Showing posts with label comics. Show all posts
Showing posts with label comics. Show all posts

Wednesday, July 14, 2010

Adele Blanc-Sec Comes to the Screen!


Okay, you-all probably already heard about this, given that the movie has already been released all over Europe, but I only found out about it this morning. After all, I've been busy building a house. Nevertheless... peel me off the ceiling!

I am absolutely over the moon. Thank you, Luc Besson!!! I have been a fan of Adele Blanc-Sec for nearly 30 years, if you can believe it: I found one of the comics in a store the very first time I went to France. It was a comic book - but it had naked breasts! And a strong woman protagonist who smoked and pulled guns on people! And it took place in the early 1900's, with all the wonderful fin de siecle architecture and early-century atmosphere! I'd never seen anything like it - the whole thing just blew my young mind. And I learned a lot of French trying to figure out what was going on.


This series of books, originally written by Jacques Tardi in 1972, is a hu-u-uge reason why I love Steampunk today. It made the most incredible impression on my young mind, and I spent many years hunting down first French, then English versions of the books. They have been hard to find, and I loved them a lot - and by extension, I learned to love Tardi. And now, thanks to the movie, Fantagraphics says they will be bringing out new English translations this fall. This sounds exciting, but it's only Volume 1 - the others will follow later (I hope).

This is a very long time coming, but I am redeemed! Bwahahaha!

Check it out:



Unfortunately, according to IMDb, the film seems to have no release dates in any English-speaking countries. It's not clear why this is, but I encourage all to write to the distribution company and demand to know when they will bring this awesome-looking film to the English-speaking world. In the UK, that would be Optimum Releasing, but I haven't found anything for North America yet. It seems like the delay in announcing it is pretty long. I just hope they're not bickering about the bath scene or something (argh).

Thanks to the Steampunk Home for finding this!

Slashfilm has some photos here...

And here are also Two reviews one of which doesn't like it so much and the other which does. I don't care - I see scenes, even in the trailer, that I remember from the book, and it makes me childishly happy, regardless!

Wednesday, July 1, 2009

Little Vampire (and Other Little Folk)


Just a brief post to say I love Joann Sfar. And possibly Emmanuel Guibert.

I first became aware of his work through, bizarrely, a little annual comic (a compilation of stuff put together for kids to read, in a cheap format similar to a TV guide) which my kids bought at a vide grenier (a village-wide garage sale) in France. Mostly it was full of fluffy kids' comics, but there was this one story which caught our attention, in which evil mermaids who make horrible honking and tooting noises (expressed in French as "Onk! Onk!" and "Tut! Tut!") capture a girl and boy. The kids fight the mermaids with a found sword, and then... well, the next frame is of them sitting around a table with a couple of huge fish skeletons on plates, looking very full. The annoying mermaids (sans tails) are left on an island, still alive and honking, to enrage a skinny guy and a superhero-type guy, while the two kids and their pirate friend fly off in a spaceship.

Now, first of all, the concept of cutting off (and eating) mermaid tails is wildly arresting. I was initially rather shocked, and then thought, "Wow, the French sure are open-minded!" But the whole thing - drawings and all - was weird: who was the guy in the superhero suit, and the skinny guy with the tall head and beak-like lips? And why are these kids flying around in a spaceship with a pirate guy? My French simply wasn't good enough to get my head round it.

But I also couldn't forget it.

Then one day I was in my local comic book store and there it was: a little comic called Sardine in Outer Space, by Emmanuel Guibert and Joanne Sfar. I couldn't believe my eyes: a whole book of that gross humor, drawn in hilarious style? I had to get it, and then I got the skinny: Sardine, a girl (or little witch?) whose black cat rides around on her hat, and her friend Little Louie, travel around space with Sardine's uncle, Captain Yellowshoulder (known as such, apparently, because of his ubiquitous shoulder-riding parrot), committing deeds of derring-do (and sometimes deeds of pure annoyingness) against the stupid President of the Universe, Supermuscleman (known by the same name in French) and his evil genius advisor/superior Doc Krok. The stories are unique, individually and as a collection. My daughters love them, particularly the younger, who likes funny stories with occasional gross jokes about badly-behaved people - and particularly if they are drawn as wildly as these.

Sfar has gained some fame in the U.S. with The Rabbi's Cat, which won an Eisner Award and has gotten excellent reviews. He also did the Donjon (Dungeon) series with Louis Trondheim, another of my favorite (very irreverent) comic people. Sfar's Klezmer: Tales of the Wild East sounds pretty fun, and The Professor's Daughter seems intriguing. I have to admit, though: I haven't personally read any of his adult stuff yet.


