From: Goodreads To: mizzahh@*****.com Sent: Monday, July 8, 2013 7:58 PM Subject: Re: [#85956] Flagged Review
Your review of Tom Strong, Book 1From: Goodreads To: mizzahh@*****.com Sent: Monday, July 8, 2013 7:58 PM Subject: Re: [#85956] Flagged Review
Your review of Tom Strong, Book 1 was recently flagged by several Goodreads members. It appears that this section of your review could be read as racially offensive:
He's got a pretty black wife and a pretty half-breed daughter
We strive to maintain a safe and comfortable environment at Goodreads, and we try to stay away from using potentially hurtful terms. Given this, would you mind rephrasing this part of your review or removing it entirely? If this hasn't been replaced in three business days, we will unfortunately have to remove the review.
Sincerely, The Goodreads Team
Re: [#85956] Flagged Review From: mizzahh@*****.com To: Goodreads
has a Goodreads employee examined my review, or is this an automated message ? Do what you want, it's your site, but it'd be to everyone's advantage to have a human review complaints before deleting user reviews
From: Goodreads To: mizzahh@*****.*** Sent: Tuesday, July 9, 2013 2:36 PM Subject: Re: [#85956] Flagged Review
We carefully examined your review before sending out this message. As a clarification, the review will only be removed in three business days if you do not remove the part that we highlighted in our previous message.
Please let us know if you have any questions about this.
Sincerely, The Goodreads Team
Re: [#85956] Flagged Review From: Booboo To: Goodreads
I don't have questions. You have been clear, and as I acknowledged before, it's your site, not mine, you do as you please. But since I am talking to a human, you might as well know that what you're asking me to do is change th way I write because someone else didn't like it. What kind of person would submit to such pressure from a web site and "several" sensitive flaggers? That's right, a coward. Think on it: what if th same standards were applied to books on Amazon or books in th library -- as a company that celebrates writing in all of its manifestations -- bad writing, good writing, great writing, uplifting writing, miserable writing, evil writing, confusing writing, divine writing -- you can see th irony in deleting writing that doesn't mimic a political orthodoxy or whose humor might be impenetrable.
It's not that I don't like your site. But if it's true that you prefer to cultivate users of a certain political stripe and exclude th ideological riff-raff, it'd probably be more efficient to delete ALL my reviews. "He's got a pretty black wife and a pretty half-breed daughter" is in th bottom-third percentile of most offensive things I've ever written.
Re: [#85956] Flagged Review From: Goodreads To: mizzahh@*****.***
Thank you for your feedback. While we do appreciate your position, this particular comment violates our Terms of Service. Sorry about that.
Sincerely, The Goodreads Team
Re: [#85956] Flagged Review From: Booboo To: Goodreads
hello Goodreads, well I'm not deleting it and don't plan on altering my style or word choice in any future communications, so this heroic deletion of thoughtcrime's on you
... merges Deitch's ease in cross-cutting between embedded and overlapping realities with a dirty, seam-bursting cartoon style reminiscent of Tony Mil... merges Deitch's ease in cross-cutting between embedded and overlapping realities with a dirty, seam-bursting cartoon style reminiscent of Tony Millionaire and Milt Gross. Pinocchio won me with its furious page-to-page and panel-to-panel momentum, its perfect comedic timing, and its repeated backpedalling to pick up previous story threads and sew them into one surprising pair of pants. Geppetto is a profit-minded inventor; Pinocchio is a robot with potential military applications and no motive; and Jiminy Cockroach becomes a stand-in for both reader and author as a self-doubting, unemployed, down-on-his-luck would-be novelist who's taken up residence in Pinocchio's hollow skull, rent-free. Pinocchio's and Jiminy's narratives run parallel (and are distinguished by colour and black-and-white pictures, respectively) but intersect at several critical points, leading to Pinocchio's apocalyptic stand-off with the human military. Winshluss assembles bits of the original fairy tale and perverts them to his own aims. He contaminates Disneyesque human values such as romantic love, familial acceptance, home, and following one's dream; and then reaffirms the same values while suggesting that their comforts leave us hungry for some unnamed other. It probably isn't God. It definitely isn't religion, as is made clear in a subplot involving faith-based terrorism. By inserting Disney characters (Snow White and the Seven Dwarfs appear in a subplot) into a sex-, violence-, and greed-fueled milieu, Winshluss risks slipping into simple political satire; but the despair coursing through his panel gutters nullifies moral advice; and the link between Pinocchio's colourful, power-mad outer world and Jiminy's black-and-white, alcoholic inner world is infused with complex magickal potential -- a prayer for amplification of the individual imagination to world-transforming, giant-robot size. Where one political tyranny is in continual danger of being replaced by another political tyranny, Winshluss makes creative storytelling and black comedy its own kind of tyrant. Pinocchio for dictator-for-life....more
... v. athletic, action-packed, and histrionic, but also a reminder of why most superhero comix are a tough read for me, even the ones starring the mo... v. athletic, action-packed, and histrionic, but also a reminder of why most superhero comix are a tough read for me, even the ones starring the most iconic and comforting heroes. I'm familiar with the Fantastic Four, and even though I'd never read these stories in particular (or the ones preceding them), there wasn't a significant barrier to entry, plot-wise. In defiance of decades of accumulated narrative baggage, superheroes generally don't change. Their curse is an eternal return to a status quo of waiting, flexed and charged, for danger to arrive.
