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#16 8/27/08 #7

Hey folks, Ambush Bug here. Just wanted to pop in and remind you about your last chance to SEND ME YOUR NIGHTMARES; a contest to commemorate the release of THE NIGHTMARE FACTORY Volume 2 from FOX Atomic. We want to give away a copy of the book to five lucky Talkbackers. THE NIGHTMARE FACTORY VOLUME 2 features stories by Stuart Moore and Joe Harris with art from Nick Stakal, Toby Cypress, Vasilis Lolos, and Bill Sienkiewicz and it’ll be available at cooler comic shops on September 2nd. To win, all you have to do is send me your most pee-inducing, toe-curling, spine-tingling nightmare. Last time we did this, we got some genuinely frightening entries. Hopefully, you guys can top yourselves with this one. Deadline for this contest is this Friday and the winners will be announced in a future AICN Comics SHOOT THE MESSENGER Column. Be sure to check out THE NIGHTMARE FACTORY VOLUME 2 when it hits the shelves Wednesday. Good luck and remember those nightmares.

The Pull List (Click title to go directly to the review) FINAL CRISIS: SUPERMAN BEYOND 3-D #1 RUNAWAYS V3 #1 BIRDS OF PREY #121 X-FACTOR: LAYLA MILLER (One-Shot) #1 LEGION OF SUPER-HEROES #45 THE HELM #2 NEWUNIVERSAL: CONQUEROR (One Shot) #1 TEEN TITANS #62 MOON KNIGHT #21 Big Eyes for the Cape Guy presents THE GIRL WHO RUNS THROUGH TIME OGN Indie Jones presents… CHEAP SHOTS!


Writer: Grant Morrison Art: Doug Mahnke (pencils), Christian Alamy w/ Rodney Ramos, Tom Nguyen, Walden Wong, and Manhke (inks) Publisher: DC Comics Reviewer: Ambush Bug

"We'll be traveling through bleed space between the universes, but you'll need an upgrade to 4-D vision to fully comprehend the experience."
So reads the inscription on the 3-D glasses that thankfully pull out free of staple in this 3-D SUPERMAN effort from the loopty-loop mind of imaginaut Grant Morrison. And as I read this trippy Superman adventure, I did, in fact, feel as if my mind needed some sort of upgrade in order to fully comprehend this story. But as I read this issue, the words on the page became somewhat metatextual, as if Morrison himself were commenting, through his characters, about the comic itself and his own writing. In short, it made my review for this comic somewhat easy to use the words spoken by the characters themselves to exemplify my thoughts on the comic.
"For one terrible moment it seems as though Lois has stopped breathing. But it's time. Time has stopped."
That's Morrison's tricky way of letting the reader know that this is one of those stories between the stories. For those of you who missed FINAL CRISIS, Lois 'sploded with the rest of the Daily Planet as a result of Libra proving to Lex how powerful he truly is. This left Lois in a coma and Superman stuck by her side keeping her alive with a constant infra-red massage (no happy ending here folks, sorry) from his heat vision. In waltzes a Monitor-looking woman announcing that she knows Clark is Superman and that he is needed elsewhere. She stops time, allowing Superman to leave Lois' side, and so begins our adventure. If you ask me, that's kind of cheating. Morrison sets up this dire situation and instead of dealing with the drama at hand, he hits pause and sends him into trippy-dippyland.
"You know your problem? Drugs! Don't think I can't see the chemicals coursing through your veins."
Now, I don't want to accuse Morrison of anything, but reading his stuff is kind of like having a conversation with someone who is completely stoned out of their mind. Ever tried to have a sober conversation with someone like that? It's maddening. There's no focus. A person can't stay on one subject. The television to the dust in the corner to the bird flying by a window to a song that just popped into their head and not a connection between is made. That's what trying to follow a Morrison story is like sometimes. A shaken hornet's nest of ideas, darting in every direction, with little connection or worse yet, nary a care for one. Morrison hurls up a porta-potty full of interesting ideas in FINAL CRISIS and instead of developing one of those in this comic dedicated to Superman, he decided to open a whole new barrel of water bugs here.
"There is a substance my people call ultramenstruum...but which is known by another name in the germ worlds. Bleed."
Ok. Eww. Leave it to Morrison to bring menstruation into comics. I believe this is a comic book first, as Morrison suggests that the universe is on its period. It sure explains a lot of what’s going on in the DCU, but…eww.
"Wir werden verluste hinnehmen mussen! Diese maschine wird gleich explodieren!"
Uhm...whatever Overman. Soon, Superman is joined by other versions of Superman, including Red Son Superman, Ultraman, Captain Marvel from the Fawcett Earth, and some guy named Captain Adam who looks and acts waaaaay too close to THE WATCHMEN's Dr. Manhattan for my tastes (don't go there Morrison, even you aren't good enough to mess with the best...). I guess it makes sense for Ms. Monitor to gather the most powerful individuals from the different Earths, but as with Morrison's ideas for the Death of the New Gods, it isn't something new since it was a concept used in the ARENA miniseries where alternate earth versions of characters were gathered by another cosmic entity. The fact that so many of Morrison's ideas have been used in the last year is just plain annoying. Sure, Morrison is doing it better, but it still reeks of editorial negligence that such a similar concept was used less than a year ago.
"The ship's completely out of tune."
Yeah, this book is out-there. Those of you literal minded thinkers and people who need all things to make sense should look elsewhere. It's not that it's bad, it's just that the story is so mired in Morrisonian wonkiness that all rhyme and reason is sort of thrown by the wayside in favor of jaw-dropping visuals and concepts that make my head feel like Linda Blair's head on fast-forward.
"It has always been, it will always be."
Yeah, Morrison's stuff has always been this way. Ideas take precedence over plot every time. Even as far back as ANIMAL MAN and DOOM PATROL, the guy's main attractor to fans is his ability to come up with big and weird ideas. Telling the story with these ideas almost seems like an afterthought. I've said this many times, the best comic ever produced will probably be conceived by Morrison, but will only be so if someone like a Geoff Johns or a Mark Waid or Ed Brubaker is there to nail the ideas down with a coherent story structure.
"A book with an infinite number of pages, all occupying the same space. That's why no one can read it."
Now I wouldn't say no one could read this book, Superman. I will say that it looks damn cool. Doug Mahnke does a spectacular job with the art. Mahnke is one of those artists that was born to visualize fantastic comic book imaginings. Ever since MAJOR BUMMER all those years ago, the guy has been churning out rock solid work. And although the 3-D stuff is kinda cool, it does, in a way, take away from really enjoying the detailed panels.
"He tells us his name is Merryman, King of Limbo."
Props where props are due. Thank you, Morrison, for unearthing Merryman from comic book limbo. A mopey nerd in a green jester costume is just damn cool. I vaguely remember the character from a long-forgotten issue of SHOWCASE I picked up as a kid. Seeing him gave my nostalgia bone a tickle.
"You lily-livered do-gooders can't see it, but it's obvious to me."
Aahhh, the chant of many a Morrison fan. "Yer stoopid! What, you don't get it!?!?! I get it 'cause I'm smart. You don't 'cause yer dumb." You know what? I'm secure enough to say, yeah, there are times that I don't fully understand Morrison's stories. That doesn't mean I can't enjoy it. The guy can throw out three-dollar words like "ultramenstruum", "the immaculate intelligence", and structures of "infinitesimal rippling manifolds upon whose surface intricate germ-like processes thrive and multiply" as if he's speaking a foreign language, but I don't have to understand it to enjoy it. I must admit, though, there are quite a few occasions that I read shit like that and my head itches on the inside.
"I can feel my own wits failing."
No, it doesn't mean I'm an idiot. It means that either a) this is whacked-out stuff that I can try to rack my brain to figure out (which is stupid since it's all made up stuff anyway) or b) I can just sit back pronounce the words like Lenny from OF MICE AND MEN and move on because it's all window decoration and ain't all that relevant to the story anyway. Again, I find myself more annoyed with Morrison's out-there speak simply because so many people think it's a stroke of genius. He's looking up words and stringing them together. It ain't rocket surgery.
"I tried so hard to make a good end."
Yeah, I know you did, Morrison. And I want to stick with this story until the end too. But more often than not, that's where your stories always fall flat for me. Like many of his ideas, they are birthed, but not fully realized. Take the endings to Morrison's NEW X-MEN run, for instance, or the incoherent SEVEN SOLDIERS final issue or those abysmal JLA CLASSIFIED first issues where absolutely nothing made sense. Many are willing to look past that. Which is cool. And I'm somewhat cool with that if Morrison is playing in his own personal sandbox as he did with SEAGUY. But when the guy is supposed to be writing a story that has been touted as the end-all, be-all of CRISIS stories, I'd like it to end in a way that I can understand things. And more precisely understand the universe he is using as a chew toy.
"I have proof here in this book!...Evil wins in the end!"
That's what everyone has been saying. But having read the first three FINAL CRISIS issues and all of the tie ins, I'm still a bit hazy about what's going on (especially because none of this is being acknowledged in any of DC's other titles). One of the best things about Marvel's event SECRET INVASION is that we get the event told to us from different perspectives because what is going on seems to have relevance with all of its other titles. This gives other writers a chance to tackle the story and explain it in ways that may make the story clearer and more accessible to readers. With FINAL CRISIS, none of DC's books are really acknowledging the event, most likely because no one knows what the hell Morrison has planned and everyone is staying out of his way like an epileptic in a subway. Even now, we've got FINAL CRISIS tie-in special after FINAL CRISIS tie-in special filling in the plot holes and explaining stuff AFTER the main issues have dropped to clear up what's going on in FINAL CRISIS proper. I am just hoping Geoff Johns is going to be around to bat clean-up after FINAL CRISIS is over and make the DCU understandable again when Morrison's attention flits elsewhere.
"Only on the last day will it yield up its secrets, it is said."
I hope so. There are those who will say after reading this review that I didn't like this issue. That's simply not the case. I wanted to bring light to some of Morrison's tendencies and in doing so, maybe I'll figure him out a bit so that I can enjoy his books a little more. I admit, SUPERMAN BEYOND 3-D was an entertaining read and well worth picking up.
"We're off the charts."
We certainly are. And yes, some of that Silver Age, anything goes attitude is kind of fun to read. I love what Morrison has done with ALL STAR SUPERMAN, but that's his own universe he gets to play with. Here Morrison is messing with the mainstream DCU and not really letting anyone know what he's doing with it. My only hope lies in the knowledge that comics have a cyclical nature. Right now, the pendulum sways towards how many ideas can be birthed from Morrison's whacked brainpan, but soon some of these ideas are going to have to be accounted for and explained. I'm enjoying Morrison's manipulation of that pendulum, but longing for it to sway the other way so I can make some sense of it.
Ambush Bug is Mark L. Miller, reviewer and co-editor of AICN Comics for over seven years. Check out a five page preview of his short story published in MUSCLES & FIGHTS 3 (AVAILABLE NOW at Muscles & on his ComicSpace page. Bug was recently interviewed here and here at Cream City Comics about indie comics, his own artistic process, the comics industry, and other shades of bullsquat. Look for Bug’s follow-up this Fall in MUSCLES & FRIGHTS!


