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#11 7/22/09 #8

Hey, hi, howdy, folks. Ambush Bug here, battered but not beaten by my first visit to the San Diego Comic Con. And while I’m just a bit too tuckered out from all of the action to review anything this week, the rest of the @$$Holes persevered and picked up my slack with a whole big bunch of reviews.
I’m going to be popping in at the end of the week with an SDCC Recap Round Up of all of the fun that was had at the con and hopefully I’ll be able to post some pictures of the events (superhero was there too and he took a ton of cool shots which I’ll post as well). I also have interviews that need to be transcribed still, but expect Q&@’s with the likes of Geoff Johns, Peter David, Dan Didio, Radical Comics’ Barry Levine, UMBRELLA ACADEMY’s Gerard Way, Zachary (HEROES/STAR TREK) Quinto, and the one and only Tiny “Zeus” Lister!
Also my filmed panel focusing on Horror Comics/Film will be posted on AICN as soon as it’s ready (and a quick plug for those of you interested in my new book, VINCENT PRICE PRESENTS: THE TINGLER #1 from Bluewater Comics available in late September: but you’ve gotta order it from this month’s PREVIEWS – order code: JUL09 0737 to get it!).
Alright, enough rambling from me. Let’s leap into the reviews!



Written and Drawn by: a mess o’people Published by: Dark Horse Reviewed by: BottleImp

I do love me some anthologized horror comics. Being a fan of the classic 1950s EC horror titles, I was very disappointed with the newly launched TALES FROM THE CRYPT put out by Papercutz—they seemed not to “get” the whole tongue-in-cheek, EC vibe that sets those comics on a higher level than the horror imitators EC spawned. And the artwork…again, I was not a fan. So it was a pleasure for me to see that this new CREEPY series is sticking close to its roots, Uncle Creepy, black and white artwork and all. Here’s the rundown on the contents of this premiere issue.
“The Curse (Part One)”: written by Joe Harris, art by Jason Shawn Alexander. This is probably the best story in the bunch; unfortunately, its placement as the first tale kind of spoils it for the rest of the comic. “The Curse” centers around a printing press operator who discovers that he has the power to make people do what he wants, but these wishes are carried out with gruesome consequences. The combination of tight line drawing and looser drybrush inkstrokes by Alexander gives this story a nicely eerie, moody feel.
“Hell Hound Blues”: written by Dan Braun, art by Angelo Torres. Two record collectors go into the swamp to pick up a copy of “Hell Hound Blues,” one of the rarest albums in existence, and indeed they get the blues when they meet the Hell Hound, heh-heh. This story feels uneven, mostly because I associate Torres so strongly with his caricature work for MAD Magazine. His cartoonish style seems an awkward fit for the text, and I think that an artist who treated the material in a darker manner might have resulted in a stronger and more cohesive story altogether. Not bad, though.
“Chemical 13”: written by Michael Woods, art by Saskia Gutekunst. This creepy tale set in a WWII concentration camp comes in right behind the lead-off tale for best story. The Nazis try out a new chemical (13, of course) in their gas chambers, with some slightly less-than-expected results. Very loose, almost expressionistic artwork—very nice indeed.
“All the Help You Need”: written by Neil Kleid, art by Brian Churilla. More cartoony art, but this time it’s well-paired with a slightly more tongue-in-cheek story. Delia Gold enrolls in a fat camp where the only regimen is nightly jogs through the woods…being chased by hunters with ravenous, man-eating dogs. A fun little sick story in the best EC tradition, complete with the twist ending.
“Loathsome Lore ‘Faustian Deals’”: written by Haffner, Braun and Gore, art by Hilary Barta. A two-page filler that looks at the recurring theme of trading one’s soul to the devil for fame, money or power, again in a lighthearted manner. If we’re to believe Sister Creepy, Mick Jagger, Sammy Davis Jr., Oprah, and even the Jonas Brothers have made these unholy pacts.
“Daddy and the Pie”: written by Bill Dubay, art by Alex Toth. Lastly we have a reprint of a classic CREEPY tale—it’s a gentle fable of racism and intolerance in the Ray Bradbury mold (an alien standing in for an earthly minority) that features some lovely inkwash drawings by the great Alex Toth.
All in all, a pretty solid first issue. Now, I know that the $4.99 cover price might be a turn-off for some readers, but consider this: the average monthly comic book carries 22 pages of content and costs at least $2.99. CREEPY is 48 pages—with NO ads—and costs two dollars more. That’s more than double the amount of material for less than double the price! Makes good financial sense, don’t ya think?
In any case, EC fans, vintage CREEPY fans and fans of horror in general could do worse that this reincarnation (or should I say re-animation, heh-heh!) of one of the genre’s iconic titles.
When released from his Bottle, the Imp takes the form of Stephen Andrade, an artist/illustrator/pirate monkey painter from the Northeast. You can see some of his artwork athere. He’s given up comics more times than he can remember. But every time he thinks he's out, they pull him back in.


Writer: Geoff Johns Artists: Doug Mahnke Publisher: DC Comics Reviewer: Optimous Douche

“And that’s the way the cookie crumbles.” Some might consider this metaphor in the opening pages of the latest BLACKEST NIGHT chapter a bit clichéd, but I stand firmly behind the fact clichés became clichés for a reason. They work, and they resonated on such a grand scale that everyone started using the phrase. Plus, when it’s done as well as it was here, forgiveness is easy.
The literal cookie I speak of is the generic Oreo placed upon the tomb of the Martian Manhunter by Batman at the end of FINAL CRISIS: REQUIEM (one of the only shining lights in the CRISIS crisis we were subjected to). It fell from its precarious position when one of the nefarious Black Lantern rings burrowed inside the Manhunter’s mausoleum to resurrect the great green one as one of its undead legions. Yes, this is sort of a prequel moment and well known to those of us that read BLACKEST NIGHT #1, but I applaud DC for not forcing the followers of just GREEN LANTERN to buy all of the other BLACKEST NIGHT titles to understand what’s happening in this book. Of course the literal transcends to the greater crumbling of the DC Universe and the utter shit storm, actually make that shit tsunami, that is building with each new chapter of this fantastic story.
While Johns is crafting an intriguing galactic epic, what keeps drawing me further and further into this story are the breaths and whispers in between the battles.
Take for instance the interchange between Barry Allen and Hal Jordan as they investigate who stole Bruce Wayne’s skull, which was simply perfect from a dialogue perspective and justified the resurrection of Barry Allen in one fell swoop.
A deluge of internet debates rage on about the resurrection of fallen characters. In my viewpoint, once one character escapes death in a universe the door is wide open for any character to escape the final fate. This is called fiction for a reason people. As Barry and Hal stand over Bruce Wayne’s exhumed grave and debate who would know Batman’s true identity, they begin an interchange about the importance of protecting identities. Barry chastises the miniscule nature of Hal’s mask and Hal retorts, “Well what about Clark Kent?” who merely uses glasses. Johns in all of his retcon glory has Barry state that Clark slouches, wears clothes too large for his body and raises his voice an octave. Did you know all that? I didn’t, but it sure makes more sense than the past 70 years of Superman history. As this conversation was happening I had the epiphany about Barry’s place in BLACKEST NIGHT – friendship.
Hal Jordan has always been a leader; while he might count his emerald comrades like Rayner, Gardner and Stewart as friends, they are also his successors and he is their mentor. This can also be said for many members of the past few Justice Leagues; after all, Hal was around for the first iteration, so the “kids” of the universe like Wally West will always have a reverence for him that will impede true friendship. Barry and Hal grew together; couple this with the fact they are both “cops” of a sort, and you can begin to see the formation of where salvation will come from in this tale. I’m also one of the few out there still collecting FLASH: REBIRTH, which has alluded to this theme as well. Before anyone jumps down my throat, I sometimes like my stories a little slow, and yes I find an ironic juxtaposition in this pacing given the main character. Sorry, I digress, back to BLACKEST NIGHT.
What else have we learned through the interchange (OK, battle) between Hal, Barry and Black Lantern J’onn? Well, apparently you don’t need to wield a ring to be part of the emotional spectrum. Several panels were presented through J’onn’s POV, and from the Black Lantern perspective we all embody part of the emotional spectrum of light. Hal appeared a green hue (will) and Barry (no ring) Allen had a blue glow of hope reminiscent of Chernobyl Smurf. We also learned that death made the Martian Manhunter funny; he laments why no one remembers he’s as strong as Superman as he hoists an entire building to get closer to his prey. Mahnke did an amazing job with that scene alone and should be applauded.
Continuing the fast track of reveals, I’m ecstatic to see that the little blue bastard Guardian, Scar, is not just eeeeevil, but actually believes that getting Back in Black will save the universe. That’s assuming you define the word “save” as imposing order. If your definition of save is to preserve life, I highly recommend you never go out drinking with Scar. Scar also dropped a bomb that I was not expecting by saying this black army would herald HIS return. I have a few guesses as to who HIS actually is, but I hope I’m wrong. If I’m right, my flip dig last week in the BLACKEST NIGHT review about this feeling like “a final crisis” will be literal, and that would suck.
Almost 1,000 words and I have barely scratched the surface on how good this title is. This is why we started collecting comics, folks; scenes of deep character exploration, galactic battles, a sense of danger with every turn of the page and cliffhangers that leave you salivating for the next issue. I have a few friends who are trade waiting this series, and believe me I can fully understand the fiscal reasons behind that decision. But if there was ever a time to remember your childhood (when every goddamn title wasn’t guaranteed trade treatment and books actually had a level of scarcity to them) this is the series to remember that weekly thrill of going to the comic shop for the next chapter.
When Optimous Douche isn’t reading comics and misspelling the names of 80’s icons, he “transforms” into a corporate communications guru. "What if the whole world had superpowers? Find out in the pages of Optimous’ original book AVERAGE JOE. Read the first full issue on Optimous’ New Blog and see original sketches by fellow @$$hole Bottleimp. If you are a publisher or can help these guys get AVERAGE JOE up, up, and on the shelves in any way, drop Optimous a line."


