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The Caption Reads..?
Hey, everyone. This is D.C. back for something I want to open up for discussion. I've not finished any comic reviews (adult life, you know), but I have several in the works, and just as many questions I want to ask the readers.
Let me state the obvious again: I have read comic books for most of my life. Since comic books have existed, there have been literary devices used in them as often as any other literary work. When my comic book addiction (yes, ADDICTION) was rekindled in full swing, I've picked up old and new books alike to indulge in my vice.
However, something started to nag at me as I read more modern books. It was an itch at the forefront of my brain that wouldn't stop. What was bothering me about the comic books today that did not bother me before? When I came across Ed Brubaker's The Fade Out (you can read Kay G.'s blog on The Fade Out HERE), that annoyance I felt about modern comics made itself known.
Modern comics have NO captions in their books.
Let me rephrase: the majority of modern comic books I've been reading have NO captions in their books, and the others aren't using them effectively.
Now, for me, as a comic lover and a lover of reading (as any well-meaning adult should be), I like literary devices in my books. I like the writer to show me his/her skill in describing imagery while throwing out alliterations, similes, and metaphors. As I stated in my blog on Miracleman, literary devices give life to a book.
Why are writers these days shying away from captions? Let's ask some questions:
Do writers just not prefer captions?
If that were the case, then I would hope writers would show how skillful they are at writing so readers can understand the nuances and idiosyncrasies that give each character their own identities. I've seen some lack in that. Case in point:
From the onset, Laura Kinney, formerly X-23 and now Wolverine, was portrayed as a killing machine who struggles to understand emotions and to just be a girl. More importantly, Laura's speech style was distinct. It was one you would expect of born-and-bred assassin: succinct, calculated, tactless, and completely devoid of social grace:
When I next see Laura Kinney, she's in the company of the young, time-lost X-Men in All-New X-Men. Worse yet, she's talking like this:
And like this:
Now, why in the nine circles of hell is Brian Michael Bendis writing X-23 like this? Did he never pick up any X-23 or New X-Men books she was featured in before taking the reins on her?
I'm very open to changes, and I can understand Laura trying to smoothen out her own edges to feel more normal, but this quickly? Why is she speaking so colloquially now? Where did Laura's eloquence go? Why does she use contractions when it was something she never did? It goes against her entire character, her essence, and her upbringing, no matter how heinous it was. And like real life, we rarely, if ever, change the essential parts of what makes us, us.
Did Laura ever go through an evolution in which she made attempts to break her mold? Was she shown actively trying, and failing sometimes, to "normalize" herself? Was there a progression, or did this all happen spontaneously?
Not only do I feel X-23 lost her essential parts under Bendis (neglecting her standard hack-and-slash), but she lost what made Laura distinct. She sounds generic.
Hm. I went a little tangental there, so rant over on that.
Just kidding. Rant continues!
Real writing?
Let's take a look at how I feel "real" writers write:
Looking at the top three examples…need I really explain what makes the captions satisfying? They delve beyond the characters' words or thoughts. They give life to the worlds in which they live and to the situations in which they find themselves.
Jim Zaub uses captions in Wayward, but they serve little more than thoughts rattling in the characters' heads. If you're using captions as thought bubbles without ever going beyond simple thoughts, why bother? You're doing NOTHING special.
Even simple captioning is effective. Charles Soule's Death of Wolverine is proof of that. Throughout the book, Soule wrote captions with simple words or phrases that, to me, conveyed primal emotions and perceptions characteristic of what an animal might perceive.
Are writers inept at caption-writing?
I will enjoy comics unto my death, but honestly? Yes. I believe the majority of today's writers are showing that they're inept at their expertise. If they ARE adept at caption-writing, then why isn't it being used? It's not enough to just show a character speaking or thinking (if they can even muster that anymore).
How about telling us what the characters feel? What do they see and think?
No, scratch that. We KNOW what the characters see and think. Better yet, how about you tell me what the characters perceive from their actions, choices, and their environments? That requires skill.
As Zaub's Wayward proved, there's nothing skillful about replacing thought bubbles with captions. That does not suffice for one hungry for literary skill.
Is there some stigma around caption-writing, or is it because writers believe the readers don't want it?
On the latter point: I hope we as readers are not being taken for fools. I would hope, too, that my fellow readers are smarter than this, and are looking critically at the quality of their comics in every facet.
On the former point…We can see that that simply can't be so, given how modern writers like Ed Brubaker, Mark Waid, and Charles Soule employ captions effectively. If they prove that it can still be done to this day, then what is the silent, apparent aversion?
Recap and reflection
Can we get more from the books we read? Can we get more quality and more skill from those who claim to be writers? I am assuming that they don't polish their skills through lessons and workshops, which is an admittedly gross stretch on my part, but let's consider the possibility: If those of us who work in the professional world are expected to remain up-to-date in our profession via training and workshops, is it a stretch to expect writers to be held to the same standard?
Comics are still good to me, and some writers have gotten away with writing and selling well without using captions (or with little literary skill in general, I suspect), but if you can do better, why not?
I ask again once more: Is it really too much to ask our comic writers to be writers?
Civil War…"Whose side are you on?"
Hey everybody this is Kay G. coming at you.
So I finally got my hands on Civil War. It's been on my list for a long time now and I finally read it. First of all it's a much quicker read then I anticipated it to be, but then again there are many tie-ins to this story that I have not read yet.
Civil War by Mark Millar, by far exceeded my expectations. Civil War as we all know has been marketed like crazy because of the movie that is coming out, and any of you who are interested in reading it, it's going to be well worth your time. Civil War tie-ins can also be found in and all over the bookstores right now. Because as always the marketing is so big for one of these movies, that you find it everywhere you turn. Now for those of you who may think, "oh I want to read this before the movie comes out" beware: This is not the movie. Civil war the comic and Civil war the movie will very much be separate. That all has to do with movie and character rights within production. Marvel as I'm sure most of you know is owned by Disney these are Avenger films that we've been seeing, and X-Men who are also Marvel, FOX owns the right to those characters; hint can't mix up the two. So that means that movie will not fall in line with the way the actual story plays out.
In Civil War, the U.S government passes a Superhero Registration Act that is designed to have the superheroes under official regulation, but not all agree to this law that's about to be passed. The two against each other is none other than Captain America and Iron Man with poor Spider-Man caught right in the middle. Captain America believes in keeping his identity and others safe in what they do, secret identity and keeping their lives separated is very important to him. While on the other hand Iron Man, believes that the law should be passed and that they should be working with the government along with identities known and the public feeling more comfortable with who they are. The war becomes a conflict between freedom and security, the main theme of what Civil War is all about. Civil War is all about "whose side are you on?"
Civil War is good story that shows you what law and conflict can do, even to superhuman beings. This registration has two great iconic figures split right down the middle. Iron Man (Tony Stark), pro-registration also had Mr. Fantastic and Hank Pym on his side arguing that changing the political map meant that resisting the law was pointless and it was reasonable for heroes to have proper training and oversight in what they were doing. Captain America (Steve Rogers), against the registration had Luke Cage and Falcon arguing that heroes required security in order to protect aspects of their lives outside of being a "hero", such as their spouses and children.
Spider-man, who I said was caught in the middle made the decision to go along side Iron Man, a man he very much idealized. Peter Parker reveals his identity to the public but this decision soon falls out, when certain circumstances arise and a team member on Captain America's side is killed. The death of this character brought the war to be more epic and more forceful then either of them could imagine. This moment brought together more heroes to Captain's side and even Punisher joined his team.