Writer: Terry Moore Artist: Humberto Ramos Publisher: Marvel Comics Reviewer: Optimous Douche

I feel as though I have been comic raped in an anime/insipid-story finger-cuff three-way.
I have loved, strike that, I have coveted the past iterations of this title, even going so far as to pay exorbitant prices to own every back issue of Vaughan’s brilliant first and second volumes. Hell, even Whedon’s horrific delays during his stint did not abate my rabid fandom for this book. I loved the characters and I loved the “all too adult yet wrought with teen angst” stories that were delivered in each issue. Now we have a new creative team and it appears rather than keeping this book on the fringe of original storytelling it is now just one other title cookie cuttered out of the Cartoon Network mold. Essentially this issue told all past fans “fuck off, this is no longer your RUNAWAYS, we want a different demographic.”
This issue put me in a bad mood right from the cover. I despise the Americanized version of anime drawing. I used to allow my ignorance to shield me from all forms of anime until a friend exposed to me some of the real deal stuff from Japan. Don’t get me wrong, I still personally hate the style as a whole, but when done well I can at least understand why there is such an enormous global following for it. While it is certainly better than anything I could scribble on to a page, the bastardized version of “anime” that seeped into this issue feels reminiscent of the $10 caricatures one can get at a state fair next to the funnel cake stand. Everything is blown out of proportion, leaving not an ounce of room for subtle expression. Anger is more than a gaping toothless pie hole, surprise is more than oversized eyeballs sans eyelids, and every woman (or girl) in this world is not built like a fucking twelve year old boy. In past issues of this title, the art would have felt utterly disjointed with the themes of familial betrayal, morbid death and utter fear experienced by the characters as the worlds that they knew crumbled before their eyes. Sadly, the story in this issue takes its cue from the art to deliver plot and characterization that is equally cartoonish.
I tried damn hard to let the art fade into the background and merely focus on the words and the story. After about two pages though, I realized this issue wasn’t merely a bad marriage of artist and writer, but rather an editorial mandate to make the book more “accessible” to all comic fans. The book starts with a group of intergalactic bad guys in hot pursuit of the RUNAWAYS resident alien Caroline Dean. Sadly each member of this gang reminded me of Griff’s retarded lackeys from “Back to the Future II”, where the only thing scary about them is their fashion sense and the fact that carbon based life forms can achieve such a heightened level of stupidity.
Then there are the Runaways themselves, who I have watched grow and mature from sheltered teenagers, to hunted prey by their own parents, to refugees from society, to now a bunch of mallrats from a John Hughes film. I am not one of the types of comic fans that want to impede progress or holds to an unrealistic ideal that comics will never change or evolve; however, I can not tolerate regression to a time that never was. These kids were never flip or carefree. They never seemed like normal kids; rather they were a group of forced into an atrocious existence simply because of their lineage. Now, they are at the mall and looking for work. What? OK, I understand the need for money even for superheroes, but generally superheroes find extraordinary means to meet the demands of a normal life. Isn’t one of the Runaways a wielder of arcane forces? There isn’t some kind of spell that could populate a Swiss bank account with a ton of 0’s?
There were so many choices in this book that I simply can’t agree with. I pray that this issue was merely one of the pint-sized Runaway’s dreams after an all night bender of Gobstoppers and “Power Puff Girls”. Sadly, though, I think the only one slipping into a nightmare is me and it will continue until the next reboot of this series.
When Optimous Douche isn’t reading comics and misspelling the names of 80’s icons, he “transforms” into a corporate communications guru. Optimous is looking for artistry help, critical feedback and a little industry insight to get his original book AVERAGE JOE up, up and on the shelves. What if the entire world had super powers? Find out in the blog section of Optimous’ MySpace page to see some preview pages and leave comments.


Written by: Tony Bedard Art by: Michael O'Hare & John Floyd Publisher: DC Comics Reviewed by: Ryan McLelland

It's been a couple years since I've picked up a BIRDS OF PREY issue so I was glad to see that it is not the same old status quo for the all-girl team. Last time I read an issue Black Canary was still a part of the team but now that she's off gallivanting with Green Arrow I have a whole new bunch of ladies to get to know.
The team has just from Gotham to Platinum Flats, California where most of the action revolves around the BOP teenager Misfit and notorious Batman villain Joker. Misfit is forced to go through the traumatic experience of going to a new high school and having to put up with all the looks, snickers, rude comments, and ruder classmates. It feels a bit “Veronica Mars” meets “Mean Girls”, but I guess the only thing worse than making that analogy is being able to come up with it. Luckily Tony Bedard's writing never feels like he's going through the motions, doesn't know how to write all females, or feels forced. Coming into this issue I have no clue who Charlotte 'Misfit' Gage-Radcliffe is but after reading through I feel very intrigued to learn more and read more. This follows right through to the Joker's storyline occurring concurrent to Misfit's. The Joker is in fine form here exhibiting some abilities I never thought possible from the madman. Joker just wants to fit in with the reigning organization of Platinum Flats: the Silicon Syndicate. Well - fit in or kill the whole bunch. I read the issue and felt excited for the Joker for the first time in a long time. Sure Heath Ledger kicked some butt in “Dark Knight”, but I can't really remember the last time I saw Joker in a comic and felt the same way. Bedard and Michael O'Hare do an amazing job of bringing the psychotic villain to life.
If you are looking for a great place to jump into BIRDS OF PREY - this is it. With the move to a new city along with Bedard coming onboard as BOP's new permanent scribe there is no better time to find out what BIRDS OF PREY is like post-Simone. BIRDS OF PREY easily continues its amazing streak of being one of the best books on shelves and I'm looking quite forward to Bedard's run for many issues to come.
Ryan McLelland has worked in movies and comics journalism for the past several years before joining the @$$holes here at AICN. Ryan’s comic work has already graced comic shelves with Arcana’s PHILLY, WISE INTELLIGENCE, UPTOWN GIRL, and THE SENTINELS ANTHOLOGY. He rarely updates his blog but when he does it can be read at


Writer: Peter David Artist: Valentine DeLandro Publisher: Marvel Comics Reviewer: Optimous Douche

I never wanted to like Layla Miller. She was a character I wrote off in principle from her very first introduction in the pages of HOUSE OF M. Why? I’ve always hated precocious children.
You all know the kids I’m talking about. They are the children like the little red headed country singing bastard from “Diff’Rent Strokes” who always had a quip or a twangy song to diffuse any dramatic tension. Or they are the wizened beyond their years, cherub faced, smart mouthed, accelerated growth, demon spawns from “Family Ties” and “Growing Pains”, or any of the kids from fucking POWER PACK. This rampant ageism towards a smarter younger class just put me in a bad mood the first time Ms. Miller uttered, “I know stuff.”
The thing is, the more I actually read Layla’s exploits as the Oracle of X-FACTOR, the more I realized she wasn’t just a bag of forward thinking sarcasm or cutesy one liners. She was victim to a power she could not control, a person forced to see the fates of all in utterly random fashion. Imagine sitting down to watch the San Diego Comic Con footage on G4 and your TV keeps randomly switching to Lifetime or The Food Network, then take that frustration and magnify it times 1000: that’s Layla’s power.
Whether getting far off visions of one day becoming Mrs. Multiple Man or her five minute ahead flashes of events to come, Layla had always seemed to be confident, actually almost arrogant in her abilities. This mini obliterates that façade amidst one of my favorite backdrops in comics – a future dystopia.
I’ve been truly worried about Layla over the past few months. When last we saw the pint-size prognosticator, she had sacrificed her Xeroxed Madrox traveling companion and was wasting away in a mutant internment camp eighty years into our future. Like most past X-Men futures (wrap your mind around that paradox) mutant racism has not abated, but grown exponentially despite the endangered existence of the X-gene (fuck the spotted owl, where is Greenpeace when you really need them?) This story kicks off with one of the most innovative and fun prison breaks I have ever been privy to reading. In true Layla fashion, she waits for the future to unfold and takes full advantage of a hilarious mishap from a forgotten age of space exploration.
One of the things I admired most about this story is the accessibility of the future. Too often writers paint the future with kitschy terms to show how forward thinking they can be when given the opportunity. David doesn’t take humanity on a quantum leap forward, but rather just slightly tweaks what we already know. Naysayers will grouse it’s not forward thinking enough (e.g. the Internet is replaced with the head Ethernet), and were the central character the time period it self (ala “Days of Future Past”), I might tend to agree. But this is Layla’s story (sounds like a Ryan O’Neil movie), and she is David’s baby. Bendis might have conceived her, but David has nurtured all of the little idiosyncrasies that made me keep turning the page until I knew she had found if not safety, at least solace.
While the future is only slightly changed from a technology stand-point, David comfortably slips on his sociology hat to give us the true impact of tomorrow. After disseminating false riotous-worthy information over the Ethernet, Layla uses her sixth sense to drive herself into the terrorist attacked wastelands of Atlantic City (makes sense, it is the East Coast’s den of infidels). She is greeted with optic blasts from an extremely decrepit Scott Summers who has been using the land of Trump as refuge against persecution. As alluded to fifteen years ago in X-MEN, this issue kicks off the Summers Rebellion. To tell you Scott’s counterpart in this historic event would ruin the surprise, but I will say she is made of ruby (you do the math).
The two things that annoyed me about this issue are I have no idea what’s going to happen next for Layla and this is probably my only chance to see DeLandro’s detailed hand render the future and emotional agony in one phenomenal comic book. I sincerely hope Layla makes her way out of tomorrow and back into X-FACTOR present day soon, though--the team has been missing something without her. I should probably finish this review with an apology. Layla, I’m sorry for ever lumping you into the same category as Brian Bonsall, because you are truly in a class all your own.


Written by: Jim Shooter Art by: Francis Manapul & Livesay Published by: DC Comics Reviewed by: Ryan McLelland

Speaking of Jim Shooter, there is no one happier to see him writing comic books again than me. Not only has it been a true joy to read Shooter on LEGION OF SUPER-HEROES but it is amazing that he hasn't lost his touch after all these years. I've read LEGION on and off for many years and the only stories prior I truly enjoyed were the Abnett & Lanning “Legion Lost” era. Well, that is until Shooter's run. What do we have now? The best DC book on the market today. Period.
Shooter has done amazing job of reintroducing the characters to Legion newbs and those who have been out of the Legion game for a bit, but does so in a way to not annoy those readers who pick up the book month-after-month, year-after-year. And the story in the latest issue isn't some Darkseid-like villain trying to destroy the Legion. No, the stakes are greater as most of the Legion is facing criminal prosecution, dwindling numbers, and a solar system that is about to be ripped apart killing everyone including the Legion themselves.
You can feel the weight of the universe on the Legion's shoulders, yet the story is personal enough to show what is on the mind of the dozen or so members we are reading about. As the team breaks apart to deal with the quickly crumbling universe, the failure of their last fight, or their redemption in the eyes of the government there's still time for bickering, sex, and unsurpassed cockiness by the egotistical Brainiac 5.
There's not enough to say about Francis Manapul's art. He brings the future to life and nearly every panel comes to life with the characters nearly coming second to phenomenal backgrounds. Reminiscent of Oliver Coipel's electric artwork, Manapul's teaming with Shooter couples into nothing short of amazing.
For those who may have overlooked Shooter's run, didn't enjoy his first few issues, or just haven't bothered to pick up LOSH as of yet - wake the hell up and jump on this issue. It's the perfect place to introduce you to the characters and immerse yourself into a outstanding world outside the realm of Superman and Batman.