Writer: Robert Kirkman Artist: Ryan Ottley Inker: Cliff Rathburn Publisher: Image Comics Reviewer: Rock-Me Amodeo

This is my first time reviewing INVINCIBLE, which is odd, because I’ve been following the comic with interest for quite some time. After reading last month’s issue, I felt something I haven’t felt in a long time: a palpable sense of regret, along with the feeling of “I’m almost scared to see what happens next month, yet I can’t WAIT to see what happens next month.”
Despite all the mewlings of us jaded fanboys, there are some good comics out there. There are even comics out there where I can’t wait to read the next issue. But rarely does that longing manifest itself almost painfully. That was where I was at the end of INVINCIBLE #63. That’s a lot for a next issue to live up to.
INVINCIBLE #64 lived up to my very high expectations.
During the hiatus, I took the opportunity to reread all my back issues. It’s amazing to see how much Ottley has grown as an artist (not that he was bad when he took over, either) and how much his art carries its own weight. But as Kirkman says, for every wordless artistic sequence, a writer had to write it, and solid kudos go to both of them, for both the verbal and non-verbal parts. This was the bloodiest, most action packed, most emotionally riveting comic I’ve read in a long time. Wow.
One of the things that I hope we address in the future, that struck me as I read the book, is why Mark really IS invincible. Seriously. He’s hardcore. I mean, he’s a nice guy, sensitive, considerate, thoughtful…but in the heat of battle, he absolutely will NOT give up. What would you do if you had not one, but two broken limbs, with bones extruding from your open flesh? And a mangled hand? Maybe you collapse in a bloody heap.
Or maybe you would refuse to give up. Maybe, if your girlfriend were being threatened, you would headbutt to death the guy that did it. And that’s the thing I wonder about. When Mark is pushed far enough, does he have that kind of mettle because of who he is, as a person, or because of who he is, as a Viltrumite? One thing for sure, if he’s conscious, and loved ones are threatened, he absolutely will not retreat. Now, I know there’s lots of heroes who would do the exact same thing, yet there’s something about the way Kirkman writes it…I dunno. Invincible’s moxy is so real, it’s startling.
I know there are other heroes in the Image universe that have been around longer, but I would not be surprised if, after this, Invincible becomes that universe’s premier superhero – especially since the end of his battle was caught by most every other hero AND probably the media, as well. I mean, if I saw the tail end of that, and I were a criminal, I wouldn’t mess with Invincible. Not ever. How cool is that?
I won’t wonder what would happen if he were pushed that clichéd “too far” because I think this is about as far a person could be pushed, and he’s still a good guy. But I’m sure Kirkman could put a neat spin on whatever is going on, inside Mark, and that spin is the trick that keeps me coming back.
If there’s anyone who hasn’t picked up the book, I won’t spoil the ending. But it was about as satisfying as it could have been. And as always, I look forward to the next issue.
Rock-me Amodeo is Dante Amodeo, an SAP and IT consultant by day. By night, after his girls are asleep, and to the general dismay of the world, he writes. He hopes to get his long delayed second novel finished by the end of the year, and recently sold his first script, “The Mountain”, which should air in January on one of the big three networks. It’s nice that some days don’t suck.


Story by: Archie Goodwin Art by: Frank Frazetta, Wally Wood, John Severin, Alex Toth, etc. Published by: Fantagraphics Books Reviewed by: Baytor

According to the endless text pieces in BLAZING COMBAT, these are the stories you weren’t allowed to read. There are several essays devoted to the subject of the quick cancellation of this magazine, all of which center around retailers being offended by some early stories about Vietnam and refusing to put it on the stands.
And you know what? I was offended by the very first story. This book sat around my house for about a month after I read the very first story, “Viet Cong”, and came to the conclusion that Archie Goodwin just didn’t get war stories. It’s not a war story, it’s a meditation on the futility of war that focuses of the casual atrocities of the South Vietnamese army, while an American soldier laments to himself about how fucking stupid everyone is being, and none of it struck me as truthful or insightful. The second story set during the American Civil War is only marginally better, as a Yankee and Confederate soldier bond over a common cause before politics lead them back to fighting. Had I bought this magazine back then, I doubt I would have been back for a second issue, because Archie Goodwin just didn’t display any great feel for war stories in that first issue.
He found his legs fairly quickly, but the bad taste of those first two stories lingered for quite a while. It wasn’t until the black humor of “Souvenirs!” in the third issue that I came to the reluctant conclusion that maybe this Goodwin fella has got a pretty good handle on things. In that tale, we learn the story of a hero soldier whose intentions were anything but heroic.
Like Warren’s horror comics, this is following in the footsteps of EC’s classic New Trend comics, but it apes the style, tone, artwork, and logos of Harvey Kurtzman’s war mags so closely that it never really develops its own identity. Also Archie Goodwin is not nearly as meticulous about research and accuracy to be anything but a pale imitation of Kurtzman. Still, a pale imitation of the greatest war story shorts of all time is pretty damn impressive.
I love comic shorts. Most of my early comic experience was in reading the horror anthologies of the 70s, so I love the economy of story-telling and their little morals. Whether it be the gift of a bottle of wine that enacts a far-too-heavy price or exploring the twists of history that allows the greatest traitor of American history to be hailed as a hero not long before, there’s a lot of nifty avenues to explore and they’re all drawn by some of the greatest comic book artists of all time. Only the future war story “Survival!” is completely out-of-place here, which would have been far more at home in the pages of CREEPY.
Despite my initial hatred, I ended up being extremely pleased with BLAZING COMBAT and it’s a pity that it didn’t have a chance to continue on past the fourth issue, because I think it might have thrown off the EC influence before too long… and it’s always great to see the impressive stable of EC artists working in non-super-hero genres, although even without hostile retailers, I doubt it would have stayed around much longer. EC’s two war mags were among the least successful of EC’s line and did not survive much past the end of the Korean War, which sparked interest in war stories in the early 50s.