I did just get Little Vampire, which includes three stories about a, well, little vampire, the son of the man from the Flying Dutchman and his suicide bride. He lives in a haunted house with his horrific-looking but kindly father and his beautiful, but blue, mother, with a small red demon-like dog and a host of yucky monsters. When he makes friends with a human boy, these create some minor obstacles, being initially daunting for the boy; but the boy soon gets used to it. The stories are, in true Sfar style, truly unusual, though they have more structure and a little more empathy than the unapologetically bad-mannered Sardine books.

I really, really like them. Sfar has an unerring eye for what it's like to be a kid, and a certainty about a child's understanding of its place in the world: he understands the simple irritants of kids trying to deal with stupid adults, and finding ways to mess with their boring desire to control things; at the same time he knows that adults are not always bad, and that being a kid can be difficult and confusing. If his adult stuff is this spot on, I'm in.

Wednesday, January 7, 2009

The Arrival Arrives


My daughter just gave me the novel The Arrival for Christmas ( or is it a graphic novel? A novel told in photo-like graphics? Graphic novel cum photo album?). This is the first time she has specifically found something to give me for Christmas - and orchestrated its acquisition - and I have to say she hit the nail on the head.


The book has been around for a couple of years, but I seem to have missed actually reading it until now. I have to say it's one of the best wordless books I have ever (and I mean that) read. The art is beautiful, the story interesting, and the depictions of the horrors which force immigrants to leave their own lands manages to be not only fantastical but also emotionally spot on. True, few people have actually experienced giants coming into their communities and vacuuming them up, but the impression of looming extermination tastes like real-world truths (and is much more interesting to look at).


And Tan manages to capture the feeling of being a new person in a new country, where you can't find anything, can't read, and don't understand any of the systems. There is a peculiar and wonderful combination of familiarity and weirdness here that I haven't seen before. I highly recommend it, if you haven't seen it - it's much more than a kids' picture book.

Wednesday, December 3, 2008

Making a Manga Out of Life


My friend Gwyan sent me this link to Chris Scarborough's photography [click on "photography"] wherein he takes a picture of a real girl and then uses digital means to push her features closer to those of a manga (or anime) character. The result is quite startling.

I decided, for the purposes of the Media Literacy class I teach to 6th-graders, to make one of myself. In the body image section of the class, we explore how the media retouches all the images we see of people so that they are closer to the ideal set by the industry. Then I teach the kids how to use Photoshop, and they retouch their own image.

Maybe I've spoken of this before, but it's very interesting to me how the kids never try to turn themselves into a perfect and glamorous version of themselves. They always want to be aliens, or elves, or make themselves older, a different color, or even change gender. In any case, my hope is that they come away from the class with an insider's awareness of what is being done to all the images they are being presented with - and, as such, learn to take it all with a grain of salt, maybe even learn to dissect it a little. A lot of the ills of youth are based in the feeling that we can't possibly live up to expectation, and I feel the media is not helping this. So this is just my little bit of work toward fixing the problem.

In any case, it's so interesting to see oneself transformed into an idealized version of oneself. I am torn between horror at the result and a strange feeling that this is what I'm supposed to look like. I must be reading too many comics...

Monday, December 1, 2008

Hindu Dieties for Christmas


I had a few hours to myself in San Francisco the other day (a wonder in itself), and I happened across The Little Book of Hindu Dieties, a remarkable book in that it seems to conflate Shiva, Vishnu and the rest with the Power Puff Girls. I was extremely taken with the image of Kali, so cute! And yet with the severed-arm skirt and the head in her hand...

The Little Book is the product of Pixar's Sanjay Patel, working via his gheehappy site, where you can get books, prints and clothes with the images on them. I really wished I could get a t-shirt of the Kali in the book, but alas, kids' sizes only (these links here don't work but a fix is promised). The links page is of some interest, too.

Then I found that, of course, bOINGbOING had already showcased GheeHappy, including a plush Kali doll made by a friend of Patel's:


It was tempting to buy the book, given that my kids are big on Hindu mythology comic books, which tell the gazillion tales about the panoply of Hindu gods. My elder daughter used to even talk with strangers about "severe penances," which she learned about while reading the story of Parvati. That was always interesting to try to explain; lots of sidelong looks. The comics can be a great teaching tool, and very entertaining (though you may have to suffer the odd looks if your kids take them to heart). You can get hindu comics here, if you're interested.