THE HELM #2 (of 4)

Writer: Jim Hardison Breakdowns: Bart Sears Finishes: Randy Elliot Published by: Dark Horse Reviewed by: BottleImp

So I had read and reviewed the first issue of THE HELM when it came out. I liked it. In fact, I remember writing that this comic was one of the few that made me laugh out loud when I was reading it. Having thoroughly enjoyed the premiere issue, I was looking forward to reading the rest of the mini-series. Then I read my fellow @$$hole Jinxo’s review of THE HELM #1 in last week’s column. Jinxo did not thoroughly enjoy the premiere issue. In fact, he actually seemed to dislike it. To quote from his review, “…there is nothing positive in [the comic]. It’s just a ton of over the top angry pissy characters all abusing one dumpy sad sack. Could have been a bit of fun but it just isn’t.” Well, I thought, Jinxo is just plain wrong. Here he has a good, fun, lighthearted romp of a comic book that he can’t enjoy because he’s too busy looking for emotional connection with the main character. The poor sap, I thought.
That was before I read issue #2.
Now I’m pretty sure that Jinxo has precognitive powers.
See, I agree with the fact that THE HELM #1 didn’t have much in the way of characterization aside from the broadly-sketched fat gaming dork (Matthew) and the cantankerous old warrior (the Helm), but I didn’t really mind at the time. For me, a first issue needs to accomplish two tasks: one, it needs to hook the reader and bring him or her instantly into the world of the book, and two, it needs to set up the plot and at least point in the general direction of where the story will be going. THE HELM had both of these. Sure, the story was heavy on gags and light on character, but I was willing to wait for more development of Matthew and the talking Helm in future issues… there WILL be some sort of character development in future issues, right?
The second issue feels a lot like the first. Too much like the first, in fact. Lots of gags. A smidgen of action. Some pop culture references. And that’s about it. The humor isn’t as effective this time around (‘cause the jokes are mostly recycled from the first issue) and the action is infuriatingly vague (Matthew kills an antique dealer who also happens to be a sorcerer—we’re shoved into the scene with no real set-up as to why this happens). Too many of the scenes devoted to the Helm’s training of Matthew are done in quick-cut, “clip-show” style panels that consist of the Helm berating Matthew for being fat and Matthew complaining. Here’s where we could be getting some prime character development, but Hardison seems content to slap together some fat jokes and ye-olde-english-speak and move along to the next gag. We also see Matthew’s ex Jill, who dumped him at the beginning of the series, hook up with him again after she sees Matthew jogging (under the Helm’s strict supervision, of course). Here’s a moment when we could really get into the heads of these characters, maybe find out what attracted Jill to Matthew in the first place, how things have changed for both of them, maybe get some backstory… but nope. Quick cuts of their date followed by a sex scene with the Helm doing—what else?—complaining.
Jinxo, everything you wrote about issue #1—I get it now.
I mentioned in my previous review that this story was tailor-made for Hollywood, and I may have been more correct in saying that than I thought. Hardison writes in no uncertain terms in the letters page that THE HELM could be made into a movie—he even points out that Dark Horse currently has a production deal with Universal Pictures. Maybe the reason that this series is so low on character development is because Hardison is treating it as a pitch to Universal. Maybe it’s supposed to be more of an outline than a finished story, with all the right plot points hit to provide the producers with a direction. Maybe the emphasis on jokes and one-liners is Hardison’s way of making sure that the studios will know instantly what sort of story he’s selling.
Or maybe he’s just a lazy writer.
Either way, I might as well pick up the remaining two issues when they hit the stands. Even though the story lacks depth, I’m still digging the art, and I’ve got just enough interest left over from the initial hook of #1 to make me want to see where the plot is going.
Now I’m gonna see if I can get Jinxo to predict some lottery numbers for me.


Written by: Simon Spurrier Art by: Eric Nguyen Published by: Marvel Comics Reviewed by: Ryan McLelland

The New Universe – ah, what a fan I am. I was that 11 year old kid scooping up issues of STAR BRAND, JUSTICE, and D.P. 7 thinking them the greatest comics ever made. To tell you the truth, I still love the New Universe wholeheartedly - especially D.P.7, THE WAR, and those early STAR BRAND issues. I have the entire run and I still pick up the overpriced trades because my comic book OCD forces me to do so. When NEWUNIVERSAL hit stands I tried and loved Warren Ellis' modern take on Jim Shooter and friends' universe.
Now while we wait for NEWUNIVERSAL Season Two we are treated to a series of different minis and one-shots to fill the void. Truth be told, do we really have a void to be filled? Can't we just get more issues of NEWUNIVERSAL? This is Warren Ellis we are talking about - are you that deep in writer's block!?!?
The latest NEWUNIVERSAL one shot is CONQUEROR, featuring none of the characters you know. The elements of NEWUNIVERSAL are here including the Star Brand and Justice but we are driven into a future where the world has reverted back into a barbarian like state. Brutish monsters walk the land and King Starr rules the land. He has the Star Brand power and thusly is able to save the day, get the ladies, and totally rock the world. Starr's people bring him Gila, who they consider a witch. They don't realize she has a sort of Nightmaskish power along with her rockin' bod. The king is more interested in that rockin’ bod but after she hits him with a jolt to the brain she runs off thus causing the king to snap into action...and....and...
And pretty much yawn. This issue can be considered a great misfire in this New Universe. I can deem the issue 'skip-worthy' meaning you feel as you are reading you just don't care much about the words and want to flip the book forward until you reach the end. Now when we were buying comics for a buck that was a bit easier but as this issue is alone four dollars it doesn't pay to have to buy something that is this...bad.
I honestly don't want to read about Starr the Future Star Brand Barbarian and his adventures versus the Army of Ugly. Reading this issue page by page I pretty much read every panel wishing I was reading more of Ellis' NEWUNIVERSAL and not Simon Spurrier's NEWUNIVERSAL. I've read New Universe stories from the beginning: some great, a lot of good, and a few bad. In the past twenty years’ worth of New Universe I can really throw Conqueror into the bad pile. If you are into a bad story with some shoddy not-up-to-Marvel-standard art by Eric Nguyen then this one is for you. If not, we can skip it for the next one shot or wait until Ellis starts NEWUNIVERSAL up once again.


Failed Writer: Sean McKeever Artists: Eddy Barrows, Ruy Jose Publisher: DC Comics Reviewer: Squashua

When I was a young lad, I watched an innocent show called “The Superfriends” featuring the greatest DC heroes, plus Aquaman, El Dorado, and of course, the Wonder Twins: Zan, Jayna and their pet space-monkey, Gleek. Jayna could transform into any animal in existence, which meant she could make up animals like a Space Elephant or a Three-Headed Minok. Her brother, Zan, transformed into elemental forms of water, generally a large wave with a water-based face on the crest, or a steam cloud with his gassy visage shimmering through, or even an ice cage complete with an icy face protrusion so he could talk. When the twins travelled somewhere, Jayna would turn into a large bird creature, Zan would become a bucket made of ice with his face on the side, Gleek would hop into the bucket, Jayna would grab the handle, and they’d be off, all of which begs the question: if Zan’s face was on the side, what did he use to create the open end of the bucket?
That’s right. Gleek ass-raped Zan right in front of America’s children, an act pretty much emulated verbatim by this very issue of TEEN TITANS.
Now, don’t get me wrong here. I believe that Wendy and Marvin were the most useless of characters to begin with, and their initial introduction to the DC Universe boggled the mind, but I figured it might work if they were developed properly, and I mildly anticipated reading about them. Instead, issue after issue went by with nary an appearance from these so-called super-intelligent computer experts, barring a solitary moment of victimization in a recent arc. Honestly, I wouldn’t know as I dropped TEEN TITANS months ago.
Yes, you heard me right. I dropped TEEN TITANS months ago, some time after my last review of it here; stuck with my guns and left it on the shelf. Now, that isn’t to say I haven’t paged through a few issues in the store, and that’s what happened here. I saw Wonder Dog on the cover and had to see what the deal was. Maybe the issue was finally buy-worthy, but after a quick read-through, I was summarily disgusted and put it back down. Then, as soon as possible, I deliberately downloaded a copy so I’d have my facts straight when I reviewed it here. I do not normally download books, nor do I endorse it, but I refuse to give money for this piece of tripe. If I wanted to read THE BOYS, I’d buy THE BOYS. In fact, I do buy THE BOYS. TEEN TITANS isn’t THE BOYS, and rightly should never be THE BOYS.
Over almost thirty issues, McKeever and other writers before him took absolutely no care to develop these characters. These twins could have easily been written off into the background and eventually appear elsewhere, possibly filling the super-sleuth void left by Ralph and Sue Dibny. Instead they were thrown away to make an upcoming enemy seem more bad-ass. In the end, the removal of Wendy and Marvin is insignificant; they never made any impact or barely any appearances - their sole characterization was primarily contained within this very issue - so no one should feel any loss, except for DC in the number of issues sold.
Kuax'kua plucks and strums the fibre electric between worlds, writhing in amorphous ecstasy with each pulsing nanobyte of digitized information. A fount of queries and feedback cloaked as an unassuming sass-imbued avatar, this shapeless servitor scribes only of that which fuels its emotion, driving all observers to a slow and inevitable madness.