Writer: J.M. DeMatteis Art: Mike Cavallaro Publisher: IDW Publishing Reviewer: Matt Adler

We’re almost to the end of this miniseries, and it’s become clear that it is a complete deconstruction of the superhero genre not for the purposes of making it more relevant (e.g. Marvel’s CIVIL WAR) but in order to point out how fundamentally irrelevant superheroes truly are. DeMatteis’ basic message here seems to be that when you get right down to it, superhero stories really are just about guys in tights punching each other, without regard for the consequences of violence, or thought given to what it would truly take to address the problems of the world.
Typically, superhero stories ignore this problem; in the Silver Age, that was accomplished by having superheroes deal with situations so far removed from reality that the question of relevance was moot. Modern superhero stories typically forego the pure fantasy route and attempt to show superheroes making a difference in the “real world.” But either way, it always comes back to the fights. Because that’s what we want to see, right? DeMatteis questions whether superheroes (and more importantly, their approach, since that’s what has a parallel in real life) actually can make a positive difference in the world, and his answer does not lean towards “Yes.”
It's similar to the sort of position Garth Ennis takes towards superheroes , and yet this is totally different from anything that would come from Garth’s pen. In an Ennis story, superheroes would simply be ridiculed and dismissed as not worth discussion. And don’t get me wrong, those kinds of stories can be a lot of fun.
Alan Moore too has some of the same problems with superheroes, as he explained in a recent interview. “And I wonder—perhaps this is being too simplistic, I don't know, but I wonder if the root of the emergence of the superhero in American culture might have something to do with a kind of an ingrained American reluctance to engage in confrontation without massive tactical superiority... It does seem to me that massive tactical superiority might be a key to the superhero phenomenon. That, if it's a military situation, then you've got carpet bombing from altitude, which is kind of the equivalent of having come from Krypton as a baby and to have gained unusual strength and the ability to fly because of Earth's lesser gravity. I don't know, that may be a simplistic interpretation, but that's the way I tend to see superheroes today.”
But here, DeMatteis rather than dismissing superheroes outright, uses his story to explore and illustrate exactly what is wrong with them. It’s also worth noting that during his career, DeMatteis has written quite a few “straight” superhero stories, his run on Amazing Spider-Man being foremost among them (though as with all his work, there too he strived to get “inside” the characters). So it’s something new and distinctive to see this kind of critique from someone who has been “in the trenches” so to speak; perhaps because he is American, he intimately knows where these characters are coming from, having been immersed in the culture from youth, and so offers a different perspective even when reaching similar conclusions.
In this issue, Savior 28 AKA James “Jimmy” Smith, a Superman analogue (though this story was originally conceived for Captain America, the ultimate patriotic superhero) is captured and tortured by his former allies in a Justice League-like superhero team, at the behest of a government conspiracy masterminded, apparently, by Dick Cheney.
This may seem trite and clichéd by this point given how many “evil Dick Cheney” stories we’ve seen, until you notice that just the other day, a news story emerged about Cheney secretly pushing for the use of the military for a law enforcement operation on American soil, in direct violation of the Posse Comitatus Act (which prohibits this specifically for fear of an out of control executive branch using the military to enforce dictatorial whims).
Thankfully, Cheney was eventually overruled, but it does give one pause; every time you start to think “well, gee, maybe he was just misguided” another story comes out about him attempting some wild breach of our country’s fundamental laws, for no apparent motivation other than expanding his own power. Unfortunately, this makes him the perfect villain for these sorts of stories; you only WISH it were hokey and clichéd instead of frighteningly close to reality.
In any event, the government has got Savior’s former allies convinced that he’s a fake. How do they convince them? Well, the central conceit of this story is that Savior 28 has, after suffering the trauma of accidentally killing a foe, and then seeing the horror of 9/11, come to the conclusion that violence isn’t the answer. He then goes on a world peace tour to promote his views, all while the U.S. is engaged in the war in Afghanistan and building up to the war in Iraq.
The government isn’t pleased with this, and they bring in his former allies to set him straight, who naturally are convinced that any Commie/pinko/terrorist-appeasing traitor like this CAN’T be their old friend Savior 28. It’s got to be an impostor, and they’ll beat the truth out of him (as is their standard M.O. for problem-solving). His former kid sidekick Dennis (now graying and over the hill) is also working for the government, but ultimately sets him free with a warning to give up his crusade, and keep his mouth shut from now on, for his own good. The key exchange between the two comes during Savior’s captivity.
Dennis: There are crazy motherfuckers out there who can’t WAIT to blow us all to hell. They think if they do it, God’s gonna REWARD them for it. You wanna make yourself USEFUL? You wanna change the world? Then fly your fat ass to Afghanistan…find Bin Laden—and crush his skull like a goddamn GRAPEFRUIT.
Savior: And inspire a million MORE Bin Ladens to rise up…to hate everything we are?
Dennis: A million more rise up—you take THEM down too.
Savior: And THEN what? Wait for the NEXT “bad guy” and then crush his skull—and then the next and the next and the next? THAT’S INSANE.
Dennis: THAT’S LIFE.
If there’s one weakness to the series, it’s that it’s very wordy. I personally don’t have a problem with that, and DeMatteis’ narrative and dialogue are always a pleasure to read, but there is a school of thought to comics that says “show, don’t tell.” In any event, artist Mike Cavallaro does do a wonderful job of showing, particularly with facial expressions, given that Savior is held immobile for most of the issue. His style is in the vein of artists like Bruce Timm, Mike Oeming, and Dean Haspiel, and I think he’s going to become very much in-demand after this series.
In the end, it’s funny; I really do agree with many of the points made by DeMatteis here (and shared by Ennis and Moore)…and yet, I still love superhero comics. Perhaps I, too, have been conditioned by my American upbringing. Oh well. Back to the punching and kicking!
In most places, Matt Adler goes by the name his mother gave him, but occasionally uses the handle "CylverSaber", based on a character he created for the old DARK FORCES II: JEDI KNIGHT game (one hint of his overweening nerddom). He currently does IT and networking support for the government of Nassau County, NY, but his dream is to write for a living, and is in the process of figuring out how to get publishers to give his stuff a look. In the meantime, he passes the time by writing for AICN, CBR, and a few other places. He has also written for MARVEL SPOTLIGHT magazine.


Writers/Artists: Think of a name and they're probably here Publisher: DC Comics Reviewed by Humphrey Lee

Now that we're a couple weeks into this new, somewhat unprecedented idea from the brain trust at DC, I think I've seen enough to finally weigh in on this experiment. Honestly, I think I knew when this was announced that I was going to be a big supporter of this idea, but I also knew that not only was the format going to make or break it, but also how well the creative teams involved adapted to it. I was a huge fan of SOLO, as I am really any project that just lets an artist, or writer, or those lucked out with enough talent to be both, to cut loose. That's why I've bought Lord knows how many anthology books the past year (especially COMIC BOOK TATTOO, which got some Eisner props this past weekend). Even raw talent, though, might stumble a little bit when they come across something a little unfamiliar to them, and I think that's pretty much WEDNESDAY COMICS in a nutshell.
The very first criticism I have with this book is not from a quality standpoint though, but a quantity one, namely that I think fifteen stories is just WAAAAYYYY too many. Even on my very first read through of the very first issue, where my interest was at its most piqued, about two-thirds of the way through the paper I was kind of counting it down to its end. At first, I just chalked it up to maybe since it’s obvious that the teams were getting used to the format, that maybe not enough information was being given per segment, therefore making everything feel a little abbreviated and giving the book on the whole a little feeling of ADD. But no. After three issues of this I can definitively say that fifteen stories is too damn much. The only thing is, I'm not sure what the solution is to that from a format standpoint. My initial reaction was that I thought maybe it'd be best to halve the amount of stories and to double the output to two pages to a character, but there are a few stories, like the Supergirl one from Jimmy P and Amanda Conner, that actually do have the pacing and story of a one page story down pat. Thing is, though, not everyone has been able to bring everything all together so well.
So, running with that train of thought, maybe the format could be reworked so that some of the teams involved who have a story that could stick to the single page format, can just run theirs like always, but if someone needed the second page, they could get theirs so that it could stay the same size as it is now. The amount of stories really is too much, and I could see some of these benefitting very well from double the space a week. Take the Gaiman and Allred “Metamorpho” story, for example. As one page per week, so far I think it's fallen completely flat on its face in a few aspects. On the positive, it looks gorgeous with the blown up art, and I can't blame Neil for writing a story that lets a master such as Mike Allred use a full, over-sized page like this. But as an installment for the week, it's a laughably short read and there's really nothing to hold onto for the next week. Throw in the second page though for a glorious two-page spread that lets Allred unload his ability and that would make the story more exploratory and adventurous, and I think it wouldn't harm the flow of the paper as a whole very much. And even a few stories that are paced very well for the single page, like Kyle Baker's “Hawkman” and Paul Pope's “Adam Strange”, could benefit from having that second page to let themselves breathe more. I think even with all the extra space this format brings, sometimes their material here is still looking a little cramped, though gorgeous nonetheless.
Now, from a creative aspect, this endeavor really does reinvigorate my love of the medium, even if it has its ups and downs just like any project of its ilk. There's something about unfolding this hunk of newsprint and scanning over the lines and colors and inks that gives me some inherent joy. Mileage may vary on how well everyone uses their space, but there seems to be a genuine love of the art that flows through the pages. I may not be a big fan of the couple stories - I actually started skipping the “Wonder Woman” and “Metal Men” ones this edition, they really weren't doing anything for me - but there seems to be a determined effort behind them. I think this makes more of a case to streamline the amount of stories being told, make sure you're not just putting in more stuff to fill all the folds than because they should be there. On the whole though, I'm still relatively excited to see this each week, and glad that such a project exists, even if it comes with its own unique set of flaws. I like the idea that someone in mainstream comics is trying something to reinvigorate the medium in some way, and to shed a more creative light on its properties instead of just turning the Hype Light on something and seeing who it attracts. It might not be perfect, but it's a damn good step in the right direction, and something worth pursuing farther, with the appropriate modifications of course.
Humphrey Lee has been an avid comic book reader going on fifteen years now and a contributor to Ain't It Cool comics for quite a few as well. In fact, reading comics is about all he does in his free time and where all the money from his day job wages goes to - funding his comic book habit so he can talk about them to you, our loyal readers (lucky you). He's a bit of a social networking whore, so you can find him all over the Interwebs on sites like Twitter, The MySpaces, Facebookand a Blogger Account where he also mostly talks about comics with his free time because he hasn't the slightest semblance of a life. Sad but true, and he gladly encourages you to add, read, and comment as you will.