Civil War is an iconic story, and I'm very interested on how they will take this story and represent it in the film. Characters will be different, some story lines I'm sure will be changed in order for it to fit the movie script. Overall, this is amazing read packed with emotion and action and real look into what order and chaos can do to these incredible super beings. I very much loved it, I know my partner D.C will recommend it as well (and yes he had read the tie-ins). This comic is gripping and there is never a dull moment in the reading, and is a great story that I'm looking forward to reading tie-ins to.
Also, if anyone is curious if I had to pick a side, I think it would be Captain America. I think his points are valid in wanting to protect their identity of who they are and protecting their families. Whose side are you on?
This is Kay G. over and out, thanks for reading and let me know who's side you chose.
Wolf Moon
Hey, hey. This is D.C. Jackson here for another throwdown.
Like some people, I grew up on a certain genre of film, television, etc. While I love comics as a medium, my most favorite genre in any medium as always been horror. It's in my blood.
So, eventually I was going to read something like this:
Vertigo's Wolf Moon came out last year, and is the brainchild of writer Cullen Bunn and artist Jeremy Haun. The 6-issue mini-series involves a man's hunt for a werewolf that ruined his life. However, protagonist Dillon Chase is not the only man hunting the werewolf.
Da Good Stuff
Wolf Moon is BRUTAL. I can't emphasize that enough.
I don't recall ever reading something so horrendous, so violating, and so disturbing.
The very graphic nature of the werewolf is given ample spotlight, the coloring by Lee Loughridge help to enhance the horror brought by Haun's art. In all its incarnations, the werewolf is not a hunter, but a malicious, sadistic murderer that, as Chase says, hunts for pleasure, rather than necessity.
Every death committed by the werewolf is so horrendous.
I love learning about folklore and myths, and I'm sure everyone is familiar with werewolf folklore in some form. However, Bunn introduces aspects I've never been aware of, and I was thankful for that. I enjoyed how the werewolf curse was not passed by a bite, as seen in other media. In Wolf Moon, how the curse passes from person to person emphasizes the difficulties Dillon Chase has in tracking and ending the curse.
Bunn also does a good job making you understand how these people have been affected by the werewolf curse. None were left unscathed, and all were changed forever. No time was given to overload the read on flashbacks of one character, not even Dillon, and that was a very well-thought out plan on Bunn's part. You see what the character thinks, how they felt, how they got to their emotional point, and why you should understand and care about them.
Flashbacks are plentiful in Wolf Moon. I loved the distinctly bloody hue of the flashbacks provided by Loughridge. Nothing says horror than crimson. Simply put, each flashback was written in a meaningful way.
The ending, in true horror fashion, leaves you almost elated, until you see just how wide-reaching the werewolf curse really is. I was left feeling dejected by the end of the story, but in a good way. And I believe that if Dillon knew how meaningful his obsessive quest truly was, he would have felt the same.
Da Not-So-Good Stuff
The only thing I can even consider a problem was the climax of the book. There is one character who hunting the werewolf just like Dillon, but for other reasons. I would have liked to have had a little more time on a couple of characters. Nonetheless, none of the characters' time in Wolf Moon, or lack thereof, did little to diminish the quality of the story.
Wolf Moon was an incredibly quick and incredibly satisfying horror by Vertigo. Cullen Bunn wrote each character very simply with just enough background to understand the motivations and emotions behind the important characters. I only wished for a little more development on two characters, but it is something I could easily overlook look that when faced with the creative team's success at delivering a visual and literary dark tale.
Kay also read this before me and loved it, and I couldn't help but agree. If you're looking for a good-quality horror experience, we both highly recommend Vertigo's Wolf Moon.
Secret Wars!
This is D.C., and today's throwdown will be on something I was very much looking forward to reading:
Marvel Comics' Secret Wars of 2015, as opposed to the 1984 iteration (I've not read that one, but you best believe I will someday).
Let's take a step back.
As I've said before, I've had a deep love for Jonathan Hickman's Avengers saga that detailed the incursions and the end of all of Marvel's universes. While Hickman chronicled the heroism and ethical dilemmas in Avengers and New Avengers, hints of the breaking of reality and earthlings' fault in the matter could be seen in various other books:
Spider-Verse, X-Men's Battle of the Atom and All-New X-Men, Age of Ultron, War of Kings, Realm of Kings, the Thanos Imperative, Volume 2 of New Avengers (the Heroic Age), and X-Termination all have bouts of the weakening barriers of the multiverse.
The incursions in Hickman's saga is just the culmination of the constant reality-hopping intrusions and time-travelling mishaps the heroes commit. Hank McCoy, the X-Men's Beast, is possibly the worst offender of all, given both his time-jumping the young X-Men into the present and his work with the Illuminati:
So, by the time Secret Wars begins, we are at the Final Incursion, the inevitability. Two Earths remain and are on a collision with one another. The mutual destruction means the end of all universes, the destruction of one leaves one universe alive. So what happens?
Pure, unadulterated chaos between Earth-616 (main earth) and Earth-1610 (Ultimate Marvel earth). Characters from both Earths make a last ditch attempt to defeat one another to save their own planet. Amid the chaos, the real planners try not to win–they try not to lose. The Illuminati try to escape with a so-called "resurrection team," tasked with reviving the species (a very big eugenics nod, when you read Mr. Fantastic). Meanwhile, the Cabal, along with the Maker (Earth-1610 Reed Richards) make their own escape plans.
The first issue of Secret Wars was sad. It was as grueling and sad look at what any species would do when faced with extinction. They chaotically gasp for their final breaths as they wage a futile war.
The Good Stuff
The first issue was, by far, my favorite of the series. It is chaotic, saddening, and gripping, fitting for the end of all that is.
I have little to say on the coloring aspect of Secret Wars. It's good, and gives the feel that I was reading an epic.
The covers. My goodness. I've always been a fan of Alex Ross' art since I read Kingdom Come so many years ago:
Even the variant covers NOT done by Alex Ross were great to look at:
Hickman's portrayal of Dr. Doom was actually very superb. While Doom's overwhelming narcissism is present, his personality reaches a different realm to me. Immediately you perceive his feelings of love, and even his lack of self-confidence.
The best part of this story? You see that Doom limits himself and remains so petty, even with godlike power in his hands. Doom is gifted with omnipotence and he still can't think of much better than to combat his insecurities towards Reed Richards. You really start to pity Doom early on and throughout the event when you realize just how small this "god" really is.
The Not-So-Good Stuff
The first issue of Secret Wars told me I would be in for some problems, thanks to Esad Ribic's art.
If you read my critique of DC Comic's Batwoman, you will know that the worst thing I think a creative team can do is to forget what came before when doing their work. The same occurs here on one of the splash pages.
If you look immediately to the right of the Hulk, you see a flying figure that most certainly appears to be Hyperion. The design makes it very likely.
There is NO REASON Hyperion should have been on Earth–he was dead by this point. Hickman's Time Runs Out arc explained why. It turns me off whenever past events are not reviewed before making a story. This is a very bad thing to do in any medium.
Ribic's art catches me off-guard at some points. He's very hit and miss; at many points the art is beautiful, colossal, and raw. At other points his execution is just…ugly. There isn't a definitive point where it's one thing and another, but there are hiccups in the event.
Sue Storm just looks…well…hideous. Not to mention her arm. I tried to mimic the pose. It feels and LOOKS anatomically incorrect:
As for the survivors of the former earth…Why were they chosen? Manifold was tasked with retrieving certain people during the Final Incursion, but there was absolutely zero reason provided as to WHY these people were chosen out of many. Clarity would have made sense of this.