Written by: Mike Benson Art by: Mark Texeira & Javier Saltares Publisher: Marvel Comics Reviewed by: Ryan McLelland

I picked up this issue because of the great Venom cover. I was all thinking, "OOOOOOH! Moon Knight Vs. Venom!" and got all nostalgic of those great 90's crossovers of old. Then I saw that the man himself Mark Texeira is drawing Moon Knight and it was a must buy! What better can you get than Moon Knight Vs. Venom drawn by Texeira?
How about no Venom? That's right - even though he's right there on the cover with Gene Simmons tongue he is nowhere to be seen in the issue. How about no Moon Knight? Yup, you heard me right - Marc Spector is actually briefly in the issue though not wearing his MK garb. After that disappointment I was actually surprised to see that it was Texeira drawing this issue though Javier Saltares (who, like Texeira, also drew issues of GHOST RIDER back in the 90s) did do some layouts.
No Venom and no Moon Knight aren't the only disappointments in this latest Moon Knight saga titled 'The Death of Marc Spector.' The issue is very bogged down by plot I really don't care about. We see Tony Stark trying to track down Moon Knight and interviewing all of MK's friends. Then there's more interviews in prison. Then Stark sits down for a meeting with the CSA. Basically the entire issue is people sitting around talking to each other with Moon Knight, wearing Daredevil's garb from the TV-movie “Trial of the Incredible Hulk”, beating up people for about 5 whole pages in his own book.
I'm not sure what Marvel Comics and writer Mike Benson are trying to accomplish here. The whole plot is supposed to be about how Stark and S.H.I.E.L.D. are hunting down Moon Knight. Of course, someone could look at this issue and say it is a set-up for what is to come, but when you have an issue like this that is so utterly boring how do you expect readers to wanna cough up another 3 bucks to buy the next issue? I know I don't - if I wanna see people sitting around talking to each other I'll go rent a Kevin Smith movie and be a little more entertained.
You surely can enjoy Texeira's amazing artwork throughout this book but it is not nearly enough to save the newest issue of Moon Knight as it fails from page-to-page. Do yourselves a favor and skip this one.


By Gaku Tsugano, based on story by Yasutaka Tsutsui To be released by CMX September 24, 2008 Reviewer: Scott Green

After previously appearing in isolated North American screenings during conferences, conventions and festivals, the 2006 anime feature "The Girl Who Leapt Through Time" has begun appearing in short theatrical engagements in select cities, with a DVD release forthcoming. The Mamoru Hosoda directed feature offers the kind of beautiful, resonate human film that an animation fan would expect of a Hayao Miyazaki work, but in a style particular to its director.
Hosoda constructed a charged, emotional experience through the not entirely unfamiliar story of a girl who stumbles on the ability to go back in time. Tinkering with previous events relative to one's own life is not exactly a new conceit in fiction. For Japanese audiences, that familiarity is even more pronounced. Influential, controversial, beloved and inflammatory writer Yasutaka Tsutsui penned the original Toki o Kakeru Shojo novel in 1976. (Anime fans should note that Tsutsui also wrote the story on which Satoshi Kon's PAPRIKA is based; English translated Tsutsui prose include short story collection SALMONELLA MEN ON PLANET PORNO and novel HELL). Since then, TOKI O KAKERU SHOJO or THE GIRL WHO LEAPT/RAN/RUNS THROUGH TIME has inspired live action films in 1983, 1997 and 2002 (the last of which was made for TV as a vehicle for idol group Morning Musume), a 1994 TV drama series, two works of manga, and Hosoda's animated film.
Gaku Tsugano's 2004 manga adaptation of the novel predates the 2006 anime. It's not the same story, or even the same character, though there is an implied connection in the 2006 version. However, a caveat is still warranted. Hosoda's film provokes impassioned reactions. There is an abrupt revelation that almost seems to intentionally derail the movie. Even if Hosoda picks a moment for the reveal where the audience's attention is directed elsewhere, almost deliberately ensuring that it is a jarring moment, considering how well known the previous works were in Japan, the revealed reaction is probably more acute for North Americans approaching the anime as their first exposure to the story. THE GIRL WHO RUNS THROUGH TIME is not going to spoil THE GIRL WHO LEAPT THROUGH TIME. But, having read the former will affect the experience of seeing the latter. RUNS is a competent short manga (two volumes), and LEAPT is an enthralling masterpiece. In other words, maybe it is better to read the former after the seeing the latter.
Though THE GIRL WHO RUNS THROUGH TIME’s relationship subject matter and its mode of telling a story through expressive facial illustrations and context shots resemble those of shoujo (manga for young, female audiences), the series is in fact seinen (manga for males from their older teen years, into adulthood). The genre of manga is dictated by the Japanese anthology in which the manga ran. In this case, the manga ran in the same Ace Tokuno anthology about the same time as some of GHOST IN THE SHELL director Mamoru Oshii's Kerberos: PANZER COPS manga. In seinen manga, nostalgia is apparently manifested in the form of a high school girl. The prime example of that is AZUMANGA DAIOH, a gentle four panel comic strip looking at the lives of a clique of girls passing through their high school years. Like AZUMANGA DAIOH, in THE GIRL WHO RUNS THROUGH TIME, memories of friends and small moments of high school are underscored by the fact that the period of life ends after a prescribed span of years. As hazy and confusing as it might be, after a few years, you graduate and it's over.
As THE GIRL WHO RUNS THROUGH TIME opens, Kazuko Yoshiyama's thoughts are drifting between scent-provoked memories and sidling up to her childhood friend as he sits next to her on a bus. Arriving at school, she's volleyed between the principal advising her senior class to remember that their future is imminent and her stern friend's lecture to find a serious boyfriend and a defined direction.
In all derivations of the story, the origin of the girl who moves through time occurs during an after school assignment to clean a science lab room. After a concussive accident, the subject tumbles into the ability to move through time. In RUNS and in LEAPT, the girl uses the ability to protect those in-between moments that make for small, pleasant memories, such as a favorite snack or meal. Kazuko also uses the ability to protect and improve more substantial past and potential memories, such as the final day with her beloved grandmother or her friend's ability to compete in the athletic competition that he had been working towards.
While these trips in time are initially beneficial, the law of unintended consequences is quick to catch up. Tsugano utilizes the tools of the medium by employing a compound visual metaphor. As the manga develops, it cuts to images of a butterfly emerging from its chrysalis. Dialog explicitly invokes the concept of a "butterfly effect," where the wing beats of a butterfly could cause an air disturbance that would result in a storm on the other side of the world. In this case, the consequences of an small action are magnified by the passage of time. Simultaneously, the butterfly serves to signify maturation, and the changes undergone when reaching adulthood. As obvious and unsubtle as this might be, Tsugano does utilize it to construct provocative points concerning the appeal and danger of nostalgia. As endeavoring as Kazuko's childlike qualities and sentimentality might be, her inclination to dwell in the past has its consequences.
If THE GIRL WHO RUNS THROUGH TIME was content to stay small, it could have been a powerfully moving manga. Unfortunately, as an adaptation, it is stuck chasing something larger. Even read as a stand-alone, without plans to see the anime, live action or novel, it is evident that the manga is working through a prescribed agenda. Within the run time of the movie (a fairly long for anime 98 minutes), Hosoda was able to demonstrate a progression in which tumbling pebbles gathered the momentum to trigger a rock slide. Rather than utilize events that fit the scale of a two volume work, the manga is forced to rattle with sudden tectonic shifts. Suddenly, action A causes critical result B.
Tsugano does not rest on the knowledge that he is adapting a well regarded, maybe beloved story. He captures some of Tsutsui's pairing of a potentially intriguing sci-fi conceit with a subversive message. In the mode of a seinen manga, Tsugano effectively presents a hapless, cute female lead (reminiscent of School Rumble), juxtaposed with more serious peers. In its symbolism and character design, the manga platform is well utilized. But, ultimately, THE GIRL WHO RUNS THROUGH TIME does not escape being a two volume adaptation. As such, what it desires to tell is an imperfect fit for the form and space in which it is told.
Scott Green has been writing for AICN ANIME for close to seven years. If you like what you see here and love anime & manga, be sure to check out his latest AICN ANIME column here.

Hey folks, Ambush Bug here. This week’s Indie Jones unearths more independent comics that should tempt you to step outside of your mainstream comics comfort zone and take a chance on something different. We’ve got squabbling children, an evil genius, and a prison full of monstrosities. Check them out.


Any story that takes place in a prison will automatically be compared to OZ, but as with Ben Templesmith's WELCOME TO HOXFORD, with the right spin and some nice writing, an original prison story can be told. Instead of going the horror route as Templesmith did with HOXFORD, longtime AICN TB’er and helluva writer Grant Chastain takes the prison story into a new genre, super-villainy. The prison, San Tiburon, is an island facility where every inmate has been incarcerated due to some kind of act of super-mayhem or crime. Set in its own universe, some may recognize versions of your favorite heroes like The Punisher and Electro, but giving them his own spin allows Chastain to do whatever the hell he wants with them, making for a truly surprising reading experience. Now, you know if Frank Castle goes to prison, he's going to get out. But Chastain's Payback? Who knows what's going to happen. Expectations are turned on their ear in this book that utilizes the serialized format popularized by OZ and LOST, which inches the central plot along while detouring and focusing on one story per issue. This trade collects six issues of CORRCTIVE MEASURES, and each of them is a slow build with a mallet-hit of an ending. The central storyline of a new correctional officer who is just getting used to the prison is a strong one. This character, like all of the rest of the characters Chastain has constructed in this morally ambiguous prison-opera, has many sides: cruel disciplinarian, loving father, heartless brute, upholder of morality. It's fun to guess how this character will act given the arsenal of situations Chastain throws his way. Francis Moyano provides the pencils. From one issue to the next, Moyano's art evolves and solidifies into something visually strong and dynamic. Moyano isn't afraid to pull back and show the world these characters are living in. These wide shots are especially cool when Moyano struts his stuff in the artistic range department as we see villains of all sorts of shapes and sizes doing their monotonous prison routines. These scenes can be compared to the STAR WARS cantina scenes where four armed scaly creatures interact with fiery eyed Muslims and super-strong Aryans in the mess hall or the prison yard. All in all, Chastain has fleshed out quite a detailed and fascinating little prison how his inmates to evil around in. This trade is nicely colored and packaged and presents the story in the best possible light. Recommended reading for fans of HEROES and OZ.


This visually stunning masterpiece is another example of the fine graphic literature offered by 2000AD. STICKLEBACK ran through 2000AD Progs 1518-1525 and 1567-1577 in 2007 & 2008. It's a story following not a hero, but a villain. And a quite despicable villain at that. Reminiscent of Moriarty, this tale of a vile criminal mastermind is a fine read. The pages ooze imagination. From Chinese Jumping Vampires to Siamese Twin henchmen to werewolves to zombies, Stickleback seems to have an endless menagerie of evildoers at his disposal to lay waste to England. The only people to stand in his way are reflections of Sherlock Holmes and Watson, but these are not the master sleuths of lore, but bumbling sad sacks incapable of offering any type of obstruction to Stickleback's trail of terror. The highlight of this book is most definitely D'Israeli's beautiful artwork. His images aren't so much pencils and inks, but layered tones. This may be accomplished by computer effects or engravings. I'm not quite sure, but the end result creates an almost three dimensional panel with characters that pop off the page due to their simplistic construction. Yet at the same time, the panels are surprisingly complex and detailed. Ian Edgington writes a wonderfully wicked tale. You can tell he had a blast wreaking all of that havoc. But it's D'Israeli's art that makes this a must have for lovers of Baker’s Street and fine, fine, fine artwork.