Writer: Jim Krueger Art: Edgar Salazar Publisher: Dynamite Entertainment Reviewer: Mr. Pasty

PROJECT SUPERPOWERS: CHAPTER TWO (PSCT) takes a coterie of Golden Age superheroes, dusts them off and reinserts them into a modern day world that, like ours, has a syndicate of lunatics and religious zealots calling the shots. Because the heroes presented here are essentially characters that originated in the days of World War II, names like “The Death-Defying Devil” and “Green Lama” are not atypical for this story. Unfortunately neither is the feeling that evolution is the enemy of anything Golden Age after about five pages or so. With that in mind, I’d feel more comfortable renaming this series “Project Stupidpowers,” especially after watching some of the tepid action sequences that seem to be stuck on a loop like Rousseau’s annoying French distress signal on LOST. Every battle consists of scowling, levitating and force lighting. I’m sure this was enough to pacify the mindless drones of yesteryear – but then again so was “Leave it to Beaver.”
Like any book that bears the track marks of Alex Ross, PSCT is teeming with manly faces and heroic posturing, as if this throwback to the glory days is supposed to automatically conjure up some sort of elegance gag-reflex. The first time I saw a cover by Alex Ross was like the first time I saw a girl topless: I was in awe. However, it’s been a few years since then and the “wow” factor has started to wear off. Yes, they still look good, but what else can you do with them to get me excited about what’s inside?
One of the things that irritates me about so many of today’s books (including this one) is getting a mere three pages deep and suddenly being faced with every character in the publisher’s universe lined up asshole-to-elbow vying for attention. How can I take a story seriously if the opening panels look like the wide angle shot outside the TODAY SHOW when the 200 brain-dead hicks that got bussed in from Tallahassee are pounding on the studio window for their fifteen minutes of shame? This book is pretty damn crowded. I’m not asking them to waste an entire issue on formal introductions and true, the book does provide a character cheat sheet – but nothing kills the continuity of a narrative like flipping pages mid-read to try and discern why the guy who looks like a cross between Eddie Munster and Blanka from “Street Fighter” is so pissed at the guy who looks like a homoerotic Shazam.
Maybe I’m not right for this book. It’s full of outdated and goofy looking characters that come across as caricatures of today’s uberheroes, the writing is a bit pretentious and the art seems to be overly concerned with proving how great it is. The lone bright spot in this book is Captain Future, who lives up to his name by using his superpowers to bag as many hot chicks as he can before clowning a bunch of whiny do-gooders. In fact, I could have done without the sub-plot involving a New World Order and the heroes attempting to right the balance of the universe and blah, blah, blah. Give me more of Captain Future (and his debauchery) on the run from the forces of good. What can Ross and Dynamite do to turn this series around? Like Jack said before he shot Eckhart: “Think about the future.”
Final word: I wouldn’t ordinarily trade gold for silver, but this is one era that should have remained in Grandma’s attic.
Web heads who can’t get enough of Mr. Pasty’s word vomit are encouraged to watch him operate as Nostradumbass over at here. Love, hate and Mafia Wars requests should be directed here.


Writer: Brian Reed Artist: Sana Takeda Publisher: Marvel Comics Reviewer: Rock-Me Amodeo

Gosh, I want to like this title, and I do. I love the twist that Karla Sofen brings to the mask, her just-the-other-side-of-brutal way of doing things. I know she won’t be around forever, but I’ve always liked the way she rarely cares about anything. Heck, that was what made her concern about Hawkeye’s opinion of her so poignant, back in the original run of THUNDERBOLTS. She rarely gives a damn about anything.
So that attitude has me confused here. We have a big dust-up where “Karla Marvel” is fighting “Carol Marvel” for what? Karla’s right to keep wearing a costume she doesn’t even like, and go by a name for which she has no respect? Part of it could be Karla just trying throw Carol off her game. But part of it…the internal dialogue… seems to indicate that Karla is genuinely outraged. I would think that, given Karla’s background, even she would question her own motives. It just doesn’t jive.
I’m guessing that’s the picture Reed is intentionally painting here. We’ve already seen Karla’s unnatural concern for the vacuum tube babies, and that has to be the result of some mental tampering. So chances are this odd turn of events will also be explained in similar fashion. In the meantime, we’re left with an interesting turn of events at the end, and with the blurb/title “War of the Marvels”, things are sure to get even, uhn, twistier.
Artwork: not sure I’m really digging Takeda’s take on the book. With almost every head and face just being a liiiittle too small for the body they’re attached to, the whole thing feels very manga, even if everyone’s eyes are drawn in a non-manga style. I keep expecting Team Rocket to pop out and tell everyone to surrender now, or prepare to fight. Meow, that’s right.
However, I will say that the sequences are laid out fine, and they do tell the story. But, by the same token, I also wish there had been more of a story to tell. It’s a mixed bag of nuts, and I know it’s a difficult line to toe: too much story and you’re an exposition fiend. Too little story and you’re Loeb’s HULK. But it’s still a good book, and I still see (especially in the final hours of the Skrull War) the journey of Carol Danvers to the top of the A-list…even if she’s not center stage right now.


