The thirty-fourth comic: #532 JoJo's Bizarre Adventure
Going through a bunch of manga, JoJo's Bizarre Adventure is one of the famous, long running series. Running for thirty years, it follows members of the family of Joestars, who all possess certain mystical powers, and have to fight certain villains.
Each character gets a section of the story, with the previous sometimes making appearances as side characters - if they survive. There's still always a main JoJo, and what has been interesting is how their stories have differed. The first is straight-laced, the good boy who can't keep up with the perfect adopted son. The second and third are more callous, but on different levels - they are quite different characters still. They grow throughout, learning to control their powers - although again, this feels like they do it on different levels. And that's what is interesting: the adventures for all of them are quite different from each other.
The downside is that the battles can feel disjointed and, in places, with too many fakeouts and new powers introduced out of nowhere - and so often it doesn't need to matter. I guess it's a staple for the genre, but I didn't care too much and it seemed unnecessary.
Also, I'm not sure what's so bizarre about the adventure.
Even so, it looks good and it's a really compelling story.
The fifty-fourth TV show: #291 Tinker Tailor Soldier Spy
Usually when you talk about spy stories, you think about James Bond. Action, explosions and excitement. Even less ostentatious series focus on that angle.
Of course, real spy work doesn't work that way - it would be way too visible and unnecessarily complex, and I'm sure that once we get to shows like The Americans, we'll see a more realistic approach.
When Tinker Tailor Soldier Spy starts, it has some actions elements. Fifteen minutes in, however, the character set up as the main character (if you go in blind, not knowing Alec Guinness is the lead) is killed in a big action scene and we go to focus on George Smiley, Alec Guinness's character, as he tries to find out who the Soviet mole is in the British intelligence agency.
This is the point where I, of course, have to remind myself this was during the height of the cold war, where so much more espionage was necessary, and I was reminded to read up on number stations as an example of something that focused so much on the era.
This is all done through conversation, mind tricks and investigation. no action, but a lot of older white British men sitting around trying to work this out. Sad, perhaps, but of its time. The way it approaches it becomes quite interesting - some of the early episodes sag a bit, with a lot of names being mentioned and facts thrown out as it narrows down a bit. Once they can zoom in on the specifics, however, it becomes an engaging watch. It definately relies on your keeping up with the story, but can be quite rewarding once you do.
I can't see this being made the same way even now - I suspect the movie has its differences there - but the deliberate pace works well to show how the process works and create a slightly more tense atmosphere. Often not much music is used, relying just on the sounds of the environment. A decent setup for a mini series, though not without its flaws.
The fifty-eighth album: #58 Bob Dylan - Highway 61 Revisited
Bob Dylan's blues has become a welcome companion on this list, a rocky but gentler sound that takes you into its world. Bob Dylan's lyrics stay as biting and complex as ever, but here the music has taken a step up too, creating more of a mood. Like A Rolling Stone is the obvious example of that, but Balld of a Thin Man's shrill organ creates a creepy vibe that really enhances the songs far more.
The songs, then, remain interesting, and the evolution notable. And as much as later singer songwriters seem inspired by him, at the moment he seems unique as well, something enhanced by the rock influences he's building on in this album.
The fifty-ninth album: #59 The Who - My Generation
There are more ballady numbers on here than I'd expect considering the sound and reputation of this album's titular tracks. They are still supported by some loud guitars, but there are real gradations to the aggression in the songs on this album. I don't think I mind that - La-La-La-Lies has a great melody that's lovely to listen to. To prove who they are, the harmonies aren't always as clear as bands thriving on it, and it sounds quite different from the Beatles, even if you can hear the common ground at times.
By the time My Generation comes around, you are primed for different styles, but it still comes off more aggressive and there's a certain infectious, clear energy in it that drives it forward. We've discussed it for the songs list before, but it still stands out here. The other famous song, The Kids Are Alright are closer to the more standard rock sound of the time, more impressive in the way the harmonies and songs work out. On the whole, there's a huge variation of songs, from what feels mainstream to what would have been harsh. There's no full identity, beyond the screaming guitars that tend to stay around. It's what makes this interesting - a debut mostly to show the different things the band can do.
The fifty-seventh album: #57 The Byrds - Mr Tambourine Man
There's something really pleasant about this album. It's folk rock, with songs written by Bob Dylan but a fuller sound to the songs, the instruments added more rhythm to it. At the same time, the arrangements aren't as complex as, for example, I'm getting used to from the Beatles. The Byrds are in a good middleground, with lyrics that feel smarter but songs that are enjoyable to listen to. That's the crux of it, really. The songs are happy and upbeat and made me feel good, even if they're a bit sadder. It works well.
