atrophied, crippled hero somehow dodged a healthily wielded point-blank laser despite years of incarceration. This still has a way to go, but I’m curious enough to keep tabs on it for the time being.

Their second title, Harbinger, began this month with a disturbing sort of cat-and-mouse game between Toyo Harada, evil businessman with abnormal history, and an amoral runaway teen with mind-control powers and a deadbeat best friend who’ll doubtlessly make everything worse. It’s more engaging than I can make it sound. Writer Joshua Dysart last impressed on the DC/Vertigo title Unknown Soldier (setting aside the revenge-fantasy aspect that grew too disturbing for me after a while) and builds up a great start with artist Khari Evans (from Image’s Carbon Grey), portraying what it’s like for a telepath whose powers are constantly on, and who finds it hard to resist the temptation to abuse his talents for selfish, young-stupid-male gain. So far I’m on board, albeit without knowing how this stacks up against the original Harbinger, whatever it was about. I assume there were super-powers.

Two more titles arrive later this summer: July will bring the revamped mercenary Bloodshot, which Warren Simons described as being “like a house on fire, and the house is rolling down a hill, and it’s filled with dynamite.” Count on explosions, then. And I have to wait until August for the new Archer & Armstrong from Fred van Lente, co-creator of the wondrous Action Philosophers! and former co-writer of the once-divine Incredible Hercules. Van Lente’s name alone was enough to guarantee my purchase, even though the first issue promises to have at least four different covers by series artist Clayton Henry, David Aja, Mico Suayan, and The Neal Adams. A preview of the first five pages is now online, but I dislike reading previews of comics I already know I’ll be buying.

The promo art at C2E2 also teased the return of other old characters like Rai and the Eternal Warrior, but Valiant is taking their time with their world-building instead of releasing fifty-two new series at once and waiting to count the casualties. June figures are obviously not in yet, but the May sales for X-O Manowar #1 estimate a healthy 42,700 copies, which in these days of our waning hobby is positively gargantuan for anything not Marvel, DC, or The Walking Dead.

I look forward to seeing future results, unless Valiant becomes all about crossovers, crossovers, crossovers. I might even forgive that if a cataclysmic in-story event can serve somehow to bring back Quantum and Woody, and their little goat, too. I’d pay at least a good $4.99 for that.

Pixar to Spend Billions Making 350 Versions of “Monsters U”, One for Each Billy Crystal Ad-Lib

Prefacing Pixar’s Brave this weekend in theaters were four different versions of a new teaser for their next adventure, Monsters University. Moviegoers had the chance to witness one of four versions, each with Billy Crystal voicing a different non sequitur as our hero Mike Wazowski is awakened in the middle of the night so that his roommate Sully can prank him, because of the high hilarity to be found in college-dorm bullying.

The most frequently viewed version according to YouTube stats involves a line about a pony, but this one’s my favorite of the four:

Monsters University is rumored to be a prequel to Pixar’s classic monster movie Monsters Inc. While not confirming that rumor directly with any real detail, Pixar reps insist, “Monsters Inc. fans will be very pleased, especially with the last eight minutes.” Speculation abounds as to whether or not this film will at long last answer the important questions that have lingered over the last eleven years: How was the Monsters’ universe created? Which of the million-plus bedroom doors in the original had a preschool-age Space Jockey standing behind it? Did Boo’s parents freak out while she was missing all those days? Did Mike Wazowski’s race evolve from expired olives?

Monsters University is scheduled for American theatrical release on June 21, 2013. In addition to Crystal, returning voices include John Goodman, Steve Buscemi, former Muppeteer Frank Oz, and Mandatory John Ratzenberger. Newcomers will include Senor Chang from Community, Freddy Rumsen from Mad Men, and animation veteran Robert Underdunk Terwilliger.

Thor and Bella Team Up Against Meredith Vickers in “Lord of the Apples: Return of the White”

In the 2012 Snow White theatrical-reboot cage match, I declare Show White and the Huntsman the winner. Largely that’s because I plan to avoid Mirror, Mirror for the rest of my life, based on the unfunny trailers and my track record for refusing to watch every Julia Roberts film since Ocean’s Eleven. I confess the cage match was fixed. I’m fine with unbalancing the scales intentionally and will lose no sleep over it.

I can’t say I liked Show White and the Huntsman as a whole, but I wouldn’t give it an F-minus, as have other Internet participants who reject it on the principle of starring Kristen Stewart. I’m not a Twilight fan, but my apathy for the series isn’t borne of defensive rage about how Real Vampires should be portrayed, nor do I condemn any of the actors for their mere participation. A quick IMDB check confirms the last two Stewart films I saw were Jumper (my dislike of which can be pinned on another cast member, not her) and Zathura (in which her big-sister character was supposed to be irritating). That’s not nearly enough grounds for me to jump on the anti-Bella bandwagon.