Writer: Geoff Johns Art: George Perez Publisher: DC Comics Reviewer: Matt Adler

The first issue of this 5-part monthly miniseries debuted nearly a year ago, back in August of ’08. The 7-part main FINAL CRISIS series, of which this was ostensibly a tie-in, ended back in January of this year, even with its own extensive delays. And a new ADVENTURE COMICS series spinning out of this book was announced back in November, but had to be delayed until this series was completed. So to put it charitably, we’ve been waiting a long time for this mini to wrap up. The question is, was it worth the wait?
From my standpoint, the answer is an unqualified “Yes.” Firstly, let us remember that it is George Perez on art. George Perez is not a fast artist. Plus, this issue clocks in at 30 pages (in addition to a 5-page ADVENTURE COMICS preview). So our options were either to wait a while for the gorgeous Perez art that appears in this series, or get inferior art from someone else. I’ll go with Door #1, please.
I know some of you may say “why can’t they have him draw the whole thing before soliciting it?” You have to understand the reality of how a comic book company does business; the number-crunchers will generally say “no way” to paying an artist for all the issues in a miniseries before they have a chance to recoup any of the costs by publishing them. It looks bad on the balance sheet, and that can get people fired.
There’s also the issue of the near-impossibility of coordinating with the other DCU books if it was drawn months in advance (although this series has more of general impact on the DCU rather than heavily tying in to FINAL CRISIS). Yes, the lateness itself affects coordination, since a lot of the revelations of the series are well-known by now (such as Superboy being announced as co-starring in ADVENTURE COMICS), but it’s a lot easier to push back an upcoming book like ADVENTURE COMICS than it would be to have to have Perez redraw art to coordinate with story changes in forthcoming books. Imagine the lateness then (or, alternatively, a COUNTDOWN/FINAL CRISIS continuity clusterfuck).
So, bottom line, do the delays and spoilers leave this final issue with anything to offer readers? Again, yes. I’ve often felt that the true worth of a comic is if it’s still a good read after it’s been spoiled for you. Think back to some of the classic comics of all time; you know their stories by heart now, but don’t you still get a charge when you open them up and re-read those panels? I do. I’m not necessarily saying this comic will go down as one of the all-time classics, but there ARE a number of moments in it that will likely give you a thrill even if you’ve anticipated them based on spoilers for upcoming comics. And there are a few genuinely surprising moments that I don’t think we’ve learned about before.
Let me try to cover the attractions of this issue without getting too much into spoilers. First, Johns has really given Perez a workout in this series. There are two big superhero crowd scenes in this issue alone, and I don’t have to tell you, dear reader, that there are few things better in this world than a Perez superhero crowd scene. And there’s a fantastic sequence upon the defeat of one of the villains where he fades away from full color, to pencil & inks, to just pencils, and finally to a thumbnail sketch before he disappears completely. And it works; it really doesn’t take you out of the story.
One thing worth discussing that does require some spoilers is the return of Earth-Prime. A lot of people have mixed feelings about this concept. In short, Earth-Prime was meant to be our world, where all the DC superheroes are just characters in comics published by DC. It was first featured in a Flash story, where Flash uses his powers of dimensional travel and accidentally winds up in the offices of Flash editor Julie Schwartz. Of course, the irony inherent in the concept is, once a superhero from another universe shows up, it can no longer be our universe, since to the best of my knowledge that hasn’t happened here yet.
Later stories took Earth-Prime a bit further off the rails from being “our world”, particularly when Superboy-Prime first showed up. SBP was originally just a regular kid from Earth-Prime named Clark Kent who constantly gets teased because his parents named him after a comic book character. In the same story, however, Clark discovers that he really does have the powers of Superman. This was a one-off story, with Earth-Prime shortly thereafter being wiped out in CRISIS ON INFINITE EARTHS (we’re still here, right? I think I remember everything after ‘85), and SBP being shipped off to a “paradise” pocket dimension along with other characters from the destroyed Earths, presumably never to be seen again. Until INFINITE CRISIS, when those characters returned, and SBP was reinterpreted as a frustrated fanboy who did not like all the changes to the DC Universe since CRISIS (remember, he grew up reading these characters and adventures as comic books). He became increasing violent and destructive, determined to wipe out what he saw as a flawed universe and restore things to way they “should be.” And that’s where we find him, as the main villain of this series, which serves as both a sequel to Infinite Crisis, and the JLA/JSA crossover “The Lightning Saga”.
To put it mildly, a lot of fans were not pleased with this development to the character. They (likely correctly) interpreted the character as a poke at them. Myself, I enjoy the character for what it is; the creators are having fun.
Are they taking shots at a certain segment of fans? Yeah, but y’know what? When I read some of the message boards, I too want to tell those people to get a life; it really is unbelievable how infantile and narrow-minded some fans can be. So I don’t really have a problem with a character that pokes fun at them. If you feel Superboy-Prime is directly aimed at you, well, maybe it’s time to take a look at what you’ve been posting and see if it is a bit silly and immature. But let’s face it, we’ve all done our fair share of whining and bitching about the way comics “should be.” We have to learn to laugh at ourselves-- or at least pretend they’re making fun of the other guy.
Anyway, there’s an interesting development here for SBP that I won’t spoil, except to say that it’s a little heart-breaking and a stark reminder that what we do in the public arena WILL be seen by other people, and it will have consequences. I do think Johns missed the boat at the end by reverting SBP to a thoroughly unlikeable and maniacal character; I like him better when he’s just a bit pathetic. Still, this issue has a lot going for it, with the fantastic art, non-stop action, and intriguing developments that set-up a multiverse of possibilities. Worth the wait? Yeah.


Writer and Artist: Rob Liefeld Backup Feature “The More Things Change” Story: Rob Liefeld Script and Art: Marat Mychaels Published by: Image Comics Reviewed by: BottleImp

I was enjoying Joe Casey and Derec Donovan’s run on YOUNGBLOOD earlier this year. No, it wasn’t the best title out there, but at least Casey managed to mix up the characters from the various incarnations of this comic in a fresh way and drop them into a socially relevant context that commented on reality TV and the government manufacturing news in order to spin it to its own advantage. And Donovan’s simplified drawing sensibilities took those übermuscled, scribbly-hatched, pouch-slung representatives of everything that was bad about comic character designs in the 1990s and made them visually appealing, dynamic and, above all, fun to look at. But then Rob Liefeld, like the greedy spoiled brat who can’t stand to see anyone else playing with his toys, decided to kick Casey and Donovan off YOUNGBLOOD in the middle of their story arc so that he could make his triumphant return to his series (and being Rob Liefeld, this return of course took place three months later than he initially announced).
Here’s the thing: aside from the “story by Liefeld”-credited first issue of X-FORCE (purchased when I was a naïve youth looking to make an investment, totally ignorant of the rules of supply and demand), I have never actually read a comic book written by Rob Liefeld. So this issue is my very first full exposure—my de-virginizing, if you will—to the work of one of the most controversial comic book creators of all time. In lieu of an in-depth analytical review, I have instead opted to write down what my exact reactions were upon reading YOUNGBLOOD #9. I hope that you will find them informative.
Page 1: Okay, an establishing shot of some sort of airship, which I’m assuming is transporting the Youngblood team. Boy, that caption text sure is tiny…
Pages 2-3: Huh? I guess they’re breaking in to… somewhere. Sure would like to see more details as to where they are besides some random pipes on the wall (or ceiling… not really sure). Why is that purple-and-white chick just sort of kneeling in midair? Oh well, at least there’s Shaft’s big white package and Diehard’s taut, shiny buttocks to look at.
Page 4: Hey! There were people wherever they landed! Or robots…or something. Why is there just a big empty white space at the bottom left corner? Wouldn’t that space been better served to throw in a little detail as to the surroundings? “Badrock bats clean-up. He’s the bowling ball; Cybernet, the pins. He always rolls the strike.” Not only is Liefeld mixing sports metaphors in the same caption, but he can’t seem to decide if Badrock is the bowler or the ball. Balls don’t roll themselves, Rob.
Page 5: For having “cold stone skin,” Badrock sure does have a lot of folds and wrinkles in it. I’m also beginning to notice a current trend of missing commas in the dialogue. Grammar-check is our friend, Rob.
Page 6: Shaft’s narrative caption references the subplot Casey introduced of Badrock’s body beginning to crumble and break apart. “He turned a corner; the doctors said it was his version of puberty. Luckily he’s bounced back, bigger and better than before.” I wonder if that’s the same way Rob’s planning on “fixing” Shatterstar’s sexuality… “Shatterstar was in love with another dude, but luckily he bounced back from that and is back to being a Spartan warrior who’s all about the poontang.”
Page 7: Not only is Badrock’s “cold stone skin” wrinkly, but it’s also veiny. And curvy—check out that hourglass figure…sexy.
Page 8: Again with the swords. A Freudian would have something to say about the constant phallic imagery in your work, Rob.
Page 9: And for someone who loves drawing characters holding swords, you really should pay attention to the way the human hand actually grips something. And…what the hell? Shaft just had one sword, now he’s got two…
Page 10: …and now back to one! Did that other sword magically shrink to fit into one of his many pouches?
Page 11: Do Shaft and Vogue go to the same barber?
Pages 12-13: Someone crashed through something. I wish I had a clear idea of where this all is taking place.
Pages 14-15: “Badrock engages Maddox 3000. The better to measure himself against.” What?
Page 16: You know what’s embarrassing? When people try to inject hip pop culture references into their work in order to seem cool and relevant. “Diehard has more upgrades than the iPhone. Seriously, the iTunes app store couldn’t keep up with his rapidly adapting software-hardware combo.” About as painful to read as the Twitterings of middle-aged Congressmen desperately trying to appeal to young voters (now THAT’S a hip pop culture reference!).
Page 17: Shit, I can’t do this anymore. Let’s sum up: more toothy grimacing, more terrible grammar, President Obama making an appearance, the White House apparently having a staff of only two people working there besides the President (Secret Service men wearing purple wraparound shades… not sure if that’s accurate Secret Service dress code, but why start quibbling the small stuff now?), and a final group shot of the team gazing at where the White House used to be. Rob, along the same line as the swords: if you’re gonna draw someone using a bow and arrows, you really should research how one’s hands are positioned as one uses them… not to mention muster up the energy to use a ruler and actually draw in a bowstring… you know, so the arrows will actually “go.”
All this and a back-up feature that’s better-written and better-drawn than the main attraction.
Rob Liefeld has officially cemented his place as the Ed Wood of the comic book world. This comic was more entertaining (unintentionally, I shouldn’t need to add) to read than many middle-of-the-road comics published today. All it needs is a little silhouette of a guy and two puppets down in the lower-right corner of each page, and there you have it: MYSTERY SCIENCE THEATER 3000: THE COMIC BOOK. YOUNGBLOOD is so hilariously horrible, is such a huge, “epic fail” that I almost considered picking up the next issue to see if Liefeld could outdo himself.