As it's impossible to care, in the conventional sense, what happens to the heroes, reading (as opposed to looking at) these comix becomes similar to watching sports or playing video games; the pleasure has to come from the authors' manipulation of well-known materials, structures, and strategies.
Lee/Kirby's concern for the emotional problems of the Fantastic Four might still have been novel at the time (1966-67), but their cursory, corny treatment of how people talk about and act on their feelings would be greeted with rolled eyes by today's 12-year-olds. The stories' conceptual oddities -- monsters made out of pure sound, a futuristic African nation, the mute king whose voice contains disastrous potential, the giant dog who can teleport -- have stood up much better, which might explain why Marvel writers have revived and revised these inventions again and again, along with the heroes themselves. It's too bad that the inventions amount to trippy furniture placed inside a conventional, non-trippy house. The stories go where you think they're going to go.
It's likely, though, that most people who pick this book up aren't seeking great writing, not even great children's writing, in the same way people don't listen to Black Sabbath for the lyrics. Here, Jack Kirby's drawings of bodies flying through the air are the ass-rocking music. He has never been surpassed in drawing BIG things: BIG, heavy, retarded, humongous machinery; BIG, dumb, cute, ugly monsters; BIG celestial objects; and BIG muscles. I don't know what to make of all these beefy things. They're not sexual things. They're not necessarily funny -- though, especially in combination with Stan Lee's pseudo-Elizabethan dialogue, they often are. Mostly they seem to be the brain belches of a man who has seen some extremely big things and is trying to tell you about them, and the only language available to him is spacecraft and beefy thighs. The language seems incomplete, but the terror and majesty of what this man has seen somehow come through, anyhow.
Two biggest highlights of this book: 1) the Negative Zone collages (WANTED: a whole book of that), 2) the moment Doctor Doom betrays the Silver Surfer and steals his power cosmic. What a dick!...more
Listen, this is shitty in exactly the way all the shitty parts of Frank Miller's non-shitty comix (e.g., Elektra: Assassin, Ronin, Batman: Year OListen, this is shitty in exactly the way all the shitty parts of Frank Miller's non-shitty comix (e.g., Elektra: Assassin, Ronin, Batman: Year One) are shitty -- retarded telegraphic speech, lack of attention to details of human behaviour, video game villains, and a heavy dose of nerd sex that will help impressionable boys dry girls' vaginas for years to come -- but I'm not here to shoot barrel fish. Miller's simpleminded politics and psychology aside, the book's a rip-off -- ultra-thin storytelling for 100 pages in which nearly every page is a minimalist splash page. You get some familiar dynamic silhouetted poses from Batman and Catwoman; some drawings that are sketchy to the point of not knowing quite what you're looking at; limited, specific use of solid red and green (Catwoman's shoes and eyes, respectively); and a lot of textural flourishes such as dripped ink and what looks like streaks of watery white-out. None of these things are bad per se, and I'm actually a fan of Miller's post-Sin City minimalism as a look; but these drawings leave nothing to become attached to. Nothing funny or weird, no faces that suggest a whole history of feeling, not even a reliably ordinary everyman upon which a chaotic world may imprint its confusing messages. There's no real chaos, only page after page of bare-bones figure drawing backlit by explosions. If all of this was intended as anti-terrorist propaganda, it falls unathletically short: nobody wants to jump from roof to roof with these two aerobics instructors....more
As dystopian fiction goes, this one's better than the Tim Burton Planet of the Apes; but not as good as Brave New World, Max Headroom, the origiAs dystopian fiction goes, this one's better than the Tim Burton Planet of the Apes; but not as good as Brave New World, Max Headroom, the original Planet of the Apes, Blade Runner, The Dark Knight Returns, The Dark Knight Strikes Again, Idiocracy, Wall-E, Y: the Last Man, Zardoz, or the James Franco Planet of the Apes....more
Thirty-nine drawings of one lady on all fours with her ass pointed heavenward ... vulgar, crammed with detail, full of life and the promise of infinitThirty-nine drawings of one lady on all fours with her ass pointed heavenward ... vulgar, crammed with detail, full of life and the promise of infinite sexual variety ... Is this the artist's subliminal comment on marriage? The lady looks pretty wifey to me....more
... like a Jim Woodring story in which the characters are, instead of enigmas, normal people who have normal conversations, except they look like defe... like a Jim Woodring story in which the characters are, instead of enigmas, normal people who have normal conversations, except they look like defective animals -- tossed into a cruel, toxic, ugly, apocalyptic industrial landscape by the same God who won't give Manhog a break ... If Manhog could speak and had a meaningless paper-pushing job (and were uglier), he might be the dickless divorcé in the main story here. Cartoonists are always writing about ineffectual men who are destroyed flesh-shells at the mercy of indifferent women. Is it because it's HILARIOUS? Michael DeForge is funny with this shtick, anyhow, and his cartooning is rhythmic & relentless & circular like a krautrock jam. Give the band more shrooms, DeForge, keep this song going....more