The fifty-sixth album: #56 Bert Jansch - Bert Jansch
This mostly comes down to a nice folk album, deeper than so many other songs, but back to a focus on normal life rather than the more biting lyrics of Bob Dylan. It's gentle, with some impressive guitar play, and perfect on a stressful day like the one I'm writing this on.
I needed some time to get into this and really have it come through, but the more I do, the more it makes that relaxing. The more I hae a change, the more the lyrics sink in. It's a lovely sound that connected the moment I let it.
The fifty-third TV show: #803 Fringe
Like Eureka, we'd been eyeing Fringe as a potential show for a while. Created by JJ Abrams after his Lost success, this is listed as a X-Files based show, though developing in a different direction - something that's up our alley. The show starts off with a bunch of monster/sci fi premises of the week, with some ongoing storylines but not a very visible meta plot. They aren't the best and I admit we skipped ahead to episode 10, where they realised they needed to improve these aspects.
What starts developing is a mythos that thrives on mystery, a plot that starts to involve parallel worlds and other concepts like it. It's driven by a bunch of interesting characters, with plenty of in-built conflict but also one where the like and dislike developes naturally as the plot progresses. The Bishops - the two non-FBI agents, father and son, who serve as the scientific advisors of the fringe division, alternate between being helpful with the plot, providing drama and providing comic relief, played well throughout with plenty of nuances to reinforce their decades long difficulties.
As I'm going to keep watching, I haven't spoiled myself on the ending, but so far, the mysteries have been intriguing. I would have hoped for some more answers, but it feels like there's a solid idea here that has had plenty of time to grow. We've only really scratched the surface of it, which is what makes it more intriguing.
The fifty-fith album: #55 The Beatles - Rubber Soul
At this point, having listened to later works by the Beatles through the songs list, a lot of these feel fairly standard, but with some of their psychedelic influences sneaking in. Drive My Car and You Won't See Me are standard songs of theirs (although still good), but Norwegian Wood brings in the exotic sounding sitar. Something we've heard plenty since, but interesting here. Then there's Michelle, which sounds like it's based on the French chansons. There is a lot of variation, and it all sounds good - certainly not always the best, but far more interesting this way.
On the whole, there's a lot of the familiar older Beatles songs here, but also more experimental sections that show how they're growing as artists - something I believe they will continue to do. It doesn't feel like their best, but this is still a good album.
The thirty-third comic: #436 Squeak the Mouse
This comic was an awkward one to read on the train. A take off of the Tom & Jerry cartoons, as well as partial inspiration for Itchy & Scratchy, this comic is violent, gorey, with plenty of adult themes and a lot of zombie-like creatures. While normally, these cartoons have a lot of cartoon violence where nobody gets visibly hurt, there is a lot of blood, gore, people being torn apart and skulls carried under arms here. The other side is that there is a lot of nudity in here (aside from the main characters, most wear clothes) and several explicit sex scenes - not long ones, but still there, and they are slightly odd. It's vaguely played for humour, but it's still weird.
Beyond that, it follows through on the standard comic instincts, just with its own bend on these cartoon worlds. It's short, but that way it feels like it mostly doesn't wear out its welcome. Too much of it is gratuitous, but that's the point of it, and it balances it just well enough.
The thirty-second comic: #272 Ashita No Joe
This was a bit disappointing. I must admit I don't have a great feeling about sports based media, as I can't always connect, and the titular Joe is an arrogant ass who never becomes likeable. He doesn't really grow away from that either and I didn't see a point rooting for him. I kept wanting him to fail, because he would need to learn from it, but except for learning more boxing moves, he didn't seem to learn more.
The action scenes look good, but don't have the weight they should have for me - probably because I don't rate boxing high, but also because I don't care much for the characters. The one I rooted for most was the one described as only being there for a coward, and beyond that I would have preferred to see it more as a disciplined character, with a naughty streak, but not to this level.
I believe there's more sports stories like this coming up, but this doesn't feel like a good start.
The fifty-fourth album: #54 BB King - Live at the Regal
BB King is one of those names that I have heard plenty before, but where I would have trouble identifying any songs. Listening to it, his blues sounds good. There's a certain assuredness to his voice that I don't think I've heard in other singers, not going as loud or for other tricks, but instead keeping it grounded and pleasant. I'm happy to just go along with it, which is where it sounds that good.
The songs for the live album are well chosen, showing off the guitar performance as well as his vocal skills. It doesn't fade into the background as the jazz albums do, but it doesn't go too loud and agressive either. It's a smooth, nice album throughout.