Story by: Matthew Sturges, Bill Willingham, Bethany & Peter Keele Art by: Luca Rossi, Henry Flint, Bernie Wrightson, Kyle Baker, etc. Published by: DC/Vertigo Reviewed by: Baytor

When I was a kid, about once a month I’d gather up all my old comics, go down to the Used Book store with my dad, and pick up another stack of comics. We’d then spend the rest of the day reading through westerns, horror, and war comics. As I entered adulthood and reacquired the comic habit, I learned just what a freak I was because I had spent so very little time reading super-hero comics. We had hard cover copies of BATMAN: FROM THE 30s TO THE 70s and Jules Feiffer’s THE GREAT COMIC BOOK HEROES. I even had a paperback copy of some early Spider-Man stories and the first six (and utterly illogically plotted) of the Incredible Hulk; but beyond that, my super-hero reading was few and far between.
Real comics were stuff like CRACKED Magazine (MAD would come later), G.I. COMBAT, SGT. ROCK, JONAH HEX, TWILIGHT ZONE, RIPLEY’S BELIEVE IT OR NOT, BORIS KARLOFF, THE HOUSE OF SECRETS, and, of course, THE HOUSE OF MYSTERY. Cain & Abel were my absolute favorite comic characters and I devoured every copy I could lay my hands on. These days when I’m reading through the SHOWCASE PRESENTS editions of HOUSE OF SECRETS/MYSTERY, I always get a thrill when I recognize one of my childhood favorites.
Seeing HOUSE OF MYSTERY back on the shelf is probably the closest I come to the non-stop nostalgia parade of most comic fans that wet their pants in excitement whenever the DOOM PATROL makes it triumphant (HA!) return or catch a mention of one of their favorite stories in the latest cross-over event.
It’s also among the only time that I experience the same crushing disappointment that this isn’t the same book I loved as a child.
There’s nothing terribly wrong with Vertigo’s new HOUSE OF MYSTERY series. It’s actually a pretty good book, except that it’s not really the HOUSE OF MYSTERY. Sure, Abel gets a walk-on part the second volume, but the focus is on the main story line and not on the short stories, which were the best part. I know, I know, anthologies don’t sell anymore and you need that larger story to suck regular readers in, but it’s like the book is teasing me by showing me all the things I loved as a child and taking them away to tell me about a bunch of people I haven’t loved since childhood.
Damn you, Vertigo, you’ve turned me into a spurned fanboy. I am so going to blog about this forever.


Written and Drawn by: H.C. Noel Website: Reviewed by: Ryan McLelland

Being a monster fan of H.C. Noel's phenomenal comic MR. SCOOTLES (if you haven't picked it up you truly missed one of the best indie comic books in the past ten years), I'm extremely happy for his newest project Tara Normal for a number of reasons. First, it is his first mainstream project to hit since SCOOTLES was collected in a trade last year and I'm interested in seeing what else Noel has up his sleeve.
Secondly, it's a web comic so I can read it for free. Free is always better because...well...I'm a cheapskate. Even with that being said Noel has put his writing and artwork prowess to work here with Tara Normal making it his best looking and best read story to date. I'd pay for this in a second if this was in comic stores, but I don't have to!
It's X-FILES meets SCOOBY-DOO with this delightful web comic. She's a feisty green-eyed paranormal private investigator who shows up to help whether she's needed or not. In her first adventure we join her in a small town where aliens have landed and a large amount of corpses are missing from the cemetery. Tara quickly jumps in, though she is still knee-deep in her last case as well, and the fun begins - even the Sheriff of the local town can't believe he's calling some young girl for help in a police matter. Between aliens, possessed dolls, and a man who is a living shadow AND a sidekick this series delves well into the paranormal.
It all works because of Noel's obvious love of the genre. I am a fan as well; I love reading mags like WEIRD N.J. (being from the state, I see weird on a daily basis) and watching shows like GHOST HUNTERS. So it is fun for me to partake in this comic that retains Noel's trademark look and humor.
Tara Normal is obviously still in its infancy, having only been around for a couple months. It is a quick fun read that will hook you right into reading it each Wednesday - which is today! Fans of Noel's, MR. SCOOTLES, or the paranormal will get a great kick out of this amazing web comic.
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 The first issue of his new WISE INTELLIGENCE miniseries can be found here.


By Park Joong Ki Released By Dark Horse Reviewer: Scott Green

Volume 1 eComic can be read at
SHAMAN WARRIOR is the ONG BAK of comics. Five years ago, If I simply recommended watching a Muay Thai flick with a guy named Tony Jaa, it's doubtful that the suggestion would land on many "to do" lists. If I showed you a clip of Jaa leve
Readers Talkback
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  • July 29, 2009, 9:56 a.m. CST


    by theplant

    huh ? 2 times same feature ?

  • July 29, 2009, 9:59 a.m. CST


    by BoggyCreekBeast

    Brings back memories. That alone is worth the price.

  • July 29, 2009, 10:07 a.m. CST


    by _Palmer_Eldritch

    is a pretty excellent writer, glad to see him back. His Spider-Man stories were indeed very much psychoanalytical, the prime examples probably being the whole Death of Kraven storyline and several of the Chamaeleon stories he penned. He really knew how to use the Chamaeleon to his full potential, and I believe no one has aver done so again since. <p> As far as I remember, DeMatteis was also one of the first writers to include "realistic" and permanent deaths in their superhero stories. Does anyone remember the death of Jean DeWollf? That story was awesome. It's almost a shame that he killed off the Sineater right away. He was a pretty cool villain.

  • July 29, 2009, 10:11 a.m. CST

    Liefeld is Amazing

    by Autodidact

    I never thought of him as the Ed Wood of comics before, but that is precisely who he is. He continues to put out product that ought to embarass him, and yet he seems proud as a peach. That Youngblood cover could be from 1992. it's the exact same shit he was making back then. I'd feel sorry for him if he wasn't doing so well financially.

  • July 29, 2009, 10:13 a.m. CST

    Death of Jean DeWolff

    by MattAdler

    DeMatteis didn't write the Death of Jean DeWolff. Peter David did. DeMatteis wrote Kraven's Last Hunt.

  • July 29, 2009, 10:19 a.m. CST

    Double post

    by Series7

    double post

  • July 29, 2009, 10:19 a.m. CST

    damnit fixed

    by Series7

  • July 29, 2009, 10:22 a.m. CST

    Need to catch up on my comics

    by Series7

    I can't believe how much I am liking this Green Lantern saga. So much so I am going to hunt down that new movie on VHS.

  • July 29, 2009, 10:24 a.m. CST


    by Series7

    Newspapers in general. Do people really enjoy reading stuff out of the newspaper? I find it to be one of the most annoying and tedious mediums to read, no wonder they are all dying. Just the pain in the ass to fold them and they are always just to big. It makes reading a chore.

  • July 29, 2009, 10:30 a.m. CST

    New Green Lantern DVD

    by Laserhead

    What'd you think about First Flight? I thought it kind of... sucked. Zero characterization (except for Sinestro)-- we have no idea who Hal Jordan is, and there's no explanation for the ring's constructs or how it works (no mention of willpower at all). As soon as Hal gets the ring, he's flying in uniform and using it to make a bluetooth device he can talk to Carol Ferris on. There's no training whatsoever. He just goes to Oa and moves straight into active duty and basically walks around until the end.<p>Weird how of all the DC animated original-for-DVD material, the one brilliant one was Wonder Woman, a comic no one can make interesting. (And it was really, really good. Just film it live-action and its a summer tentpole. Pun intended.) While slam-dunks like The New Frontier and Green Lantern end up being middle-of-the-road blahs.