In any case, this made me think about going to check out what's been happening with Nina Paley, who created Sita Sings the Blues, an indescribably fabulous set of animations which, last I saw, were just that: a series of wonderful shorts from the Ramayana which she was hoping to parlay into a feature film. Now I find she has done just that, to my intense joy - but guess what? They moved the copyright year back again. She is having trouble with rights for the songs.
[editor's note: This is what happens when you try to get a blog post out in very little time after not sleeping enough. I need to check my sources! I am still trying to "rediscover" the source where I found out about this... More soon. In the meantime, it looks like there will be a big fight in 2018 when they try to extend again.]


I have to say, copyright is a tricky business - and I do mean business. Every time it looks like Disney's oldest character, namely one Mickey Mouse, is about to go out of copyright, our obliging (but certainly not corrupt; never that) government takes it into their heads to extend the date when things go out of copyright. Why is this? No one knows. Surely it couldn't have anything to do with the fact that Disney is so fabulously rich, that they can afford the most expensive lawyers to slap down independent artists and perhaps to lobby continuously about the copyright thing. No, there must be another reason.

I'm waxing sarcastic. Unlike me to be annoyed at something like this, but I have friends who have been on the wrong end of a Disney lawsuit. And I do keep hoping they'll lose the copyright one of these days. Everyone else has, throughout the history of copyright. It's supposed to be fair, right?

In Nina Paley's case, she built the shorts around songs which were due to go out of copyright, and then the dates moved were out of copyright, but then found she had to pay for synch rights - and of course, the person or corporation who held those rights is now asking far more than any individual could possibly pay. So theoretically she could be up as a felony criminal for using them without permission. Sigh. So it might never be released.


I despair at the fact that this fab-o movie came to San Francisco a couple of weeks ago but I missed it. The trailers look marvelous. Go check it out, and keep an ear to the ground about the copyright thing; Ms. Paley has a blog, a very smart and somewhat disillusioned chronicle of neat stuff. It's a crying shame it can't be released. The movie has won more awards than I've seen attached to a single animated work before. Stunning.

Here's the trailer, in case you wanted to see it:



Update: go see what Roger Ebert has to say about the movie!

Thursday, April 10, 2008

How Comics Should Look


Recently, I took it on myself to write to the editors at Fantagraphics, who among other things translate French and Belgian comic books, and ask them why, oh why they haven't translated more of one of my favorite bandes dessinées series, the Spiffy Adventures of McConey, by Lewis Trondheim? The Hoodoodad* and Harum Scarum are great, and I'd like to read the other eight.

The answer, it turns out, is that Americans (and other English speakers, apparently) don't seem to like those big "album" style books. Fantagraphics' Kim Thomson very kindly wrote me back:

"Alas, the two books, especially the second, didn't do at all well for us, and then NBM went ahead and translated two more of the McConey albums in their ODDBALLZ comic book series. (But you'll notice they discontinued the series and never released the McConey work in album format themselves either.)

I think part of the problem with our series was using the French album format which American retailers and most
fans seem to resist. I'm toying with the idea of someday repackaging the McCONEY material in the smaller and
thicker (2 or 3 French albums to one album) format, but alas again, I'm so backed up with my foreign-comics commitments that it doesn't look likely to be soon... Keep your fingers crossed..."


Curiously, when I asked my children whether they preferred the big (French-style) album format for Asterix and Tintin or the smaller format that both series seem to be released in nowadays, their response was a resounding "The big one!" And I remember discovering Tintin long ago, in the Berkeley Co-op (which would tell you how long, if you're in the know) and being fascinated and impressed with the large, beautiful, brightly-colored format. Particularly, I loved the hardcover books, and how with the large format it felt I was opening a magic book to another universe. I was so taken with them that within a year I had all of them, out of my own pocket-money, despite the fact that they were so intensely expensive compared to the cheap American comics at the local store. And unlike the cheap comics on newsprint, the Tintins held up to years of re-reading, looking neither smudged nor murky at the end of it all (though a little soft around the edges).

So why don't grownups like the Big Ones? Do they take up too much shelf space? Too much space on the table next to your bed, or the space next to your bowl of cereal? What, exactly, is there to dislike? Perhaps, and I hope this is not true, people like things that are familiar, and these aren't a familiar size.