Secret Wars suffered from several instances where events occurred for no good reason, for example: the Thing relenting in his fight with Franklin; how easily the Thing trusted Thanos; how quickly and easily the zombies in the Shield sided with Black Panther and Namor. Again…clarity would have helped.
Secret Wars was an appropriate send-off to Jonathan Hickman's enduring saga of the end of all things.
I've read reviews that the main event suffered from a disjointed plot, and I agree. Some events occurred without reason, and that made for a very confusing read. There was substantial focus given to Dr. Doom that gave a good understanding of the burden Doom suffered. Some focus is placed on Mr. Fantastic, but there wasn't nearly enough time given to the other survivors and how they adjusted to their new reality.
Unfortunately, there are hints that Secret Wars might have been a very rushed project. Quite a bit of what happens does not make sense because of the lack of development given to the cast, and to that of the world itself. One would expect world-building in the main series. The 40-some odd tie-ins will assist in that, but why would you need that many tie-ins to help make the main event comprehensible?
There are many things I wished that could have happened in Secret Wars and Hickman's incursion saga in general, but it was a surprisingly quick and decent read. I'd give it a 3/5.
One final issue:
For those who aren't familiar with the reality hopping Exiles series, it's a worthwhile read. With the collapse of the multiverse, I can't understand why these characters NEVER made an appearance through Hickman's incursion saga, in Avengers, New Avengers, or even Secret Wars. Where the heck were they? Multiversal problems were their specialty!
Shedding Light on Shadowman
D.C. here for a little throwdown.
I've had a somewhat growing dissatisfaction with the big two comic publishers (Marvel and DC) for some time. They seem to have forgotten it means to put out good, meaningful work. Marvel in particular seems to have developed a recent habit of hiring artists whose work, in my eyes, is atrocious.
So, to that end, I'd made an effort to expand to other publishers and even other work in Marvel and DC that I hadn't considered tackling in my youth.
At Wondercon, I bought this:
Valiant Comics' Shadowman is the work of creative team Justin Jordan and Patrick Zircher. Unlike DC and Marvel, I know next to nothing about Valiant Comics' universe. What made me pick up Shadowman was in the cover above. Shadows? Demonic looking creatures? Death? Action? Count me in!
And so I read it.
Shadowman is pretty decent, in my opinion. Jordan really hits the ground running in storytelling. We get a sufficient background into Jack Boniface's parents just prior to his birth, and the fate of his parents. Nothing was terribly obvious, except for the sacrifice inherent in Jack's family history, and the power he was going to inherit.
Years later, we quickly see Jack as a charismatic, yet somewhat guarded, young man. He works at a museum, but he's not a curator. I don't think it's clearly stated what his occupation is. And I don't know why Jordan had me wondering this minor detail, haha. But it's a curious thing, nonetheless.
The stage is set when Jack throws away a keepsake of his father's, an amulet that concealed his presence from the forces that have hunted him for his entirely life. And from there, the action just pours out of the storyline.
Now, I've seen some strange mess in comics, but a talking monkey in a realm of the dead? That made me raise my eyebrows, and not in a bad way. It was a funny quirk that adds even greater mystery to the series. The monkey seems duplicitous to me, at least at the end of Volume 1. I look forward to seeing what his history and motivations are, because none of that was made clear.
The cast introduced in Shadowman each seemed to have had their own personal histories set, so character background was minimal. Which is fine, because it's not their story, so much as it's Jack's. Their background need not be so fleshed out so early on. Nonetheless, the supporting cast in Shadowman were portrayed sufficiently and adequately.
You can't help but be intrigued by what appears to be the primary antagonist in this series, the Brethren, a bunch of middle-aged and old fart businesspeople. It's obvious they have clout and standing that will be a problem for our Shadowman, but is there more to them, aside from their worshipping a demon?
This all screams cult or religious fanaticism, two things I've always been into in literature.
I enjoyed Justin Jordan's explanation of magic in this series. It's not too much different from other comics that theorized magic as just another advanced science, but Jordan nonetheless makes it explained well enough in the first volume that even those without scientific backgrounds can understand. We see the magic applied in Volume 1, but it's clear that Jordan has more in store in terms of the full aspects and understanding of magic, since Shadowman is only just learning his abilities.
Patrick Zircher's art is nothing earth-shattering to me, but that's just fine. Zircher shows how effective his art is when aided by Bob Layton's coloring skills to capture the dark, magical aspect of Shadowman. I'm torn between deciding if the art gives the book a biblical feel, supernatural feel, or a horror aspect. Perhaps it's all, or neither of these? Nonetheless, I like it because of its effectiveness.
I'm honestly not sure how I felt about Shadowman. There wasn't a lot of information given in the first volume. The full explanation of magic, Jack's past, the backgrounds of his supporting cast and those of the antagonists…that damn monkey in the Deadlands. All we got was a set-up. Is that good enough? It all depends on the delivery. All these things will hopefully get addressed adequately in later issues. Hopefully they will have impact on the character and the Valiant universe.
As a story, I didn't get a terrible lot from this first volume, but I appreciate the creative team's obvious set-up of Shadowman's mythos.
Fade Out….
Hello everyone this is Kay G. coming at you.
I have been introduced to something new and fascinating, something that fits my fad very well. (FYI: huge Film Noir lover) What I'm talking about is The Fade Out by Ed Brubaker. A classic "who done it" Hollywood tale set in the 1940's. The story opens up just like a late Hollywood film, in the era of beauty, entertainment and great discovery; a place where stars are born. It is also the era of mystery and murder so from screen to page, a classic Film Noir.
Brubaker did a great job with his research team; he got the look and feel of this era just right. Brubaker got it down to the lingo, wardrobe, cars, war and the chain smoking. The story also mentions blacklisting, the Hollywood Ten, and even the communist party which during this time period in entertainment was a big deal. This story is written so well that it reads like a book, better yet it reads like a film, and Sean Phillips does a beautiful job showing how much visual plays an important part. The coloring is vivid and bold; Sean even does black and white shots when in the characters are in filming.
Fade out starts off with Charlie Parish a big shot Hollywood screenwriter, who still has nightmares of the war passed out drunk in an unknown bathtub. When Charlie awakes he finds Val Sommers raped and murdered with no recollection of what's happened. Val is a hot and new coming actress who's starting in a film Charlie is writing…well she was an actress. The whole night becomes a blur of images while Charlie attempts to put pieces together that he just can't quiet figure out.
During the set of production, there is no mercy, re-shoots must be taken a new actress must be found and replaced. In the terms of show business, "the show must go on" and surprisingly enough there's already been a new actress hired for the part. (Hmm…suspicious much?)
Sex and drugs play a big role in old Hollywood films. Women would do ANYTHING to make their dreams of being an actress come true, and the men producing and casting very much knew this. The scene where Maya Silver is introduced to take over Val's role, is very fishy and makes the murder mystery that much more mysterious. At this point in the story, anybody could have killed Val.
Act II
The second act starts off with scandal and mystery as much as the first. Gil starts up by getting into some trouble once again. Gil's a blacklisted screenwriter, and Charlie's best friend along with being his working partner. Gil finds out information about Al Kamp; an old dirty man with a taste for young woman and co-founder of Victory Street Productions. Gil finds out about Kamp's lifestyle and how the possibility of his past and fondness of young women might have a connection with Val's murder. Gil gets stopped by Brodsky who is the head of security, the man who's payed to clean up messes and bury them into the ground.