  • July 29, 2009, 10:32 a.m. CST

    What the hell?

    by greyspecter

    Where's the other one? Why'd it get booted? F#$king AICN...

  • July 29, 2009, 10:33 a.m. CST

    summer tentpole...

    by rock-me Amodeo

    THAT was clever.

  • July 29, 2009, 10:37 a.m. CST

    Archie Goodwin and war comics

    by kalel21

    Around 1973 or so (I THINK just before he went to Warren to write Blazing Combat), Archie Goodwin was editor of the DC war comics for about a year. For Our Fighting Forces #146, he wrote an excellent story called "Burma Skies," about the Flying Tigers, with superb art by Alex Toth. Also, it was presumably his idea as editor for the DC war books to all do multi-issue story arcs--something they had rarely if ever done before in those books. In Our Army at War, Sgt. Rock gets temporarily reassigned to the Pacific theater of war in an arc with absolutely perfect art by Russ Heath {comments on that story can be found here:} In Our Fighting Forces, the Losers were bounced around North Africa for awhile after a mission goes wrong in an arc with art by John Severin. And Goodwin himself wrote a very strong arc in G.I.Combat, in which the Haunted Tank leads an ill-conceived raid behind enemy lines and gets cut off from their own forces. One of the original crew memebers is killed along the way. All great stuff. I never did read his Blazing Combat stories, but Goodwin was quite capable of doing great war stories.

  • July 29, 2009, 10:42 a.m. CST

    for those that have read new youngblood

    by RaveX

    does badrock at any point yell "YAHOO! YABBA DABBA DOOM! WHATTA RUSH!" <p> if no, then there's some hope for liefeld yet...

  • July 29, 2009, 10:44 a.m. CST

    Blackest Night is amazing, but 'HIS' return is a bit obvious

    by magnetic

    Anti-Monitor, sigh. still, I have hope Johns will keep up the excitement.

  • July 29, 2009, 10:50 a.m. CST

    Muchos Comentarios

    by Homer Sexual

    I am one of those people who passed on Creepy due to the price. Still considering it, the review made it sound interesting. <p> Wow! I am shocked you loved Legion of Three Worlds. The buzz in my LCS last week was all about how much it sucked. Maybe because they felt slapped in the face. I sure didn't pick up on that, and I am kind of sensitive to biting the hand that fees. But...I didn't love it either. The Legion, to me, represents the "Trapped in Amber" accusations made against DC as well as any other DC comic. <p> It's the friggin future, for cripes sake. 1,000 years from now. Yet it is still all about a bunch of white kids. And it always focuses on the original members. It is just so damn traditional. I hate that about LSH. I do like the many characters, though, and the Black Witch was entertaining. If this is yet another launching pad, it wasn't good enough to get me to buy Legion again. Adding Gates to the most traditional (and of course most prominent) version of the Legion is a nice touch, but not enough. It's just soooo conservative. <p> Wednesday comics is a total dud at my LCS as well. Makes me wonder how long it will last. <p> I thought this month's Guardians of the Galaxy was not as good as the last several issues. Maybe too many members were MIA. Maybe the art wasn't up to par. It was pretty good, but not awesome like most recent issues have been. <p> Nice to see Futurama get some props. I think the comic may actually be funnier than the TV show. <p> Gotham City Sirens. Sigh. A comic featuring two of my absolute favorite comic characters, written by the guy who created one of them. The first issue was a letdown because the art is all wrong for the book. The second issue had more of the serviceable, but sans-personality art (this book needs stylized art) and the writing was dreadful, especially the first half. After that dumb ass Batman's identity thing was resolved, it got a little better. But if I, a person who will buy ANYTHING featuring Harley Quinn, don't like this book, that's a bad sign. <p> PS: Harley and Ivy are supposed to be sexy and cartoonish. Not some average looking regular women.

  • July 29, 2009, 11:01 a.m. CST


    by Laserhead

    I don't think that's the big bad behind Blackest Night. After Johns used him so successfully (and not as the main villain) in Sinestro Corps War. I'm hoping for something better. And we've known for two years that the anti-monitor is trapped inside the Black Lantern, powering it, so it wouldn't be much of a reveal.<p>My only guess so far... I hate to say it, but... Darkseid? No, no, they wouldn't... not AGAIN...

  • July 29, 2009, 11:24 a.m. CST

    Legion of Three Worlds

    by MattAdler

    "Wow! I am shocked you loved Legion of Three Worlds. The buzz in my LCS last week was all about how much it sucked. Maybe because they felt slapped in the face." . Well, to be fair, that's not the only reason someone might dislike it; if anyone came in looking for something revolutionary or seriously though-provoking, this comic is not it. But I tend to judge a comic on what its goals are. In this case, it seemed to me the goals were A) Tell an all-out action story and B) Set up possibilities for new Legion stories and spinoffs. I do think it succeeded on both those counts, but it's not like it set out to be a story about especially deep thoughts or themes. Still, I found the ramifications of SBP's actions worth thinking about.

  • July 29, 2009, 11:34 a.m. CST

    Weird War

    by Eddie_Dane

    I wish someone would put out a collected edition of DC's Weird War comics from the '70's.

  • July 29, 2009, 11:36 a.m. CST

    Bruce Wayne's skull?

    by rev_skarekroe

    I thought he was a caveman in another dimension? And that Robin thought he was still alive? But now he's got a skull that someone's stolen?<p>Comics. What are you gonna do?

  • July 29, 2009, 11:43 a.m. CST


    by _Palmer_Eldritch

    You're right, of course. Sorry, I got completely mixed up there. It was a great time for Spider-Man comics back then, though. Shame it all went down the gutter after that.

  • July 29, 2009, 11:43 a.m. CST

    Superman's "retroconned" disguise

    by DennisMM

    Not retroconned at all. It wasn't until Byrne came along in '86 that Clark became hunky. They've established for a long time that Clark Kent slouches his shoulders, raises his voice and wears clothes that make him look like a milquetoast. Baggy clothes were not stressed so much in the old days, though. The voice goes back to radio in the '40s. Bud Collyer played Kent as a tenor and Superman as a baritone. That continued through the Fleischer shorts and to a degree in the Kirk Alyn serials. George Reeves, on the other hand, played the two roles with very few distinguishing characteristics. When Christopher Reeve took over, he reintroduced the higher voice to a degree and the slouch and frumpy wardrobe.

  • July 29, 2009, 11:43 a.m. CST

    I'm afraid so, RaveX...

    by bottleimp

    "Yabba-dabba-doom," indeed. Liefeld isn't content just to make his own shit; he has to shit on the Flintstones.

  • July 29, 2009, 11:53 a.m. CST

    Thanks Dennis

    by optimous_douche

    That's a great lesson in continuity for those of raised on the 80s books.

  • July 29, 2009, 11:55 a.m. CST

    Blackest Night & 'His' Return.....

    by Psynapse

    My money is on Nekron. Johns is mining GL lore as it is. Nekron fits the bill perfectly.

  • July 29, 2009, 11:57 a.m. CST


    by idrinkyourmilkshake

    I LOVED THE LEIFELD CRITIQUE.THAT GUY IS A TRUEMYSTERY.And, sadly-his art has NOT improved one bit.How the fucking hell does this guy still work? But, frnakly-I love shit like this-adn that website bout 101 reason leifeld cant draw(or something to that effect).

  • July 29, 2009, 12:02 p.m. CST


    by Bluejack

    I was thinking Darkseid, but Nekron would fit well.

  • July 29, 2009, 12:05 p.m. CST

    Wednesday Comics

    by Cyrus Clops

    "Wednesday comics is a total dud at my LCS as well. Makes me wonder how long it will last." I'm gonna predict twelve issues. Just a crazy feeling I have. It's actually been selling very well at my shop (and at our chain of LCSs in general), but then I've been pushing it pretty hard on my customers. Like any anthology, some pieces are better than others (the Wonder Woman strip looks great from afar but is borderline unreadable), but as a whole I'm having a really great time with it.