For a number of years now, I have gone to France as often as I and my family can afford, and each time we make a pilgrimage to a particular store in St. Michel that sells literally thousands of these kinds of comic books, along with videos, manga, and other things. Imagine going into a shop that rises up on several levels, with at least two of them literally solid with the spines of comic book albums. Every book on the shelves is large format, beautifully printed, and relatively reasonably priced (considering you can get ten or twenty years out of them; the terrible bindings I've been finding on modern American softcover graphic novels only last a few months in the hands of enthusiastic readers before they start giving up their pages like moulting birds). We always choose two or three books to buy. They have to be readable in our lame high-school French, and at least one of them has to be readable to my daughters, because we can only fit a couple in our luggage. But they're worth it.

Sigh.


I've discovered any number of gems this way, over the years, beginning in the 1980's (pre-children, of course) with The Adventures of Adele Blanc-Sec (above), and by extension, Jacques Tardi (the author), who has created any number of interesting and memorable characters over the years. Several have been translated into English, though not, alas, for any great length of time (Adele Blanc-Sec in English costs, used, up to $45 now and is not all that easy to find).



On the lighter side, I discovered Lewis Trondheim this way, too. Or, rather, I saw his stuff there, and then was able to find some of them at home. I gobbled down any of his stuff I could find in English: the high-school French simply doesn't cut it, though, as his dialogue is witty and full of colloquialisms. Except, of course, for the hilarious Mr. O, and The Fly (La Mouche), neither of whom need any dialogue at all to be funny.


And Melusine, who we all adore, is not likely to be found this side of the Atlantic anytime soon, more's the pity.

So what I want to know is, what's wrong with the album format? I'm not a huge comic person, despite enjoying the above folk, as well as Pogo (who I had a crush on as a child), Los Bros Hernandez, old Donald Duck, Maus, Sandman, and various other newer bits and bobs. I'm not one of the True Believers, who can cite names and dates and so on by heart. But I will always remember that shining moment of discovering the Tintins under the stairs at the Co-op. And I wish, with all my heart, that somewhere, sometime, perhaps when I'm old and creaky, there will be a comic book store -in English! - that rivals Boulinier on Boulevard St Michel.




Links (etc.):

More, and even more, about Lewis Trondheim.


Rowrbazzle

*Don't be discouraged by Amazon; they have a terrible description of the Hoodoodad, making it sound annoying in the extreme.

Wednesday, January 2, 2008

Noah Farlee's Giskard the Genius


It's got steam. It's got eccentric people building things. It's got machine parts falling down mountains. What more could you want?

Noah Farlee, the sixteen-year-old author of Giskard the Genius, is interested in writing graphic fiction. His first try at it, he says, "...was awful. But a while after that, when I was thirteen or so, I started work on my first major comic project, which was about a little robot named Mechanic who had to go and fix the very universe of fiction itself after the fundamentals of storytelling broke down one day."

He is fascinated with Steampunk, Clockpunk, and all things similar, and began to work on the universe for Caelum, where Giskard is set, after shelving his early comic project. There are a million things which have influenced him but the thing that strikes me about Giskard, and what I've seen of the rest of his Caelum series, is that they are fundamentally original, humorous, and completely creative. So much of what we see coming out of so-called prodigy works is simply a rehashing of other peoples' fantasy novels; but Noah's Caelum world, and the stories that happen there, seem to be more complex, more unusual.


Noah himself is very articulate about it:

"The fictional universe for this this story is a planet called Caelum (Hooray Latin!). The largest body of water is the Vertiginous Ocean, which is essentially a gigantic spiral current in the center of the map spinning clockwise. The land tends to follow the same pattern; though it's mostly just thinner landmasses like long islands and peninsulas which noticeably curl clockwise. It's actually possible to walk from the north pole to the south pole on Caelum, but travelling over the Vertiginous Ocean is a much more efficient route between the east and west, provided you can find a safe means of travel. Giskard's town of Pawl Hollow is in a valley in the Rooftop Mountains, which run right along the northern border of Ironfoundland. Ironfoundland is an industrial country about the size of the Louisiana Purchase (a strange comparison, but I didn't realize the near perfect correlation until later), and it's where most of the Caelum stories are set.  
 
"So far, Giskard the Genius is the only complete Caelum story. However, there are four direct sequels to it which I have outlined, three or four "big" stories which are slowly developing in the back of my brain, one short story which is about halfway written down, and several dozens of ideas which I'm still getting around to even considering."


Which is about how most authors seem to work, as far as I can see, walking around with the backs of their heads hanging open for the spores of stories to take root in, while they make notes on anything that comes to hand about whatever strikes them, and then hoping it will lead somewhere.