Maya and Charlie also become very cozy, very soon. One night at movie premiere, Charlie was asked to escort Maya and after some heated debate with a man that had to do with her ex-husband and her past, it let up to a very hot night. Charlie and Maya were glued together much after this, with sneak peek glances on set, and a weekend away. Charlie and Maya's relationship took on steamy fire that led to sex and more sex every time. Yet, like everything else in Charlie's life, nothing ever good seems to last for him. We find out a little more into whom Maya was and what her past was, a Mexican girl who was made to look like a star with the rest of her past washed and threatened away. All the while, Gil continues to dig up as much information about the conspiracy with Val's death as he can with threat notes and stake outs.
Act III
The final act, act III is more complex, crazy, and everything just spills out. Charlie recollects about an evening he found Val lying on the floor, sick and drunk. This night secrets of each other's past are told. Val tells Charlie about when she was a kid, and what she had to do to satisfy the needs of producers to help her career. Charlie reveals his past in the war and what it did to him, along with him fronting for Gil to help both their jobs and survival.
Secrets get deeper and truth gets told, this act is the most compelling of them all. In the middle of all this mess we find out about an affair Charlie has with Gil's wife, which causes him to be more of drunk then he already was. Gil gets caught too deep into the truth and drags Charlie along with him to Kamp's home trying to get the old man to talk, all to find him dead in the bathtub. Both men get caught and try to escape, but with guns blazing Gil gets shot and Charlie run's to Maya's for help. Charlie wakes up the next morning with Gil dead in the car and Brodsky ready to clean up the mess.
Everything becomes buried again once more. Brodsky made Gil's death look like a poker game gone wrong. Maya is back with the Hollywood heartthrob Ty, now engaged for PR purposes and Charlie is even a bigger mess then he was before. In the end he finds out the truth to what happened. Charlie goes to Brodsky on the night of the big movie premiere and asks for the truth. That Drake Miller, an undercover agent looking for communist got too caught up in his pretend role of a producer. Miller enjoyed the life style he was pretending to be in, got caught up the parties, liquor and loose women. In his quest one night to find out the truth he goes to Val, with her not saying anything, anger rises in him and he chokes her to death. This truth as Brodsky tells Charlie, is full of maybe's and speculation.
The story ends with Charlie a drunken mess, who has all of what happened to him and the people he knew swept under the rug. Charlie has to live this eating at him for the rest of his life; the truth about Val, Gil, Maya, and even himself. The ending had me feeling dirty and disappointed, everything getting swept under, no justice nor glorification, just darkness and another day. The Fade Out, is a gripping story of mystery and excitement that had me begging for more, just too bad it ended the way it did. In this ending, as sad as it was, spoke the truth of Old Hollywood and what really used to happen.
This is Kay G. over and out.
The Avengers, which Avenge..?
Hey, all. I'm not reviewing a comic per se, but I'm going to share a question that's been nagging me for a while. Kay G. said I should mention it so we can share our answers with you.
Like I said before, I've read comics for nearly 25 years by all kinds of publishers, but I'm primarily Marvel-bred. Among my favorite teams has been the Avengers, because…really, who doesn't enjoy a team that changes every so often? Changes in team line-ups and team leaders mean changes in character dynamics and different storylines.
I have enjoyed the many incarnations over the decades, my favorite being the Avengers Machine from Jonathan Hickman's world-ending saga:
Even the splinter teams have had interesting stories of their own: the West Coast Avengers (which, I don't recall having read–again, reading for years, haha); Force Works; New Avengers; Secret Avengers; and the Avengers Unity Division. And they've all used the cool catchphrase: AVENGERS ASSEMBLE!
But one thing's been bothering me for some time:
Just who are the Avengers avenging?
If you're reading into their name literally, the Avengers are tasked with avenging. If we took them at their name and its meaning, you'd think the Avengers would act in a manner similar to this guy:
For as long as the Avengers have existed, their shtick has been that of a group coming together to handle threats that no one hero can overcome. As such, they've had confronted high-level and even cosmic threats. They fight to protect.
But protection isn't the same as avenging.
Avengers seem to react to the threats they see before them, not taking action to what was DONE to others.
Have the Avengers actually avenged anyone? I'm not certain. There may have been exceptions–Yellowjacket's death during the 1995 storyline "The Crossing" being one, but avenge means different things to different people: kill, apprehend, punish…
Why haven't the Avengers, after a good 50-some odd years, not reflected and questioned their own name and purpose? Why haven't any of the writers? Will they ever?
Now that we have the All-New, All-Different iteration of Avengers…which, frankly, look so odd, especially with the Avengers' long standing against having children in their ranks…will the creative teams really take a introspective look at what the Avengers are, and what they should be standing for?
Or are they just going to be another aimless team that just attacks threats?
Or, worse: are they just going to repeat the same kinds of stories all over again, like so many other teams and characters do?
What do you think?


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IGListKit Tutorial: Better UICollectionViews
Build better, more dynamic UICollectionViews with Instagram's IGListKit data-driven framework.
- Swift 3, iOS 10, Xcode 8
Each app starts off the same way: a few screens, some buttons, and maybe a list or two. But as time goes on and the app grows, features start to creep their way in. Your clean data sources start to crumble under the pressure of deadlines and product managers. After a while, you're left with the massive-view-controller ruins to maintain. Adopt IGListKit today to ease some of that burden!
IGListKit was created to make feature-creep and massive-view-controllers a thing of the past when working with
UICollectionView. By creating lists with IGListKit, you can build apps with decoupled components, blazing-fast updates, and support for any type of data.
In this tutorial you will refactor a basic
UICollectionView to use IGListKit, then extend the app and take it out of this world!
Getting Started
You are one of NASA's top software engineers and on staff for the latest manned mission to Mars. The team already built the first version of the Marslink app which you can download here. After the project is downloaded, open Marslink.xcworkspace and run the app.
So far, the app simply shows a list of astronaut journal entries.
You're tasked with adding features to this app whenever the crew needs new features. Familiarize yourself with the project by opening the Marslink\ViewControllers\ClassicFeedViewController.swift and having a look around. If you've ever worked with
UICollectionView, what you see looks pretty standard:
ClassicFeedViewControlleris a
UIViewControllersubclass that implements
UICollectionViewDataSourcein an extension.
viewDidLoad()creates a
UICollectionView, registers cells, sets the data source, and adds it to the view hierarchy.
- The
loader.entriesarray powers the number of sections, each having just two cells (one for the date, one for the text).
- Date cells are configured with the Sol date and text entry cells with
collectionView(_:layout:sizeForItemAt:)returns a fixed size for the date cell and calculates the size of the text for the actual entry.
Everything seems to be working just fine, but the mission director comes with some urgent product update requests:
An astronaut has just been stranded on Mars. We need you to add a weather module and realtime chat. You have 48 hours.
Engineers from JPL have some of these systems working, but they need your help putting them into the app.
If all the pressure of bringing an astronaut home wasn't enough, NASA's head designer just handed you requirements that each subsystem's update in the app has to be animated, which means no reloadData().
How in the world are you supposed to integrate these new modules into an existing app and make all the transitions animated? The astronaut only has so many potatoes!
Introducing IGListKit
UICollectionView is an incredibly powerful tool, with great power comes great responsibility. Keeping your data source and the view in sync is of utmost importance, and crashes are commonly caused by disconnects here.