This is the third offering from Toon Books I've had the pleasure of reading and I think it's probably my favorite. Not that the other two, STINKY and JACK AND THE BOX, weren't great reads, but those books were specifically geared towards kids while this one has that universal feel that one often gets while watching a good Disney or Pixar film. Mo and Jo are siblings and they do not get along. The only thing they agree on is that Mojo is their favorite superhero. When a strange mailman comes knocking on their door to deliver a package, they are given the powers of their favorite hero. I liked the way these two ornery kids fought each other and found themselves in situations many kids will find familiar. Creators Dean Haspiel & Jay Lynch have created a pair of super-kids who have problems like any pair of siblings, which makes the story all the more fun. I've said this about the last two Toon Books I reviewed and it applies with this book as well: if you're looking to start kids on comics early, you can't go wrong with Toon Books. Perfect for that story before bedtime and completely kid safe. Recommended for the young and young at heart.

If you think you have an independent comic worth looking at, shoot an email to your favorite @$$Hole for review.


HELLBOY II finally got released in Britain, and I would like to agree, damn, that was a good movie! I think the next one should be a road movie with Abe, Hellboy, Liz and the twins going from town to town solving mysteries. Also, I can’t think of a better companion to Guillermo Del Toro’s excellence than Dark Horse’s latest Hellboy mini. The art’s by Richard Corben, so it looks both great and creepy-as-hell (three good books at once between HELLBOY, CONAN and Marvel’s HAUNT OF HORROR, is that some kind of record?), and Mignola’s story is a good one of witchcraft up in the Appalachian mountains featuring a race against the sunset to get to the safe haven of a church. Comics are a pretty difficult medium to do scares in, but Corben’s imagery freaked me out on more than one occasion here. Highly recommended for fans of Hellboy, witches, the Appalachian mountains and good things. – Stones Throw


I can imagine the proposal for this series. “Yeah, we have some pretty kick ass artists lined up and this bare-bones outline for four issues… uh-huh, sure we can punch it up to six issues for trade. Uh-huh. Excellent. *click* Hey artists, here’s a four issue outline, maybe we’ll write the other two issues, but make this thing stretch out.” There was no reason this series should have existed, and they might as well have never published this not-thought-out coda. I bought it (unlike actual TEEN TITANS), but I don’t recommend you do so. In fact, if I had to reflect the unfinished quality of the issue in this review, I’d
- Squashua

AMAZING SPIDER-MAN #568 Marvel Comics

Marvel editor Tom Brevoort made some kind of joke about there being no good Spider-Man comics between Stan ‘n’ Steve and him, but the highest compliment I can pay this one is that it’s picked up the same kind of groove that you get from reading a good chunk of ‘70s Spidey in a big Essential volume. The first few months of the new-look Spidey felt kind of sequestered off from the wider Marvel Universe, but writer Dan Slott incorporates some of the post-CIVIL WAR status quo here, which I would regret if it didn’t give us such a good use of Norman Osborn as a villain. I haven’t been reading AVENGERS: THE INITIATIVE, but I think Slott has really come of age as a writer here. The comic is funny, but not like it’s trying to be so, and the action scenes really hit home. A few months back I said that BND had the potential to be great if it could stop being so self-consciously retro and get serious about cool stuff for ol’ Webhead to fight. I think the book’s achieved that here. JR Jr. back on art rocks, too. – Stones Throw


I’ve had mixed feelings about the incarnations of HALLOWEEN in comic book form. Devil’s Due’s NIGHTDANCE was visually decent in that it “got” that seeing Michael emerge from the darkness was the most creepy part of the HALLOWEEN movies, but I found the story to be a bit too choppy and the characters too one-note at times. This One-Shot offers some nice short stories centering on our favorite Shatner-faced serial killer all written by Stefan Hutchinson. The first story is probably the best, as it fleshes out a scene from the first HALLOWEEN movie and shows that Michael doesn’t even need to be around to strike terror in people’s hearts. Story four is another nice one with the same theme of Michael leaving his mark in the subconscious of one of his earliest victims and how that trauma comes out in his artwork (in this case, a comic book). The second and last stories were truly horrific (especially the silently powerful second tale and
Readers Talkback
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  • Sept. 3, 2008, 7:57 a.m. CST

    Welcome back, guys

    by Laserhead

    Didn't realize how much I enjoyed these Wednesday confabs until you took a week off.<p>Good Morrison review, too. Although I look back at what I think of as his best mainstream stuff, Animal Man and Doom Patrol, and Buddy Baker and Cliff Steele were definitely fully realized characters who formed the heart of a story around which all the ideas revolved. They were the emotional nucleus. Now it's kind of the opposite: characters are costumes that revolve around the ideas.

  • Sept. 3, 2008, 8:06 a.m. CST

    Why can't anybody write Moon Knight?!?

    by Laserhead

    Just read vol. 3-- it was essentially a repeat of everything in vol. 1. Nothing really happens except one of the most unlikable 'heroes' in modern comics offends and insults everyone in his life. Gotta go teach class, but I'll be back laters.

  • Sept. 3, 2008, 8:32 a.m. CST

    ouch runaways vol3

    by lex romero

    Really hope that's not true, i love runaways. I can deal with the art so hopefully the writing will work itself out, maybe he just needs to find his groove?

  • Sept. 3, 2008, 8:41 a.m. CST

    Menstration and comics

    by RenoNevada2000

    In addition to Morrison's new term for the Bleed, Lois Lane mentioned her period in last week's "Superman," which I think has to be a first.

  • Sept. 3, 2008, 8:44 a.m. CST

    I'll finish the arc

    by optimous_douche

    Despite the art. I know I'm alone in my feelings on Ramos style, but it's just something I can't get past.

  • Sept. 3, 2008, 8:48 a.m. CST


    by DOGSOUP

    The Runaways are being geared for commercial use and no one wants to take their 7 year old girl to see a movie where the mommy kills. FUCK! WHY CANT COMICS JUST BE COMICS ANYMORE?!?!?!?!

  • Sept. 3, 2008, 9:07 a.m. CST

    If the Bleed is Ultraamenstrum the Multi-Alien...

    by Squashua

    ... would that make the Earths into some form of (un?)fertilized eggs?

  • Sept. 3, 2008, 9:08 a.m. CST

    There was a 3-D Morrison Superman comic?

    by rev_skarekroe

    And I wasn't informed?<p>You may go now.

  • Sept. 3, 2008, 9:09 a.m. CST

    Rogues Revenge...

    by MyManD316, by far, the best thing going on in the current "Crisis" story. Mainly because The Rogues are some of the better villains in the DC Universe, but also because the story is fucking brutal.<p>So, where's the love for Captain Cold and company's second book?

  • Sept. 3, 2008, 9:11 a.m. CST

    Bug - Merryman being unearthed...

    by Squashua

    ... I don't see it touched in your review, but the whole Merryman / Earth #51 / Limbo thing is straight out of the pages of Morrison's ANIMAL MAN. This appears to be either that very same Limbo, or a similar reborn, "modernized" iteration.

  • Sept. 3, 2008, 9:13 a.m. CST

    Why the frak are they fucking with Runaways?

    by newc0253

    Vaughn's run with Alphona was astonishingly good, and even the Alphona-less Whedon run turned out great by the end.<p> I know Marvel owns this but don't Vaughn have *any* say about how this series develops over time???

  • Sept. 3, 2008, 9:19 a.m. CST

    Skarekrow, what rock have you been living under?

    by Squashua

    Or rather, you didn't go to your local store within the last week?

  • Sept. 3, 2008, 9:23 a.m. CST

    newco - Hence the Kirkman Manifesto

    by optimous_douche

    I think this is what Kirkman was trying to get at.<p> The creators seem to lose all control of the book if it is created under the publishing house's name.<p> I think DOGSOUP'S comment was dead on. They wanted to make it commercial. Marvel can and has done whatever they want with the title.<p>

  • Sept. 3, 2008, 9:24 a.m. CST

    Morrison is the Man:

    by newc0253

    Yeah, sometimes his stuff gets the better of him: his X-Men run alternated between greatness and sheer mess. But he's more than worthy to mess with Watchmen in my book.

  • Sept. 3, 2008, 9:29 a.m. CST


    by BangoSkank

    You are not alone, I can't stand Ramos' style. <p> And welcome back guys, you were missed.

  • Sept. 3, 2008, 9:45 a.m. CST

    Ya Catch The Yellow Submarine In Supes 3-D?

    by LaserPants

    That ship they're flying in looks remarkably like it, i'm sure its intentional. <br><br> Oh, and Morrison does write like he's stoned. Batman R.I.P., Final Crisis, and Supes 3D are all barely comprehensible. I'm enjoying the books, but wouldn't recommend them to anyone outside of comicdom because, quite frankly, they would have no idea what the hell is going on. And its not about being smart, its about being well-versed in mountains of DCU lore, and understanding what stoner writing sounds like. SECRET INVASION, on the other hand, is a simple, straight-forward story that more or less anyone, even "normals" can easily pick up on. It has the benefit of being a straight forward space war story that just simply is what it is, and in that, is much more satisfying to both comic geeks and normals alike. <br><Br> In short, I enjoy Morrison's books, but his writing style is obtuse and stoney in the extreme, and not the kind of thing that will energize new readers, unless, of course, they're really, really stoned. All the time.

  • Sept. 3, 2008, 9:50 a.m. CST

    Yellow Submarine? Heck, The Carrier shows up for a panel.

    by Squashua

    You know, the big dog-ship from Authority.

  • Sept. 3, 2008, 9:58 a.m. CST

    "Or rather, you didn't go to your local store within the last we

    by rev_skarekroe

    No, I didn't. I skimmed the Diamond shipping list and the only thing I saw that I wanted was Ambush Bug #2. So I figured I could wait a week. That'll teach me to pay closer attention.

  • Sept. 3, 2008, 10:08 a.m. CST

    Merryman was part of the Inferior Five, right?

    by Joenathan

    I wish he'd broguht back Dumb Bunny instead. She was awesome<br><br>As a died in the wool, true blue Morriosn fan, I have to say that Superman 3-D bored me. Pretty, cool, but ultimately it felt half done, like there were panels missing from in between the panels. I don't think I'll complete the series. <br><br>Also, I thought it was a Nazi Superman, not Red Son Superman. Red Superman was Russian after all, and Overman was speaking German, so...

  • Sept. 3, 2008, 10:12 a.m. CST


    by O_Goncho

    I've got the Stickleback stories collected in the weeklies, but I still haven't found time to go back and read through the whole thing. Mayhaps I should do that...

  • Sept. 3, 2008, 10:21 a.m. CST

    Joenathan - Dumb Bunny is coming back next month!

    by Squashua

    In Ambush Bug #3.

  • Sept. 3, 2008, 10:28 a.m. CST

    Bucky as Cap. But for how long?

    by V'Shael

    We all know Steve is coming back in time for the movie, right?