I talked to him about his choice to go with the lighter look, rather than some of the grimmer and grittier patina which make up parts of his own reading. He is a fan of China Mieville and Alan Moore, and is well-read in some of the darker graphic fiction, though he says at the moment he is inspired by the many new and cool artists in the Flight series, which he says is "visually stunning, wildly creative and pure fun from start to finish." When I asked him about going dark with this story, he said, instead, that "Giskard happened because I had the characters, the setting, and the machines, and I knew I had to do something special with them. With Giskard, I wanted to prove that you could still tell a story for a story's sake. I wanted a story that was enjoyable to people of any age, instead of just "acceptable" for all ages. No gritty violence, no brooding main characters or political commentary, but also no distracting morals or nauseating innocence. Just plain clean fun."

When asked if he wanted to write, draw, and ink all his own comics, he responded with a smart negative. He likes the drawing, he says (and he's good at it, I said), but it's the writing that interests him; and I got the feeling that he would be most happy working with other creative people, making stories about things he loves.

The full 12-page Giskard (in pdf form) can be had here.

Sunday, October 28, 2007

Star Trek Translated into Gorey-ese


What can I say? You must read this, by Shaenon Garrity, to believe it.

Weird thing is, I was actually a young teenager visiting Massachusetts in 1980 when Gorey's Dracula was being put on nearby (see the link, they discuss it). I was dying to see it, but couldn't get a ride, and was too young to find another way - it even had Frank Langella, who had starred in Dracula: a Love Story, and on whom I had a massive crush at the time. I have regretted it ever since. Moral: spare no expense to do something you will regret not doing for the rest of your life...

Tuesday, May 29, 2007

Why Scrooge McDuck is better than Bill Gates

Rant alert: some ranting may appear in the content below.

Okay, that title may seem off-topic. After all, as the book How to Read Donald Duck: Imperialist Ideology in the Disney Comic points out, Disney comics are all about imperialism, and we know that Wunderkammern are not. Right?

Well, not necessarily. Looking at the Age of Exploration, and how it ushered in both science (in its modern form), and imperialism of the worst sort (read: Conquistadors, Dutch East India Company, British Empire, and our good old American "military advisors"), it is clear that there is a flip side to the kind of wonderous mentality I have talked about in previous posts. After all, some of the most interesting things found in Wunderkammern were things co-opted, wrested or wheedled from people in other parts of the world.

However, as a longtime reader of Donald Duck and his elder (and weirder) relative Scrooge, I beg to qualify.

When I was a kid my father collected comic books. Not a lot of them, but he had a few, some of them really interesting. He let me read his Donald Duck comics, mostly written by Carl Barks, which was probably a mistake, as they were no longer pristine after I had read them twenty times. I will say, though, that they certainly made an impression on me.

Many of the best stories are about Uncle Scrooge's quest for owning the most valuable things in the world. So in that sense, they are indeed imperialist, and assume a sort of outdated sense of the white duck's right to take things from other, differently-colored, less "developed" people around the world.

However, there is something very important to be said for Scrooge: when he wants something, he goes there himself to get it, even though he is an old duck with a fabulous fortune at his command. His adventures are what make him worth reading about.

Now, I need to take a moment here to talk about pulp fiction. The (non-sexual) pulp fiction, by definition, was full of wild adventures, explorations, discoveries, and tales of strange occurrences. There is an interesting reverse correlation between the exploration of the (un)known world and the rise of pulp fiction: the more we knew about our world, the more wild the stories in the magazines, as if people's imagination craved more the less there was to wonder about. (the Hollow Earth book, in a previous post, has a nice section on pulp fiction, by the way). In general, pulp fiction was for adults; but some of the best comics of the day followed the pulp format, including, in a slightly classier and more humorous way, the Donald and Scrooge comics.


As in pulp fiction, Scrooge's amazing geographic discoveries are mostly not-real or thinly disguised (though he does visit the Yukon to find his lost stash). But, like a true pulp hero, he goes into it willing to lay his own safety on the line for greed. And, unlike the standard pulps, which lack a sense of humor, we know all about his personality: he is a cantankerous, greedy boogerhead who chisels his own nephews and often screws up. He is, within the comic format, pretty realistic - and we like him because he's so annoying, greedy, etc, and therefore real.