IGListKit is a data-driven
UICollectionView framework built by the team at Instagram. With this framework, you provide an array of objects to display in the
UICollectionView. For each type of object an adapter creates something called a section controller, which has all of the details for creating cells.
IGListKit automatically diffs your objects and performs animated batch updates on the
UICollectionView for whatever changed. This way you never have to write batch updates yourself, avoiding the issues listed under caveats here.
Replacing a UICollectionView with IGListKit
IGListKit does all the hard work of identifying changes in a collection and updating the appropriate rows with animation. It is also structured to easily handle multiple sections with different data and UI. With that in mind, it is a perfect solution to the new batch of requirements – so it's time to start implementing it!
With Marslink.xcworkspace still open, right-click on the ViewControllers group and select New File…. Add a new Cocoa Touch Class that subclasses
UIViewController named FeedViewController.
Open AppDelegate.swift and find the
application(_:didFinishLaunchingWithOptions:) method. Find the line that pushes
ClassicFeedViewController() onto the navigation controller and replace it with this:
nav.pushViewController(FeedViewController(), animated: false)
FeedViewController is now the root view controller. You'll keep ClassicFeedViewController.swift around for reference, but
FeedViewController is where you'll implement the new IGListKit powered collection view.
Build and run and make sure a new, empty view controller shows up on screen.
Adding the Journal loader
Open FeedViewController.swift and add the following property to the top of
let loader = JournalEntryLoader()
JournalEntryLoader is a class that loads hard-coded journal entries into an
entries array.
Add the following to the bottom of
loadLatest() is a
JournalEntryLoader method that loads the latest journal entries.
Adding the collection view
It's time to start adding some IGListKit specific controls to the view controller. Before you do, you need to import the framework. Near the top of FeedViewController.swift add a new import:
import IGListKit
Note: The project in this tutorial uses CocoaPods to manage dependencies. IGListKit is written in Objective-C, so if you manually add it to your project you'll need to
#import into your bridging header
Add an initialized
collectionView constant to the top of
// 1
let collectionView: IGListCollectionView = {
// 2
let view = IGListCollectionView(frame: CGRect.zero, collectionViewLayout: UICollectionViewFlowLayout())
// 3
view.backgroundColor = UIColor.black
return view
- IGListKit uses
IGListCollectionView, which is a subclass of
UICollectionView, which patches some functionality and prevents others.
- This starts with a zero-sized rect since the view isn't created yet. It uses the
UICollectionViewFlowLayoutjust as the
- The background color is set to the NASA-approved black.
Add the following to the bottom of
This adds the new
collectionView to the controller's view.
viewDidLoad(), add the following:
override func viewDidLayoutSubviews() {
collectionView.frame = view.bounds
viewDidLayoutSubviews() is overridden, setting the
collectionView frame to match the
view bounds.
IGListAdapter and data source
UICollectionView, you need some sort of data source that adopts
UICollectionViewDataSource. Its job is to return section and row counts as well as individual cells.
In IGListKit, you use what is called an
IGListAdapter to control the collection view. You still need a data source that conforms to the protocol
IGListAdapterDataSource, but instead of returning counts and cells, you provide arrays and section controllers (more on this later).
For starters, in FeedViewController.swift add the following at the top of
lazy var adapter: IGListAdapter = {
return IGListAdapter(updater: IGListAdapterUpdater(), viewController: self, workingRangeSize: 0)
This creates a lazily-initialized variable for the
IGListAdapter. The initializer requires three parameters:
updateris an object conforming to IGListUpdatingDelegate, which handles row and section updates.
IGListAdapterUpdateris a default implementation that is suitable for your usage.
viewControlleris a
UIViewControllerthat houses the adapter. This view controller is later used for navigating to other view controllers.
workingRangeSizeis the size of the working range, which allows you to prepare content for sections just outside of the visible frame.
Add the following to the bottom of
adapter.collectionView = collectionView
adapter.dataSource = self
This connects the
collectionView to the
adapter. It also sets
self as the
dataSource for the adapter — resulting in a compiler error because you haven't adopted the
IGListAdapterDataSource protocol yet.
Fix this by extending
FeedViewController to adopt
IGListAdapterDataSource. Add the following to the bottom of the file:
extension FeedViewController: IGListAdapterDataSource {
// 1
func objects(for listAdapter: IGListAdapter) -> [IGListDiffable] {
return loader.entries
// 2
func listAdapter(_ listAdapter: IGListAdapter, sectionControllerFor object: Any) -> IGListSectionController {
return IGListSectionController()
// 3
func emptyView(for listAdapter: IGListAdapter) -> UIView? { return nil }
FeedViewController now adheres to
IGListAdapterDataSource and implements its three required methods:
objects(for:)returns an array of data objects that should show up in the collection view.
loader.entriesis provided here as it contains the journal entries.
- For each data object,
listAdapter(_:sectionControllerFor:)must return a new instance of a section controller. For now you're returning a plain
IGListSectionControllerto appease the compiler — in a moment, you'll modify this to return a custom journal section controller.
emptyView(for:)returns a view that should be displayed when the list is empty. NASA is in a bit of a time crunch, so they didn't budget for this feature.
Creating Your First Section Controller
A section controller is an abstraction that, given a data object, configures and controls cells in a section of a collection view. This concept is similar to a view-model that exists to configure a view: the data object is the view-model, and the cells are the view. The section controller acts as the glue between the two.
In IGListKit, you create a new section controller for different types of data and behavior. JPL engineers already built a
JournalEntry model, so you need to create a section controller that can handle it.
Right-click on the SectionControllers group and select New File…. Create a new Cocoa Touch Class named JournalSectionController that subclasses IGListSectionController.
Xcode doesn't automatically import third-party frameworks, so in JournalSectionController.swift add a line at the top:
import IGListKit
Add the following properties to the top of
var entry: JournalEntry!
let solFormatter = SolFormatter()
JournalEntry is a model class that you'll use when implementing the data source. The
SolFormatter class provides methods for converting dates to Sol format. You'll need both shortly.
Also inside
JournalSectionController, override
init() by adding the following:
override init() {
inset = UIEdgeInsets(top: 0, left: 0, bottom: 15, right: 0)
Without this, the cells between sections will butt up next to each other. This adds a 15 point padding to the bottom of
JournalSectionController objects.
Your section controller needs to conform to the
IGListSectionType protocol before it can be used in IGListKit. Start by adding the following extension to the bottom of the file:
extension JournalSectionController: IGListSectionType {
func numberOfItems() -> Int {
return 2
func sizeForItem(at index: Int) -> CGSize {
return .zero
func cellForItem(at index: Int) -> UICollectionViewCell {
return UICollectionViewCell()
func didUpdate(to object: Any) {
func didSelectItem(at index: Int) {}
nil, you don't have to suffer from silently missing methods or fight a dynamic runtime. It makes using IGListKit very hard to mess up.
You've implemented the
IGListSectionType protocol's four required methods.
All methods are stubbed out implementations except for
numberOfItems() — which simply returns 2 for a date and text pair. You can refer back to
ClassicFeedViewController.swift and notice that you also return 2 items-per-section in
collectionView(_:numberOfItemsInSection:). This is basically the same thing!
didUpdate(to:), add the following:
entry = object as? JournalEntry
didUpdate(to:) is used to hand an object to the section controller. Note this method will always be called before any of the cell protocol methods. Here, you save the passed object in
Now that you have some data, you can start configuring your cells. Replace the placeholder implementation of
cellForItem(at:) with the following:
// 1
let cellClass: AnyClass = index == 0 ? JournalEntryDateCell.self : JournalEntryCell.self
// 2
let cell = collectionContext!.dequeueReusableCell(of: cellClass, for: self, at: index)
// 3
if let cell = cell as? JournalEntryDateCell {
cell.label.text = "SOL \(solFormatter.sols(fromDate: entry.date))"
} else if let cell = cell as? JournalEntryCell {
cell.label.text = entry.text
return cell
cellForItem(at:) is called when a cell is required at a given index in the section. Here's what you do inside:
- If the index is the first, use a
JournalEntryDateCellcell, otherwise use
JournalEntryCellcell. Journal entries always appear with a date followed by the text.