That said: to be honest, Show White and the Huntsman doesn’t provide her with much in the way of superstar material to prove herself. Her dialogue in the first half of the film is minimal. When she speaks in the second half, it’s largely either shouting while on the run or grunting while taking damage. She does have two (2) opportunities for quiet, smiling moments, as well as one troop-rallying speech which seemed to go over well. That’s a start, but she’s largely overprotected or out-bellowed by all the other characters. That’s not too prominent a place for a main character to act very main. Perhaps it wouldn’t help to mention a few scenes where Snow is so beloved by Mother Nature and so essential to the very fabric of her kingdom that she’s actually followed and celebrated by assorted happy woodland creatures. One can only imagine the Internet’s own Kristen Stewart Revenge Squad going into convulsions at the very sight.

Her general character arc also doesn’t help. Her entrance in the film is after years of dungeon imprisonment, which should have left her a drained, emaciated mess. She escapes from Point A Prison with some pluck and a single-minded goal to reach Castle Point B, because then and only upon the arrival of their exiled figurehead will the people of the kingdom unite, grow a collective spine, and stage a coup against their all-powerful oppressor. Fortunately for Ms. White, days of fleeing, watching others die because of her, fleeing some more, and being saved by the grace of others all somehow provide her with enough exercise and fresh air to overcome her years of imprisonment, reach a semblance of physical competence, and assume the role of Eowyn for the film’s climactic, chaotic assault on Poor Man’s Minas Tirith.

As the Evil Queen who is her opponent, longtime captor, and Evil Stepmother, Charlize Theron nearly makes her own head explode as she goes over the top, pauses for a tea break while her servants construct a new top thousands of feet above the previous top, then sails over that top with feet to spare. She’s allowed a few moments of vulnerability as it’s suggested that she was cursed by her mother with beauty to use as a dangerous weapon against a misogynist world (so it’s Man’s fault she has to be beautiful! And, um, not her wicked mother’s…), but moments later she returns to her previous state of apoplectic fury. I’m willing to bet her on-set line-shouting was so vehement, it made the film crew cry. Those scenes alone are worth seeing if your constitution isn’t too delicate.

As Snow’s trusty sidekick, Chris Hemsworth is allowed to inflict more damage and use pointier weapons than in his previous films. Like Snow, he also has one good speech-ifying scene, in which he laments the needless passing of so many lives that have touched his. The rest of his scenes alternate between barking at Snow and pounding on her assailants. We don’t even know he’s approaching his own private Inigo Montoya moment until seconds before it’s upon us. It’s over in a heartbeat, with nary a whit of closure, an ounce of emotional satisfaction, or even a great kiss-off line.

In case those three stars aren’t enough to hold out attention, there are dwarves. Singing the complete opposite of “Hi-Ho” are a troupe of known quantities as varied as Ian McShane, Bob Hoskins, Ray Winstone, Toby Jones, and Nick Frost. Dwarven CG technology has come a long way since the days of Gimli and company, but here it’s more of an eyebrow-raiser than a triumph of art. I just couldn’t get past them. I found myself staring at them in every scene as if they were hideously deformed. The jocular Frost very nearly fit, but I’m not sure I’ll ever forget the image of scary, glowering Ian McShane trapped and required to act melancholy while his re-proportioned head is attached to the body of Billy Barty.

I was so distracted, I hardly paid attention to the unnecessary love triangle that remained buried, bordering on subtextual, throughout the film’s second half, with neither closure nor even much resulting conflict. I also ignored several scenes of men in armor swinging their weapons through demons made of glass shards. Ground wars between anonymous participants don’t thrill me like they used to, even if magical CG is involved. Yes, it’s pretty. How encouraging it must be to aim for the low bar of “pretty”, all the better to celebrate when it’s quickly met.

It goes without saying that the sum of SWatH’s parts don’t hold a candle to the vastly different Once Upon a Time, though I do think Kristen Stewart could take li’l Mary Margaret in a fair fight, either in Storybrooke or in her original homeland. And yet, despite the flaws it evinces as it attempts to dazzle with medieval warfare and to rely upon the power of its stars without arming them sufficiently, I’m convinced it’s still better than Mirror, Mirror, sight unseen.

(I’d love to step out further and compare all of them unfavorably to Bill Willingham’s Fables, but I’m at least five volumes behind the present, having dramatically paused months ago at volume thirteen, The Great Fables Crossover. Eventually I’ll attempt to move forward on that.)