  • Sept. 3, 2008, 10:28 a.m. CST

    Hey Ryan

    by Joenathan

    NewUniversal: The conqueror was set in the past. the whole "A.D." date was a big tip off.<br><br> Other than that though, I agree, this comic was bad. What the hell is a One-shot comic with an open ending? Was the writer not aware? <br><br> "Hey, I got the script for #2 done!" <br><br> "Number 2 of what?" <br><br> "... Number Two of NewUniversal: Conqueror..." <br><br> "What?" <br><br> "The second issue? I got it done... ahead of schedule!"<br><br> "Look, man, I told you... you have to read the WHOLE e-mail."

  • Sept. 3, 2008, 10:31 a.m. CST

    Very kind, Ambush...

    by GrantChastain

    Glad to see you liked the first Corrective Measures graphic novel! If you enjoyed the first edition of the series, you'll be glad to know we're expecting to put out the second book with issues 7-12 by mid next year. We're looking forward to continuing to tell the story of San Tiburon and its residents.<p>For everybody else, if you haven't seen the book yet, ask the proprietor of your LCS about it sometime. We depend on your support to continue, so let us know what you think at the Arcana Comics website.

  • Sept. 3, 2008, 10:38 a.m. CST

    Newuniversal Conqueror

    by Squashua

    I was wondering about that too. According to the trade dress, Conqueror takes place 5000 years in the past, which would make sense as it would refer to the lost civilization that is unearthed during the first few issues of newuniversal itself.

  • Sept. 3, 2008, 10:41 a.m. CST

    Cap and Moonkinight

    by Joenathan

    I'm loving the Cap series. It reminds me of those fantastic old Captain America and the Falcon arcs from way back when. Its even got the Cap from the 50s in it, which is awesome. You know what I loved the most about the re-emergence of the Cap from the 50s? In one of the flashbacks they show 50s Cap in his Cap costume and it does not have the red and white stripes on the back, which is of course, how a keen eyed Falcon was originally able to tell that he wasn't the real Cap in the first place. Loved that. Also, the Bucky/Cap costume? Its really grown on me. I think I dig it. <br><br> Did anyone else out there have a strangely large amount of hope for the new Moon Knight series? I never read it as a kid and generally didn’t know the character beyond his West Coast Avengers stint, but for some reason I really was excited about it... was, that is... now? Barf.

  • Sept. 3, 2008, 10:57 a.m. CST

    Dumb Bunny

    by Joenathan

    Stronger than an Ox! And almost as smart! <br><br>The Inferior Five kille me when I was a kid. I loved the Blimp. "He can fly... if the wind's with him!" That just made me laugh.<br><br>Is Steve coming back? How? Should he? Who is more potentially interesting as a character right now? I'm torn. Cap and Batman were my first favorites as a kid (which is why I had such respect for Shamrock...) But Bucky could have a very interesting road ahead of him. Not that I actually believe Steve won't be back somehow as Cap in time for the movie, but should he? Maybe they'll do a Kyle Raynor and keep it this way for awhile and make Cap's return a big thing, like versus Kang or something. "We need Cap from the past to save the future!" blah, blah, blah <br><br>As for Runaways... no, Vaughn gets zero say, period. Such is life in the corporate sector.

  • Sept. 3, 2008, 11:17 a.m. CST

    DevilCat - It's Ares' son or something

    by Squashua

    According to one of the future issue releases. He's some sort of a relation, but not Ares himself. Either way, he'll probably be dismissed eventually.

  • Sept. 3, 2008, 11:18 a.m. CST

    optimus douche

    by lex romero

    Don't think you can really apply the kirkman theory to runaways though as BKV always said the runaways was his gift to the marvel universe and he expected it to carry on long after he left it, it was never meant to be a creator owned series, and having two of the most succesful creator owned comic series means if he chose to set runaways in the marvel U it's becuse he wanted to, not because he wasn't able to do creator owned.

  • Sept. 3, 2008, 11:21 a.m. CST

    Moon Knight

    by Toby___Wong

    has more potential than ever now but the quality of the stories fluctuates. Moon Knight 13 was an awesome issue and drawn as gritty as it can be. Get a good writer, keep it grim and you got yourself a winner.

  • Sept. 3, 2008, 11:22 a.m. CST

    Terry Moore on Runaways

    by SpiderHarshaw

    After that hack fouled up Strangers in Paradise, I swore off his work. As much as I used to love the Runaways, it sounds as though I made the right decision.

  • Sept. 3, 2008, 11:26 a.m. CST

    Experienced Comic Reader Lession #4

    by Squashua

    Learn to follow your favorite writers; realize that you might have to discard your favorite characters to do so.

  • Sept. 3, 2008, 11:31 a.m. CST

    Moon Knight

    by nilskidoo

    is one of my fave Marvel characters, though he has not been done justice in decades. Keep TEX, but throw a Vertigo alumni writer in the mix, maybe Jamie Delano or Ann Nocenti.

  • Sept. 3, 2008, 11:32 a.m. CST

    Experienced Comic Reader Lession #4 Addendum

    by Squashua

    Learn to drop a comic book if a writer whose art you dislike is coming onboard; again, do so even if this means you must leave a favorite character behind.

  • Sept. 3, 2008, 11:36 a.m. CST

    a writer whose art you dislike?

    by nilskidoo

    you mean like Brian Bendis? :P

  • Sept. 3, 2008, 11:41 a.m. CST

    You're Probably Right Lex

    by optimous_douche

    I got a bit carried away with the Kirkman thing.<p> I would just like to think that if vaughan still had a stake in things, this issue would have never happened.<p> Despite some positive talk-back feedback, I think I'm pretty much alone on things. Most reviewers heralded this as a return to tsunami orgins. Alphona (sic) felt a class apart though from the "manga" tag IMHO. And despite the "cartoony" nature in the beginning, I will still say the stories were more complex.

  • Sept. 3, 2008, 11:45 a.m. CST

    I refered to their writing as their "art"

    by Squashua

    But I see your point.

  • Sept. 3, 2008, 11:47 a.m. CST

    Runaways is a prime example of the messed up state...

    by qweruiop

    ...of comics today, where the cart is pulling the horse now. Where comics are being made today with movie trilogies in mind rather than a continuing story arc. And DC must be pissed at the bad press that Morrisson has gotten with Final Crisis, how he's strayed this series so far off than what was previewed from with all the countdown and tie-in issues. I bet nobody saw "Libra", a minor third-rate B villain, suddenly becoming the major thing in this series. Ugh.

  • Sept. 3, 2008, 11:47 a.m. CST

    Concede: Runaways has gone the way of Power Pack

    by Squashua

    Remember olde Power Pack? That stuff was actually pretty damn good. The new stuff is much too toned down and childish, even the pre-"Let's team Power Pack up with random flavor-of-the-week- character X" series.

  • Sept. 3, 2008, 11:50 a.m. CST

    qweruiop, you have it backwards.

    by Squashua

    From what I've read, Morrison laid out a plan to DC for how he needed the DCU to be at the start of Final Crisis.<br><br> Unfortunately, either Morrison was not specific enough in his plan, or DC didn't relate enough of the details of the plan to the writers involved in GETTING the DCU to the point where Final Crisis begins, or the writers simply staged a quiet coup and discarded most of the plan. <br><br> Or any combination of the above. <br><br> Any way, it's now fallen to Morrison to change his initial plan for an epic tale and bat clean-up.

  • Sept. 3, 2008, noon CST

    optimus douche

    by lex romero

    True enough, it still hurts that Vaughan left it, though perhaps i just need to accept this with continued series. I mostly stick with comic series that I know have an ending rather than the neverending ones, so it's jarring for me to read something that I know will probably just go on and on etc. Or perhaps we need to have some new thing where the creator of the series stays on as a consultant, kind of like Whedon with Buffy season 8. He doesn't write all the issues but he's there to ok any story arcs and ideas. <br><br> Though hopefully they stick with the vol 1,2,3 etc set up. I like the idea of them having story arcs for each volume and then taking a break from the series and characters between volumes.

  • Sept. 3, 2008, 12:11 p.m. CST

    Runaways latest run

    by Jaypeep

    I was somewhat surprised by the review on Runaways. I've followed the series since the beginning and when I read the latest issue, was surprised at how much I enjoyed it. I enjoyed the art and felt like the story was a good set-up of things to come. I probably gave it more leeway than I would a "normal" issue as it was simply a set-up issue and Moore needs to get into his groove. Even Whedon's first issue or two weren't that spectacular; and I thought Moore's was actually a bit more interesting. Just my lil ole two cents...

  • Sept. 3, 2008, 12:34 p.m. CST

    Thats just it, Toby___Wong

    by Joenathan

    It certainly has the potential, but Monn Knight gone nowhere and done nothing. Its a big lame snoozer

  • Sept. 3, 2008, 12:35 p.m. CST

    Fear not Jaypeep

    by optimous_douche

    Most folks are in your camp for this one.<p> It's hard to walk alone, but I gotts stick to my guns.<p> I will still give issue 2 a chance to see if Moore can get his groove back. However, unless I go blind tomorrow I doubt I'll warm up to Ramos.

  • Sept. 3, 2008, 12:44 p.m. CST

    One nifty throwaway line in newuniversal

    by XAOS

    Was when the thing that communicates to universes that are being transformed referred to the "star brand/*SENTRY*/(something else)" glyph. Between that and seeing Tony Stark getting whacked in 1959, I like how 616 is getting referenced and made part of the same overworld with this.

  • Sept. 3, 2008, 12:51 p.m. CST

    newuniversal is establishing Marvel's Ultramenstruum

    by Squashua

    Just putting that out there.

  • Sept. 3, 2008, 12:55 p.m. CST


    by RaulMonkey

    Hey, I'm not sure if you've seen it already, but your inquiry on The Zone about the lyrics for "They Came from Outer Space" was answered--by the composer of the song, Gary Stockdale himself! Check it out:

  • Sept. 3, 2008, 12:56 p.m. CST


    by Cyrus Clops

    That's actually a good point, Squashua. And as far as Runaways is concerned, I was fully prepared to drop it after the end of v. 2, but my affection for the characters overrode my determination not to succumb to a Vaughan- and Whedon-less Runaways, which is a weird compulsion I haven't felt as a comics reader for well over a decade.

  • Sept. 3, 2008, 1:05 p.m. CST

    Squash and Douche

    by Joenathan

    You're right Squash, the secret to comics is in following the writer, everything else comes in after that. If the script isn't there... nothing else will be either. The reason bad comics get to keep going is all the dumbasses that just keep buying the title because they always have despite the fact that they hate it. Sometimes its better to walk away. I read X-men from Fall of the Mutants to Age of Apocalypse, grew tired of the bad stories and walked away until Morrison came on board, left again when he did and returned with Whedon. I did this because the stuff I skipped was all stuff I considered crap, so why waste my money on it?<br><br>And Douche, I'm with you on the Ramos hate, I like a good Manga style, but all he draws is retarded Dragon Ball Z characters. did you see his Luke Cage during the post-Civil War Wolverine run? REEEEEEEEEETARDED!