- Dequeue the cell from the reuse pool using the cell class, a section controller (
self), and the index.
- Depending on the cell type, configure it using the
JournalEntryyou set earlier in
didUpdate(to object:).
Next, replace the placeholder implementation of
sizeForItem(at:) with the following:
// 1
guard let context = collectionContext, let entry = entry else { return .zero }
// 2
let width = context.containerSize.width
// 3
if index == 0 {
return CGSize(width: width, height: 30)
} else {
return JournalEntryCell.cellSize(width: width, text: entry.text)
- The
collectionContextis a
weakvariable and must be nullable. Though it should never be
nil, it's best to take precaution, and Swift
guardmakes that simple!
IGListCollectionContextis a context object with information about the adapter, collection view, and view controller that is using the section controller. Here you need to get the width of the container.
- If the first index (a date cell), return a size as wide as the container and 30 points tall. Otherwise, use the cell helper method to calculate the dynamic text size of the cell.
The last method is
didSelectItem(at:), which is called whenever someone taps on a cell. It's a required method so you must add it, but since you aren't doing anything when tapped just leave it empty.
This pattern of dequeuing a cell of different types, configuring, and returning sizes should all feel familiar if you've ever worked with
UICollectionView before. Again, you can refer back to
ClassicFeedViewController and see that a lot of this code is almost exactly the same!
Now you have a section controller that receives a
JournalEntry object and returns and sizes two cells. It's time to bring it all together.
Back in FeedViewController.swift, replace the contents of
listAdapter(_:sectionControllerFor:) with the following:
return JournalSectionController()
Your new journal section controller is now returned when this method is called.
Build and run the app. You should see a list of journal entries!
Adding Messages
JPL engineering is pretty happy that you got the refactor done so quickly, but they really need to establish communication with the stranded astronaut. They've asked you to integrate the messaging module ASAP.
Before you add any views, you first need the data.
Open FeedViewController.swift and add a new property to the top of
let pathfinder = Pathfinder()
PathFinder() acts as a messaging system, and represents the physical Pathfinder rover the astronaut dug up on Mars.
objects(for:) in your
IGListAdapterDataSource extension and modify the contents to match the following:
var items: [IGListDiffable] = pathfinder.messages
items += loader.entries as [IGListDiffable]
return items
You might recall that this method provides data source objects to your
IGListAdapter. The modification here adds the
pathfinder.messages to
items to provide messages for a new section controller.
Right-click the SectionControllers group to create a new
IGListSectionController subclass named MessageSectionController. Add the IGListKit import to the top:
import IGListKit
With the compiler happy, you'll leave the rest unchanged for now.
Go back to FeedViewController.swift and update
listAdapter(_:sectionControllerFor:) in the
IGListAdapterDataSource extension so it appears as follows:
if object is Message {
return MessageSectionController()
} else {
return JournalSectionController()
This now returns the new message section controller if the data object is of type
The JPL team wants you to try and setup
MessageSectionController with the following requirements:
- Receives a
- Has a bottom inset of 15 points
- Returns a single cell sized using the
- Dequeues and configures a
MessageCellusing the
user.namevalues to populate labels.
Give it a shot! The team drafted up a solution below in case you need help.
[spoiler title="MessageSectionController"]
import IGListKit
class MessageSectionController: IGListSectionController {
var message: Message!
override init() {
inset = UIEdgeInsets(top: 0, left: 0, bottom: 15, right: 0)
extension MessageSectionController: IGListSectionType {
func numberOfItems() -> Int {
return 1
func sizeForItem(at index: Int) -> CGSize {
guard let context = collectionContext else { return .zero }
return MessageCell.cellSize(width: context.containerSize.width, text: message.text)
func cellForItem(at index: Int) -> UICollectionViewCell {
let cell = collectionContext?.dequeueReusableCell(of: MessageCell.self, for: self, at: index) as! MessageCell
cell.messageLabel.text = message.text
cell.titleLabel.text = message.user.name.uppercased()
return cell
func didUpdate(to object: Any) {
message = object as? Message
func didSelectItem(at index: Int) {}
Once you're ready, build and run to see messages integrated in the feed!
Weather on Mars
Our astronaut needs to be able to get the current weather in order to navigate around things like dust storms. JPL built another module that displays the current weather. There's a lot of information in there though, so they ask that the weather only display when tapped.
Create one last section controller named WeatherSectionController. Start the class off with an initializer and some variables:
import IGListKit
class WeatherSectionController: IGListSectionController {
// 1
var weather: Weather!
// 2
var expanded = false
override init() {
// 3
inset = UIEdgeInsets(top: 0, left: 0, bottom: 15, right: 0)
- This section controller will receive a
Weatherobject in
expandedis a
boolused to track if the weather section is expanded or not. It is initialized to
falseso the detail cells are initially collapsed.
- Just like the other sections, use a bottom inset of 15 points.
Now add an extension to conform to
IGListSectionType, as well as implementing three of the required methods:
extension WeatherSectionController: IGListSectionType {
// 1
func didUpdate(to object: Any) {
weather = object as? Weather
// 2
func numberOfItems() -> Int {
return expanded ? 5 : 1
// 3
func sizeForItem(at index: Int) -> CGSize {
guard let context = collectionContext else { return .zero }
let width = context.containerSize.width
if index == 0 {
return CGSize(width: width, height: 70)
} else {
return CGSize(width: width, height: 40)
- In
didUpdate(to:), you save the passed
- If the weather is expanded,
numberOfItems()returns five cells that will contain different pieces of weather data. If not expanded, a single cell is needed to display a placeholder.
- The first cell should be a little larger than the others, as it displays a header. You don't have to check the state of
expanded, because that header cell is shown as the first cell in either case.
Next you need to implement
cellForItem(at:) to configure the weather cells. Here are some detailed requirements:
- The first cell should be of type
WeatherSummaryCell, others should be
- Configure the weather summary cell with
- Configure four different weather detail cells with the following title and detail labels:
- "Sunrise" with
- "Sunset" with
- "High" with
"\(weather.high) C"
- "Low" with
"\(weather.low) C"
- "Sunrise" with
Give this cell setup a shot! The solution is just below.
[spoiler title="WeatherSectionController.cellForItem(at index:)"]
func cellForItem(at index: Int) -> UICollectionViewCell {
let cellClass: AnyClass = index == 0 ? WeatherSummaryCell.self : WeatherDetailCell.self
let cell = collectionContext!.dequeueReusableCell(of: cellClass, for: self, at: index)
if let cell = cell as? WeatherSummaryCell {
} else if let cell = cell as? WeatherDetailCell {
let title: String, detail: String
switch index {
case 1:
title = "SUNRISE"
detail = weather.sunrise
case 2:
title = "SUNSET"
detail = weather.sunset
case 3:
title = "HIGH"
detail = "\(weather.high) C"
case 4:
title = "LOW"
detail = "\(weather.low) C"
title = "n/a"
detail = "n/a"
cell.titleLabel.text = title
cell.detailLabel.text = detail
return cell
The last thing that you need to do is toggle the section
expanded and update the cells when tapped. Add the last required method in the
IGListSectionType extension:
func didSelectItem(at index: Int) {
expanded = !expanded
reload() reloads the entire section. You can use this whenever the contents or number of cells changes in the section controller. Since you toggle the expansion with
numberOfItems(), this will add or remove cells based on the
expanded flag.