Bill Gates, on the other hand, is anything but a pulp hero, annoying or not. He is a total cipher. We wonder, in fact, if he could possibly be not-real, like Scrooge's locales. He's probably as rich as Scrooge; you know that old adage that if Bill dropped a $500 bill it would not be worth his time to go back and pick it up (of course, if he were Scrooge, he would go back for a dropped dime)? He doesn't seem to be as greedy as Scrooge, but who's to say? Maybe his wife knows. Ultimately, he seems nice enough. And, well, terribly bland.

Which brings us to this: Bill Gates, while smart and pretty savvy, was also lucky. He came along at the right time. He worked pretty hard. But he's a new breed of wealthy, nothing like the old dubloon-wielding explorers who went out in search of their fortunes: he happened on his wealth. I get the sense he doesn't really know what to do with it. Look at pictures of him: have you ever seen anyone so boring?

But Scrooge - Scrooge is hands-on. Like Indiana Jones and his pulp treasure-hunting ilk, he is larger than life. He actually bathes in cold cash (don't you kind of wish Bill Gates did that?). He loves his money, not for what it will buy or what it means in the larger context; he just loves it for itself. He is a collector, obsessed with his collection. He almost can't help himself; his office is a Wunderkammer devoted to wealth. He is incredibly superstitious, and has numerous lucky talismans that he guards jealously. He is a believer in wonders.

I have a weird vision of Bill Gates, in his inevitable unimaginative checked shirt, trying to rescue the Lost Crown of Gengis Khan from the Abominable Snowman. Do you think he would escape? Or convince the Snowman that he had caused a miracle? Would he throw down bundles of rubber and bounce from one to the other to escape Mombie the Zombie? No, he probably wouldn't believe that Mombie was a zombie. But then, if Bill Gates were Scrooge McDuck, Mombie would be wearing a tie, and be a tax-collector.

Bill Gates is the personification of How to Make Being Rich the Most Boring Thing In the World. Face it: people think that being rich is fun (imagine yourself bathing in that money!). And, if you're creative, you'll be thinking that "fun" would be a lot like Scrooge McDuck's adventures, except maybe with some interesting ways to give money to crazy artists or something. But the truth is, as a modern rich person, you would need to hire an army of accountants to find things to do with your money. Hell, you probably never even see your money in cold, hard cash (remember Harry Potter's bank vault?). I'll bet Bill Gates hasn't seen more than $2000 of his money all in one place before. His kind of money is invisible to the naked eye. It's conceptual. It's being groomed and moved around and taken care of by experts, so that it will keep growing - exactly like modern science: compartmentalized, optimized, and managed. All Bill Gates has to do is sit around and give talks and start foundations which largely run themselves, and maybe decide if his advisors have good advice.

Perhaps I am influenced by my upbringing, drinking Horatio Alger with my mother's milk, believing, like Nathaniel West's Lemuel Pitkin, in my divine right to be rich (60% of Americans believe deeply that they will be extremely rich someday). We can be anything we want, if we just work hard enough! Get dirty, put your nose to the grindstone. Got to get in there and roll up our sleeves, put some elbow grease in; then we'll make it big. I'm going to be President when I grow up!

But... it's hard to admire a stuffed shirt. Think about it in terms of storytelling: which is more exciting, a movie about a bank heist, where people walk off with a suitcase full of money, or a movie about boardroom politics? Why is Pirates of the Caribbean, and pirates in general, so popular right now (hint: treasure caves, cool clothes, physical danger)? Why isn't it cool to comb your hair and sit in an office moving money around? Yawn.

Have you ever seen a picture of Bill Gates with his sleeves rolled up and a shovel in his hand? Have you ever seen him get dirty? I can't even imagine it. Scrooge McDuck, on the other hand, gets dirty, and wet, and hit on the head, and schemed against, and lost, and all manner of explorer-type predicaments. And: he swims in his money. In fact, his money vault is nearly 100 feet deep. He still has every coin he ever earned - and he can recognize each of them, tell a story about it. Which to me is the ultimate goal: my ideal home is one in which every little thing, every dish and every object on the shelf, has a story behind it.

Now maybe because Scrooge get all the episodes of his life published for everyone to read, we know of all his trials and tribulations. Bill Gates is invisible, hiding behind security gates (sic) and darkened car windows (although, would you notice him if you saw him on the street?), so it is assumed he is as boring as he looks. I don't know anything about his life, do you? For all I know, he goes out into his garden and digs when he's mad at his wife, or keeps chickens that he loves and who poo on him when he picks them up. Or perhaps he secretly goes to central America and builds houses for poor people with his own hands, for sport; or spends his free time looking for leprechauns.

But I seriously doubt it.