  • Sept. 3, 2008, 1:07 p.m. CST

    I love the idea of Marvel's Ultramenstruum.

    by Joenathan

    It just shows how fertile the Marvel Universe is...

  • Sept. 3, 2008, 1:15 p.m. CST

    RaulMonkey - THANK YOU!

    by Squashua

    I haven't followed the link yet, so if you're jerking me around, expect a follow-up, but I totally lost track of that post and couldn't find it after much searching - figured they deleted it off the forum for double-posting (I put it in both the music and TV sections). Oh man.<br><br> Harry, you gotta update the technology on this website, man. Hire me, I'll do it.

  • Sept. 3, 2008, 1:17 p.m. CST

    Ann Nocenti!

    by steverodgers

    There is a writer that fell off the map. I thought her Daredevil run with JR JR was excellent- especially the Inferno issues... plus who doesn’t love Longshot?

  • Sept. 3, 2008, 1:18 p.m. CST


    by steverodgers

    Makes my eyes explode.

  • Sept. 3, 2008, 1:27 p.m. CST

    "who doesn’t love Longshot?"

    by Joenathan

    Mojo<br><br><br><br>...and maybe Dazzler... I can't keep track.

  • Sept. 3, 2008, 1:27 p.m. CST

    Other than Seaguy

    by hst666

    I have not had a problem following Morrison's work - and that's more about what it meant than what happened. His Batman is pretty straightforward, so I am unsure of the stoner comments there. With FC, I do not know where it is going now, but I assume once I have the whole 7 issues, the pieces will all fall into place, as with 7 Soldiers.

  • Sept. 3, 2008, 1:39 p.m. CST

    No Worries, Squash

    by RaulMonkey

    As I see you've discovered, your post was moved into the "Personal and Promotional" area, which you have to be logged in to access.<p> A lot of folks beef about the search function--though I was able to find the thread doing an "Advanced Search" searching by Topic Titles, when I was logged in. (An Advanced Search is the same thing as just hitting "Search" under the regular AICN board style as opposed to the black "PhantomBeta" style.)<p> Anyway--I'm glad it worked out in the end, and that you got such a phenomenal response!

  • Sept. 3, 2008, 1:41 p.m. CST


    by fiester

    Why would they do that to the title?

  • Sept. 3, 2008, 1:42 p.m. CST

    Totally hitting up Wikipedia when I get home...

    by Squashua

    ...and can check my personal e-mail and get my password for wikipedia so I can update the They Came from Outer Space entry. That's how happy a nerd I am.

  • Sept. 3, 2008, 1:44 p.m. CST

    Seaguy was originally proposed as a team book...

    by Squashua

    ...named "Seamen". Unfortunately, DC editorial intervened.

  • Sept. 3, 2008, 1:48 p.m. CST

    Fiester Runaways

    by optimous_douche

    hey some folks like it.<p> I'm just not one of them.

  • Sept. 3, 2008, 1:55 p.m. CST

    oh yeah

    by steverodgers

    mojo hates longshot... i think Dazzler is still on the fence.

  • Sept. 3, 2008, 2:06 p.m. CST

    Final Crisis

    by Joenathan

    So, I've been enjoying Final Crisis and I'm a big Morrison fan, but I've decided that I don't believe FC is actaully going to have ANY affect on the DC-verse at all. When its done, nothing will have changed, not like House of M, Civil War, WWH and, presumablly, Secret Invasion have changed the MArvel Universe.<br><br>I think thats why I like Marvel better.<br><br>Also, I always like Dazzler, she was the slutty X-man. I bet Rouge hates her... and secretly wants to BE her.

  • Sept. 3, 2008, 3:20 p.m. CST


    by blackthought

    this feels post i see.

  • Sept. 3, 2008, 3:42 p.m. CST

    It's not last post yet, blackthought.

    by Squashua

    Still on the front page, man.

  • Sept. 3, 2008, 3:55 p.m. CST

    Grant Morrison has been slipping.

    by rbatty024

    The man needs to take some ritilin and CONCENTRATE. His run on Batman started out great, but has recently devolved into a story that simultaneously can't stay still but also feels like it's not going anywhere.

  • Sept. 3, 2008, 4:30 p.m. CST

    Give Moon Knight to Steve Ditko!

    by Laserhead

  • Sept. 3, 2008, 5:19 p.m. CST


    by xsi kal

    I despise Ramos' art like few others. As soon as he was added to the book, I took it off of my pull list.<br><br> Glad to hear I'm not missing much.

  • Sept. 3, 2008, 6:08 p.m. CST


    by Jinxo

    I didn't think the writing was crazy bad. The going to the mall stuff in general to me felt like Runaways. They are kids and the stories quite often have had them wanting to "get out of the house" and do stuff other kid's do. And the idea of the oldest getting a job seemed reasonable. But everything about the radio station just hit my ear badly. When we hear the radio at the beginning it felt like a fake crap radio staion that only exist in comics. Then when it turned out that station and DJ would become players in the story my heart dropped. And then the idea that the radio station's broadcast center was in a mall??? It is L.A. I can think of a couple places that would almost sort of be possible but, really, it felt wrong. And then the idea that "our hero" would believe he'd have a chance in hell of waltzing into that station and getting a job? That character is way too experienced and practical to belive that would work, let alone go in giddy with excitement sure it would work.<br><Br> And then the art. I don't think it's the worst art I've ever seen but the standard of art I hope for on Runaways isn't, "Not the worst I've ever seen." It should be better.<br><br> I was actually hopeful. I do like Moore a lot. The problem might be he needs to adjust his tone a bit. The crappy radio station? I could see that station fitting into the Strangers In Paradise universe. Not the it's-in-a-mall part but the vibe of the station. But the SIP universe is a different world from the Marvel universe. In the Marvel universe that station just feels believable to me.

  • Sept. 3, 2008, 7:17 p.m. CST


    by loodabagel

    I won't be able to read this new Runaways until December... If I don't find a download website, the suspense will literally kill me. With a spiked bat. As for menstruation in comics, there was an indirect reference to it way back in the second arc of Runaways Vol. 2. NO really. Word up, I remembered that detail. Also, in a recent issue of Teen Titans, Ravager used the word "Douchebag" in the derogatory sense, which I think is way worse.

  • Sept. 3, 2008, 7:50 p.m. CST

    Douche doesn't like Anime style then doesn't like Runaways

    by TallBoy66

    Yeah, that was an unbiased review. Right. Sure.

  • Sept. 3, 2008, 7:55 p.m. CST

    watchmen, and moore, are overrated

    by ironic_name

    very overrated.

  • Sept. 3, 2008, 8:30 p.m. CST

    Nocenti is yummy

    by nilskidoo

    and her Kid Eternity run helped establish Vertigo, in my mind. And for Longshot, I pitched a series proposal a few years back that never even got a response, but I am waiting eagerly for someone to steal it. Imagine an intergalactic rockband/robin hood/space pirate team. Longshot, Dazzler, Guido, Lila Cheney, and Starfox. Like warlock and the infinity watch by way of the sex pistols.

  • Sept. 3, 2008, 8:35 p.m. CST

    Well, yeah it is unbiased...

    by optimous_douche

    I'm not getting paid to write my reviews, except for my free membership to the @$$hole club house and use of Schleppy to simonize my car.<p> I buy my own books. Really I paid $2.99 for a book I expect much more from.<p> The Anti-Anime League won't even return my phone calls.<p> All right that was fucking lame, but you get my point?<p> Nope, I do not like anime, nothing I can do about it.<p> But this was the worst effort on the book thus far, I'm sorry. I read another review where the "story was coming back to its manga roots."<p> Really? I went back and picked up those first few issues after I read that review, and then I kept reading, every issue, until I got to this one.<p> Brick fucking wall. The hand off between Vaughan and Whedon was like a poetic waltz and this was like a fucking ten pound ham getting thrown at my face on Christmas by Opah.

  • Sept. 3, 2008, 8:53 p.m. CST

    My point about Runaways was...

    by fiester

    Why take what was once a successful prestige title and turn it into a American anime kiddie book?

  • Sept. 3, 2008, 8:59 p.m. CST

    Thank you Feister

    by optimous_douche

    Yes, that's what I was trying to say as well. Just with a ton more words.<p>

  • Sept. 3, 2008, 9:10 p.m. CST

    One thing that can be said about Humberto Ramos...

    by loodabagel

  • Sept. 3, 2008, 9:10 p.m. CST

    "Biased" Reviews

    by Cyrus Clops

    No review's unbiased. I don't think optimous_douche should be criticized for having tastes and opinions. His POV is what he (or any reviewer) brings to the table; a review and a recap are not the same thing.

  • Sept. 3, 2008, 9:13 p.m. CST

    One thing that can be said about Humberto Ramos...

    by loodabagel

    I'va always been indifferent to the guy's work, but I can imagine people would get justifiably angry with it. If he's accomplished one thing in his career, it would be the Green Goblin. It's great that he realized that Spider-Man's greatest enemy should not be flying around in nothing but purple underwear and purple boots. The Goblin's new costume is a Ramos design and I think it's one of the best superhero/villain costumes of the past decade. Up there with the black leather X-Men.

  • Sept. 3, 2008, 9:37 p.m. CST

    I *ALSO* paid $2.99 for a book I expected more from.

    by Squashua

    Fucking TEEN TITANS YEAR ONE #6. And I want my money back. DC, you have my e-mail. Heck, Bob Wayne used to have my phone number ('course, I never quite revealed my real name here yet). I'm just glad I didn't buy last week's craptacular TEEN TITANS.

  • Sept. 3, 2008, 9:50 p.m. CST

    Moon Knight-Bill Sienkiwitz

    by rben

    (or however it's spelled) but i remember Bill doing MK years ago and being blown away (and yea, it was very Neal Adams but i didn't care). Remember that whole comics line that was drawn by something called the neal adams factory, where it wasn't really neal adams but it was (those were really strange books.) truth to be told, the only comics i really buy anymore are the buffys and when they have comic book day i go to like 4 comic shops in the area and come away with like 20 sample books. hey, what can i say, i'd rather spend money on real books and dvd tv collections. hmmm, where was i going with this? oh, i know. i don't own any runaway books or any of the buffy/fray collections. does any one know if their any good? oh, and this d.c. fontanta scripted star trek comic. does any one know the name of it and how many issues have come out so far? yea, i know. i ask alot of questions. oh, and steranko, adams and kirby fuckin rule (just so's ya know.)

  • Sept. 3, 2008, 10:12 p.m. CST

    Kid Eternity

    by steverodgers

    I have read one issue of Kid Eternity, and in it he got a ride in a flying space car from Neal Cassady. I have no idea how the rest of the comic was, but that issue was fantastic especially as Kerouac fan. Also Nilskidoo, if you throw Rocket Raccoon into your comic than I am totally on board.