Return to FeedViewController.swift, and add the following near the top of
FeedViewController, with the other properties:
let wxScanner = WxScanner()
WxScanner is the model object for weather conditions.
Next, update
objects(for:) in the
IGListAdapterDataSource extension so that it looks like the following:
// 1
var items: [IGListDiffable] = [wxScanner.currentWeather]
items += loader.entries as [IGListDiffable]
items += pathfinder.messages as [IGListDiffable]
// 2
return items.sorted(by: { (left: Any, right: Any) -> Bool in
if let left = left as? DateSortable, let right = right as? DateSortable {
return left.date > right.date
return false
You've updated the data source method to include
currentWeather. Here are details on what this does:
- Adds the
currentWeatherto the items array.
- All the data conforms to the
DataSortableprotocol, so this sorts it using that. This ensures data appears chronologically.
Finally, update
listAdapter(_:sectionControllerFor:) to appear as follows:
if object is Message {
return MessageSectionController()
} else if object is Weather {
return WeatherSectionController()
} else {
return JournalSectionController()
This now returns a
WeatherSectionController when a
Weather object appears.
Build and run again. You should see the new weather object at the top. Try tapping on the section to expand and contract it!
Performing Updates
JPL is ecstatic about your progress! While you were working, the director of NASA coordinated a rescue operation for the astronaut, requiring him to launch and intercept with another ship! It's going to be a complicated launch, so he will have to liftoff at precisely the right time.
JPL engineering extended the messaging module with realtime chat and are asking you to integrate it.
Open FeedViewController.swift and add the following lines to the end of
pathfinder.delegate = self
Pathfinder module is all patched up with realtime support. All you need to do is connect to the unit and respond to delegate events.
Add the following extension to the bottom of the file:
extension FeedViewController: PathfinderDelegate {
func pathfinderDidUpdateMessages(pathfinder: Pathfinder) {
adapter.performUpdates(animated: true)
FeedViewController now conforms to
PathfinderDelegate. The single method
performUpdates(animated:completion:) tells the
IGListAdapter to ask its data source for new objects and then update the UI. This handles objects that are deleted, updated, moved, or inserted.
Build and run to see the captain's messages updating! All you had to do was add one single method for IGListKit to figure out what has changed in the data source and animate the changes when new data arrives.
All you need to do now is transmit the latest build to the astronaut and he'll be coming home. A job well done!
Where To Go From here?
You can download the finished project here.
Aside from bringing a stranded astronaut home, you've learned a lot about the basic features of IGListKit: section controllers, adapters, and how to bring them all together. There are other important features in IGListKit like supplementary views and display events.
You can read and watch more about the origin of IGListKit at Instagram from a talk published by Realm. This talk covers a lot of the common
UICollectionView problems that apps see as they get bigger.
If you're interested in helping contribute to IGListKit, the team set up starter-task tags on Github for an easy way to get started.


text:
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text:
WRECKTOUR:124 The Carantan
THE CARANTAN WRECK IS ONLY JUST ALONG from the Kyarra (Wreck Tour 47), so close that before the days of GPS and permanent buoys left tied to the wreck, you could end up on the Carantan by mistake.
In fact the wreck was discovered by Diver Guide author John Hinchcliffe, who stumbled onto it. Considering the number of divers who descend onto the Kyarra on a busy weekend, it is surprising that such a handy wreck receives so little attention.
On the other hand, the Carantan is only a small wreck, so you wouldnt want more than one boatload of divers on it at any one time.
When I dived the Carantan, Martin Jones shot had landed just off the wreck in a small but deep scour in the soft rock seabed. I was thinking that I would have
to start searching when my eyes adjusted, but I looked up and saw the A-frame supporting the starboard propeller-shaft (1) above me.
With a bare shaft and broken stern, it is worth having a quick look off the end to see what can be found. In average visibility, and within sight of the main body of the wreck, only 2 or 3m out at a depth of 29m is a big Y-gun, a device for launching depth charges to either side, attached to a small square base (2).
Behind this, and flat on the seabed, is a simple tiller steering mechanism, then, a similar distance further out, a row of depth charges (3).
Back on the wreck, the Carantan lies on its port side, which puts the deck on the left when viewed from the stern. On the deck side, and pointing towards the surface, is a single two-pounder anti-aircraft gun (4).
On the keel side of the wreck, the hull is beginning to build up, with the gland (5) from the starboard propeller-shaft between the double skins of the hull.
A thick electrical cable is draped back across the wreck, evidence of the Carantans mine-sweeping equipment.
Back on the deck side of the ship, and staying there for a while, a thin-walled box section with layers of fine fins would have been a cooling radiator (6) for electrical equipment, perhaps from the ASDIC or radio. Next to this is a lead-acid battery.
A little further forward, the broken edge of the main deck rises a little from the seabed, and tucked in behind the deck is a compressed gas cylinder (7).
A little higher and further forward is the base of the steering binnacle (8). The wheelhouse itself was constructed of brass plate, perhaps contributing to the Carantans fatally poor stability in a heavy sea. This is also an obvious target for salvage, so its unsurprising that none of the wheelhouse remains.
This marks the centre-line of the ship, and shows how far into the seabed the wreckage has sunk, and why there is no sign of the port propeller-shaft.
Almost on the seabed are the bathroom fittings (9) - a small basin and a toilet with a floor of small blue and white tiles, a change from the big black and white tiles common on British ships.
Out on the seabed among debris from the upper deck of the ship are several more electrical batteries (10), then more depth charges (11) and shell-casings.
The deck now breaks completely at the remains of a bulkhead. Part of a hatch coaming remains forward of the bulkhead, then an angular section that could be from the front of the wheelhouse (12).
Our tour passed a shell casing earlier. The corresponding 75mm gun of WW1 vintage has been salvaged, though the support for the gun-mount remains (13), a heavy steel tube that drops through a scrap of deck to the keel. A hatch in the shaft may have been used for lifting ammunition.
A little further forward, the anchor-winch (14) is similarly supported firmly from the keel by a pair of steel tubes.
Finally, the bow is broken almost to the keel, only the stem post remaining (15).
On the seabed just off the tip of the stem post is a small section of hull, with the anchor locker recessed into it.
Unusually for a Wreck Tour, our route back aft now follows the keel side of the wreck to a big half-teardrop-shaped protrusion from the bottom of the keel, the sonar housing (16).
The other half of the teardrop has been removed, together with the contents of the housing, I suspect by Navy divers soon after the Carantan sank in December 1943. The top part of the mechanism for rotating the sonar and two big electrical terminals can be found just inside the keel.
Back amidships, the bulkhead beneath the wheelhouse has a ladder (17) fixed to it almost all the way down to the keel. Rising up to the starboard side of the wreck at about 23m, just inside this bulkhead is a diesel generator (18), then a diesel engine (19) driving the starboard propeller-shaft.
The generator is massively over-sized for a ship of the Carantans 135 tons, and would have powered the electrical mine-sweeping equipment. The corresponding machinery on the port side is buried in the sediment and debris below.