  • Sept. 3, 2008, 10:18 p.m. CST

    optimous douche

    by nilskidoo

    one more point in your corner- Marvel is DISRESPECTING Vaughn's gift of the Runaways by this creative team shift. Maybe their subliminal attack to his not signing any exclusive contract with The House of Ideas.

  • Sept. 3, 2008, 10:23 p.m. CST

    steve rogers-

    by nilskidoo

    Rocket Raccoon was always cool. Especially back before Mignola went art deco. Rocket being in the new attempt at Guardians of the Galaxy is almost readable except for their bastardization of Star-Lord. Yeah, I can out geek any of you.

  • Sept. 3, 2008, 10:49 p.m. CST


    by steverodgers

    No outgeeking here - we are all just loving up the pure awesomeness of Rocket Raccoon. I figure if you have a Marvel comic in space, then throw in Rocket. I like the new Star-Lord, but I don't know anything about the old one. So I can't really compare and it might be out of ignorance but he seems totally bad ass and i thought the limited series was top notch. I am on the fence (like Dazzler) about Guardians but I have high hopes.

  • Sept. 3, 2008, 11:42 p.m. CST

    I had to give up Guardians...

    by loodabagel

    This summer I was reading maybe 10-15 titles a month, then I quit my job, moved, started some college and shit, and damn, now I'm down to four. Soon I'll probably be down to one or two. It's a sad state of affairs, not having a ton of money.

  • Sept. 4, 2008, 2:07 a.m. CST

    Captain Atom

    by hatemphd

    uhh.... Manhattan was a rip off of Captain Atom, not the other way around. <p> Wiki his ass <p> Did no one else catch that mistake in the Superman 3-d review?

  • Sept. 4, 2008, 6:26 a.m. CST

    heh heh heh

    by nilskidoo

    I need to cut back on the maryjane.

  • Sept. 4, 2008, 8:58 a.m. CST

    Captain Atom or Captain Adam?

    by Joenathan

    I don't have the book in front of me, but I'm pretty sure it wasn't Captain Atom. He was called the Quantum Superman, not the Nuclear Superman, so...

  • Sept. 4, 2008, 9:01 a.m. CST


    by Joenathan

    the symbol on Captain Adam's forehead and his coloring was very obviously a reference to Manhatten and not Atom. (And yes, we're all aware of Watchman's roots)

  • Sept. 4, 2008, 9:52 a.m. CST

    "Cough up another 3 bucks"

    by Abominable Snowcone

    When I first started reading and collecting in the 80s, comics were 60 cents. I stopped in high school because the prices kept going up so fast, and never went back. 3 bucks for a comic? ONE COMIC? I can't justify that.

  • Sept. 4, 2008, 10:05 a.m. CST


    by Joenathan

    thanks for letting us know...

  • Sept. 4, 2008, 10:13 a.m. CST


    by jmyoung666

    The reviewer knew that. He was commenting on the characterization. The Watchmen versions had distinct personalities from the original characters. I would say the Question in the JLU cartoons acted very Rorschach-like rather than the Questions traditional characterization.

  • Sept. 4, 2008, 10:26 a.m. CST

    Captain Atom vs. Dr. Manhattan - hatemphd

    by Squashua

    It's well known that The Watchmen (Night Owl, Rorschach, Dr. Manhattan, etc...) are derived from the Charleton characters (Blue Beetle, The Question, Captain Atom, etc...).<br><br> This allowed the Watchmen characters to come into their own, separate from their Charleton analogues. <br><br> Many believed the Watchmen world to be "sacred territory"; to stand alone, untouched by other universes. This appears to be the same stance taken by many fans and likely the reviewer himself.<br><br> When the concept came around to introduce new parallel worlds at the end of 52, DC editorial decided it would be interesting to make a Charleton-only world, not unlike the pre-Crisis world of Earth-4. But this time, instead of being solely Charleton like pre-Crisis, editorial decided to integrate some of the Watchmen mythos; a mash-up of sorts.<br><br> So instead of a plain-jane Captain Atom (Allan Adam / Nathanial Adam) or the standard Dr. Manhattan, we get Captain Adam; Captain Atom by-way-of Dr. Manhattan.<br><br> This allows the original Watchmen universe to remain unmolested, but to also have some stylistic influence on it's predecessor.

  • Sept. 4, 2008, 10:54 a.m. CST

    Runaways, Guiardians

    by Homer Sexual

    I am on the fence with the new Runaways. God knows it isn't as good as BKV's classic run, but Whedon was a'ight and this seems a'ight to me. But then, I am a Ramos fan. <p> I had to drop Guardians of the Galaxy as well. I loved the Annihilation minis, but the characterization in the first issue of Guardians turned me off, and now it seems that either Phylla-Vell or Gamora is a skrull. Semi off-topic, way too many of the skrulls are female. What is the deal with that? <p> Did I read Ann Nocenti's name mentioned here? I like her run closing out Spider-Woman in the early 80's, LOVED her Daredevil. Actually, she is my favorit DD writer ever. She wrote a Cap/DD issue that is one of my all-time favorite single-issue stories. Her Inferno storyline was aces as well. And Kid Eternity also rocked. So Nocenti is good in my book, but was probably a little too offbeat for her time.

  • Sept. 4, 2008, 12:47 p.m. CST

    I stand corrected

    by hatemphd


  • Sept. 4, 2008, 1:33 p.m. CST

    Jh Williams on Jonah Hex!

    by loodabagel

    I've picked that up on occasion. I thought it was okay. But I am so glad that they only have one issues stories, so I will definitely be picking this one up.

  • Sept. 4, 2008, 3:58 p.m. CST


    by steverodgers

    That cap/dd issue was fantastic, thats the one where the guy invents the flying car. her entire run, especially her inferno arc on DD is just great. she might be my favorite dd writer as well, i suppose i give the nod to miller because i think the 'born again arc' is about as good as comics get (plus the amazing characterization of captain a in the nuke issues). marvel would do well to collect her issues in trade, i would love to go back and read all those issues in one big sitting. omnibus that shit. i'm giving guardians a couple more issues - i just can't give up on my favorite talking space raccoon just yet.

  • Sept. 4, 2008, 4:03 p.m. CST

    by Joenathan

  • Sept. 4, 2008, 4:05 p.m. CST


    by Joenathan

    Anyway, I just want to throw this out there... I just read the third issue of Old Man Logan and I'm loving the shit out of it. It is a ridiculously good time. Great stuff. Anybody else here reading it?

  • Sept. 5, 2008, 2:40 a.m. CST

    damn you BND

    by Reelheed

    damn you BND

  • Sept. 5, 2008, 8:47 a.m. CST

    Man, I remember the days when we'd keep a Comic TB going.

    by Squashua

    And hit that apex of "greatest talkback" of the day.

  • Sept. 5, 2008, 9:40 a.m. CST


    by Joenathan

    you're NOT reading Old Man Logan then?

  • Sept. 5, 2008, 3:01 p.m. CST


    by loodabagel

    I've never even heard of this Ann Nocenti character. I thought I was a legitimate Daredevil fan too. I've got all 3 volumes of Daredevil Visionairies-Frank Miller, most of Bendis's run, and all of Brubaker's. I almost had the Frank Miller Omnibus companion, but then Amazon ran out and I never got it. Very disappointing. If this Nocenti stuff ever does turn up in trade forn, I'll get it. But I can't afford any of that hardcover omnibus 500 page stuff right now, so uh, I won't get the 500 page omnibus hardcover yet. Maybe when I have a ton of money. Stupid money.

  • Sept. 5, 2008, 3:02 p.m. CST

    Remember when this talkback was awesome?

    by loodabagel

    Yes, I remember. Somebody must have started showed it a picture of his mom while he was having sex or something weird like that. Thanks a lot, jerks.

  • Sept. 5, 2008, 4:11 p.m. CST


    by steverodgers

    you could probably go to a comic shop and pick up all her issues for 20 bucks or less. that is, if your shop still has back issues. they are worth getting if you are a dd fan. her run starts right after miller's ends.

  • Sept. 5, 2008, 4:25 p.m. CST

    We're missing a few "regulars"

    by Squashua

    OK, fess up. Which one of you guys tried to touch Thalya inappropriately and chased her off?

  • Sept. 5, 2008, 7:28 p.m. CST


    by optimous_douche

    There's girls on here?

  • Sept. 5, 2008, 8:30 p.m. CST

    Whoa! Whoa! Careful with the plurals!

    by loodabagel

    Now that I think about it, the last time I saw Thayla, someone dissed her fan fiction, and that was the last time I saw her here. I haven't even been posting very regularly lately, but I think I'll be back for a while this time around. And thanks for the tip Steve. I'll be looking into that, as long as my shop didn't get destroyed by a hurricane.

  • Sept. 6, 2008, 1:23 a.m. CST

    Sup, interent.

    by loodabagel

    Are you having as much fun at 1:30 AM as I am? "Everyone knows Custer died at the battle of the little bighorn. What my new book presupposes is... Maybe... HE DIDN'T?"

  • Sept. 6, 2008, 9:02 a.m. CST


    by BangoSkank

    I'm reading Old Man Logan and enjoying the shit out of it as well. Just a fun read.

  • Sept. 6, 2008, 10:53 a.m. CST


    by Laserhead

    She left these parts when several of us petitioned her to stop posting her unreadabley bad fan-fiction on the talkback.

  • Sept. 6, 2008, 7:42 p.m. CST

    I didn't know there was an actual petition...

    by loodabagel

    But I have to thank you for that.

  • Sept. 6, 2008, 10:17 p.m. CST

    She posted parts of it?

    by Squashua

    Or links to parts of it? <br><br> Girl just wants to be the next Gail Simone.

  • Sept. 7, 2008, 4:31 p.m. CST


    by loodabagel

    And yeah, but I neglected to read the issues of Secret Six where Gail Simone goes on a date with the Calculator.

  • Sept. 8, 2008, 2:29 p.m. CST


    by AINCFullofretardedneocons

    Get fucked Squashua you dipshit, OMD was #1 in charts and the TT sales aren't going anywhere. I expect there to be an increase instead of a decrease.

  • Sept. 8, 2008, 11:32 p.m. CST

    What's a "ne ocon"?

    by Squashua

    What sort of neologist do you think you are?

  • Sept. 9, 2008, 9:55 a.m. CST

    Yo Squash...

    by Psynapse

    As I said in a previous post, you can thank the trollisms of Joenathan (among others) as to why the Cogs have (all but) completely abandoned the TB's. We got tired of having to defend ourselves for having our own opinion. Not defending the opinion mind you, defending OURSELVES for having it. Kick the troll back only remains entertaining for so long.

  • Sept. 10, 2008, 9:44 a.m. CST

    'sup, Psy!

    by Squashua

    Somehow, I'm able to ignore the trolls. Got a "tune them out" button here. Basically, I answer them straight, and ignore the rest; re: AINCFullofretardedneocons above.