If ascending on a delayed SMB, this is the shallowest point of the wreck, and a good place to launch it from, though beware that it could be close to the shotline, depending on the direction in which the tide builds.
With this in mind, it may be easier to swim 10m or so off to one side of the wreck to launch a delayed SMB, or on a wreck this small with little deco, to return to the shotline and ascend.
Thanks to Martin Jones.


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We know how much referees like to test their knowledge of the beautiful game. So what better way to show that you paid attention to the new rule changes and are a boss when it comes to the finer points of the offside rule then to check out the famous GOREF Friday quiz..
In this article I'm going to take a look at some of the advances in refereeing technology, and explore the pros and cons of the beautiful game in the digital age. I would love to hear your personal and professional opinions in the comments.
We'll start with a topic that has been on everyones lips for almost a decade now: goal-line technology.


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News & Information
Please select a year.
Homemade Meals for Senior Nutrition Program
Homemade Meals for Senior Nutrition Program
(Newton, NJ) The Sussex County Department of Human Services, Division of Senior Services is pleased to announce that the Sussex County Homestead now provides homemade meals for the Senior Nutrition Program that consists of midday meals served at four senior sites and the Meals on Wheels program for the homebound. Participants will enjoy favorites such as meat loaf, baked ham, veal parmagiana, and barbecued chicken. All meals meet the nutritional standard of 1/3 the Recommended Daily Allowance (RDA). The menu is published weekly in the Sunday New Jersey Herald.
The Senior Nutrition Program is funded, in part, through the Sussex County Department of Human Services, Division of Senior Services under the Older Americans Act and administered by Catholic Family and Community Services. Seniors age 60 + are eligible to participate in the program. Those who wish to enjoy lunch, activities and companionship at senior sites may make a reservation by calling the location they wish to attend by noon the day before to make a reservation. Locations include: Liberty Towers in Newton (973- 579-2120); Hopatcong Civic Center (973-398-9111); Franklin Senior Center (973-827-2973); and Vernon Senior Center (973-764-5454). Eligible seniors may contact Catholic Family and Community Services at 973-209-0123 for additional information or to apply for the Meals on Wheels program. There is a suggested donation of $2 per meal at the senior sites and $4 per home delivered meal ($6 for a two-meal delivery) for those who can afford it. All donations are strictly confidential and voluntary.


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Michael Mann is known for attention to detail, and this goes as far as down to the titling of his movie posters. I can't say for sure whether this is something he personally commissioned, but the poster titles for Public Enemies certainly wasn't created from fonts that come free with Adobe inDesign.
One blog that discusses this with some interesting details can be found here. It is only a short account, some of which is below.
According to Creative Review:
"For his upcoming "Public Enemies", a crime drama set in the 1930′s, he commissioned Neville Brody to design New Deal, an original display typeface for titling and promotional materials. The face was specifically designed with the imperfections of the period taken into account–as signage was often done by artists who weren't themselves dedicated type designers–resulting in a quirky, uneven character."Click here for full article.
According to Creative Review:
"Jeff Knowles and Neville Brody have been working on the project, having previously created the typeface for Heat and The Insider."For more information about this font and the designers, see the links below:


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The cartoon in the church bulletin showed a minister in a pulpit saying to his people, ``All I ask is that you give to the church all that you told the government you gave, and we`ll be sitting pretty.``
Churches and synagogues are making numerous last-minute attempts to raise money in 1986 in the face of possible decreasing donations after this year.
The 1986 Tax Reform Act changes the rules regarding deductions of charitable donations. Contributions will be deductible only by those taxpayers who itemize. And it will take more giving to do so as the standard deduction will continue to increase in upcoming years.
Under the Reagan administration, the private sector has increasingly been called upon to provide for social needs. The change in the tax law is seen by some as taking the incentive from donors to do so.
``I find it interesting that when the private sector is asked to pick up the difference made by the government, this comes along. It seems something`s out of perspective,`` said Monsignor John McMahon of St. Joan of Arc Catholic Church in Boca Raton.
McMahon said those studying the issue predict a 20 percent decrease in charitable contributions. Independent Sector, a coalition of groups that includes religious-based charities, estimated the loss to charities to reach $11 billion.
``It`ll take a little time for people to adjust to see what it really means,`` McMahon added.
As vicar for Catholic Social Services, McMahon expressed concern over the impact the tax reform will have not only on giving to religious groups, but to other charities.
``It has significant impact in terms of the needy,`` he said. ``More and more people are living on the poverty level. More and more families are unable to provide for their health care or get insurance.``


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Wake Cross Roads Baptist Church
Sunday, September 23, 2018
Wake Cross Roads WCR Kids ministry equips children so that they live out
Children are a vital part of the ministry here at Wake Cross Roads. WCR is here to assist families in the spiritual development of their children by offering age-appropriate learning methods and activities that encourage them to discover God in a personal way. If at any time you have questions or concerns or if you would like to become involved in this life-changing ministry please contact our Children's Pastor.
Want to know more specifics about what's going on in WCR Kids? Check out our 2018 WCR Kids Summer Calendar. Don't forget to check out our family resource page while you're at it. Here you'll find some great resources for your family!
Is your child asking questions about God, Baptism, Heaven, Hell, Lord's Supper? Click here.
Sunday Morning Experience
WCR Kids large/small group is offered during both morning worship service times. Familes are encouraged to attend worship together and be involved in a small group. We believe this is vital in growing as a Christ Follower at WCR. Many small groups for adults and teens are offered during the same time WCR Kids large/small groups meet.
The WCR Kids Sunday morning experience offers an exciting large group time of music, games, devotion, and learning about how to reach our community and the world. Followed by an engaging small group time (click here for times and locations) consisting of equipping children through bible study, games, videos, and crafts. Our large group and small group material is based on The Gospel Project curriculum.
Wednesday Evening Experience
Our AWANA program is made available to our children grades K-5 participate in on Wednesday evenings August - May. Other fun activities are held throughout the summer months.


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As I have stated through many of the other blogs…my life hasn't always been the most tranquil. This isn't some lame excuse for not achieving my goals or rather an attempt to justify my failures along the way. No it is simply a statement and it is as simple as that. I have gone through many events in my life that have made everyday living very difficult at times and sometimes felt as if the "sun would never set." It was during these moments, I believe, that the true character of a person is built and fundamental beliefs that they will carry with them for the rest of their lives.
So at the beginning of my blog I began to talk about my very early life and then quickly came to a conclusion of me being able to walk across the stage at the University of Nevada Reno. Conversely, the lessons, morals and work ethics I had to achieve this goal were deeply rooted in the transpiring of climatic events throughout the duration of my life. I had acquired certain habits along the way that were detrimental to my success and would inevitably seize control of me without ever discerning the transformation taking place at the time. I was blinded and without direction.
It is here at this moment that the idea of my blog was born and I decided to go with the title of "Adversity and Success." These two simple words are so simplistic, but yet, hold an innate ferocity that each of us as humans holds deep within our hearts. People often have the tendency to say "that impossible or that's too hard" or some other excuse on why they CAN'T accomplish their dreams and aspirations. I am here to say…..YOU CAN! I have experienced and overcome many impediments along the way and conquered multiple addictions that attempt to weaken an individual's determination!
Over the next few blogs I will continue to build on the origins of my title and the "meat" behind my beliefs and how that fits into my story! Please feel free to comment and would appreciate any feedback. Stay tuned for there is far more to come! For without ADVERSITY, there shall be, NO SUCCESS