  • July 29, 2009, 12:09 p.m. CST

    Not Nekron, Darkseid or Anti-Monitor.

    by SleazyG.

    Over the course of panels at SDCC last weekend, all three were shot down by Johns, Didio and others. Basically: Anti-Monitor is being used to generate power for the black rings from inside the black battery, so he's not gonna be able to get around and do much; they said the New Gods won't have much of anything to do with "Blackest Night"; and they all just sorta went "eh" and said that Nekron wasn't going to be there either. Of course, these could be fake-outs and they could be covering their asses. If it's not these three, though, who's left? Anybody got any different ideas as to who might be returning, or who the driving force behind it is?

  • July 29, 2009, 12:10 p.m. CST

    I'm not sure

    by Circean6

    I don't think SBP being a joke on the fanboys, even the most unsavory extreme ones, really does anybody any good. Do we see McDonalds running ads making fun of fat people? Or has Kiss ever written a song about how annoying their fans are? No, because its bad business and coming from a medium that’s struggling to find readerships I really think it's a short term laugh & a long term mistake. Conversely I can't blame Johns & others for feeling a little need to vent, since the internet nobody writes to letters to the editor; instead they say some hateful & profane stuff on message boards. I just think a better choice could have been made, especially since SBP has become a primary villain in the DCU. As far as "his" return? Could be Krona but my money is on Necron. He's obscure enough for Johns & has the ability to raise the dead so it seems right. Either way I'm fully enjoying the hell out of Blackest Night!

  • July 29, 2009, 12:10 p.m. CST

    The owner of my LCS had to do reorders on WEDS. COMICS.

    by SleazyG.

    The first two issues sold so well he ran through his first order and had to get more--it's actually selling even better than he expected. It appears as if its performance varies wildly from store to store.

  • July 29, 2009, 12:10 p.m. CST


    by Laserhead

    Really? That guy from Underworld Unleashed? Seems way too weak and pedestrian, and as a creation of the nineties, pretty bland. What's his special connection to the GL mythos?<p>Please, somebody better than that.<p>I'd kind of like it if Crazy Quilt is the big reveal.

  • July 29, 2009, 12:19 p.m. CST

    No, that's Neron.

    by SleazyG.

    You're thinking of Neron, the demonn who amped villains' powers up. Nekron is an otherdimensional demon who's worked with Krona in the past and has a history of messing with the Green Lantern Corps. In fact, according to wikipedia, "Kyle Rayner briefly encountered Nekron in Green Lantern Annual #7, in which Nekron nearly reentered our universe and briefly resurrected the entirety of the deceased Green Lantern Corps members with rings powered by death. Kyle was able to push Nekron back into his dimension and re-seal the rift." Which, ya gotta admit, sounds awfully close to what's going on in "Blackest Night". I still think their saying Nekron isn't a part of it was a big ol' dodge at the panels, but I could be wrong.

  • July 29, 2009, 12:21 p.m. CST

    Maybe Krona, Probably Nekron

    by fat bears

    I don't know much about Nekron, but I do know that you can find a recently re-published TPB on amazon (from all the way back in 1981) that is all about Krona attacking the Green Lanterns at the behest of Nekron, Lord of the Unliving. So, that strikes me as interesting timing for republishing a 28 year old mini as a TPB, featuring a ruler of not-quite-hell.....

  • July 29, 2009, 12:31 p.m. CST

    Regarding Nekron at SDCC '09:

    by Psynapse

    "Is a villain called Necron involved in Blackest Night? Berganza: "Who's that?" Johns: "I can't talk about that." <p> And seriously, if you've read the original stories (and I have) there is NO pre-existing character who fits the bill as well as Nekron does.

  • July 29, 2009, 12:35 p.m. CST

    Unrelated Question...

    by Homer Sexual

    I am remodeling the room in my house where I keep my comics. I tend to give away comics every time the bookcase I store them in gets full, but now I am thinking of using long boxes....that's the best way to store them, yes?

  • July 29, 2009, 12:43 p.m. CST

    I didn't watch First Flight

    by Joenathan

    But I did see Angel of Death and it was just okay. <br><br>They had the main villian stabbing people with a straight razor, like it was a dagger, and then he kept doing this awkward little two handed flip with it, as if they were trying to do the flip-open thing you can do with a butterfly knife, and it bugged me the whole time. I figured Bru knows better, but did the Director not know? Was Props confused? Did they think they actually had a Butterfly knife or did they not know that a long razor blade with a round end is not a stbbing weapon? And because of this rattling around in my head the whole time(also because they had the "Professional" asssasin, at one point, double tap a guy... in the stomach... who then died instantly...) I was underwhelmed by the whole thing.

  • July 29, 2009, 12:44 p.m. CST

    Homer - Storage

    by DennisMM

    If you can afford it, go with drawer boxes. They are sturdy and no need to unstack them to remove/add items. Personally, I built custom bookcases with ten-inch high, eight-inch wide shelves. You get 8 shelves on an eight-foot high bookcase, which allows for much more storage than a typical six-foot bookcase with five or six shelves.

  • July 29, 2009, 12:45 p.m. CST


    by Joenathan

    So they say... with boards and backings. However, I've seen guys REALLY invest and get this plastic long box things which look like, not only will they protect your comics, but completely out you as an uber-nerd should anyone catch a glimpse of them.

  • July 29, 2009, 12:46 p.m. CST

    sounds like Rockys

    by comicgeekoidtoo

    problem with catwoman is that its not written the way hes seen it done before. ok. but is superman the same character he was in the 30s? in the 80's? the biggest problem in comics is being completely a slave to continuity. every time a character is written by a writer, it should be considered an intepretation. creators cant and shouldnt be handcuffed to previous iterations of characters, what is intrinsic to one person about a character may surprisingly not be to another or to the next gen of readers. if you LIKE this one less, sure, thats a valid critique if you can explain why the previous "version" is more interesting. but to dislike difference because its different?

  • July 29, 2009, 12:49 p.m. CST


    by DennisMM

    Glad to help where I can. You want the really complicated "Mopee story" version with super-hypnotism?

  • July 29, 2009, 12:50 p.m. CST

    I'm leaning towards Krona...

    by RenoNevada2000

    I'm leaning towards Krona being the Big Bad in BLACKEST NIGHT. But only because process of elimination makes him the only suspect left. (That is if Johns is telling the truth about Nekron, which I'll concede he might not be...)

  • July 29, 2009, 1:02 p.m. CST

    Catwoman - comicgeekoidtoo

    by rock-me Amodeo

    We're not talking the 30's or the 80's. We're talking just in the past few years, starting with Final Crisis, continuing into her own series through the "One Year Later" theme in 2006 - three years ago. There's a difference between being a slave to continuity and wanting some consistency for your characters. Based on who Selina is NOW, this interpretation rang a little shallow. I stand by it.

  • July 29, 2009, 1:04 p.m. CST

    thank you for reviewing the new Creepy

    by v1cious

    we need more horror anthologies. also, Invincible has already been "pushed too far". look what he did to Angstrom Levy.

  • July 29, 2009, 1:04 p.m. CST

    Thanks, Psynapse...I take it back.

    by SleazyG.

    I was rememebering what I had read incorrectly. With the quote in front of me, I can clearly see that Berganza and Johns are basically telling us it's Nekron by saying they can't tell us it's Nekron. I dunno if Krona will pop his head in, but Nekron's definitely involved.

  • July 29, 2009, 1:05 p.m. CST

    I'm still betting on Nekron

    by Psynapse

    And I'll be back to remind you all I was right when the reveal comes. (*_^)

  • July 29, 2009, 1:08 p.m. CST


    by comicgeekoidtoo

    regardless of whether or not it was yesterday, its the same point. the difference is not the point. if the characterization in and of itself was less interesting to you, which untilmately is what I think youre saying, thats a perfectly valid critique. but tying the criticism to a false slavery to "consistency" is self-defeating, since, from your own review, it didn;t seem like all THAT much of a difference. a subtle point, perhaps, but a correct one I think.

  • July 29, 2009, 1:09 p.m. CST

    and btw

    by comicgeekoidtoo

    creepy sucked. less a horror anthology than a book ABOUT a horror anthology. I could hear the writers thinking "wow, doesnt this story tell you how great those OTHER stories were?" Yes. Yes they do.

  • July 29, 2009, 1:27 p.m. CST

    Yeah, Nekron all the way.

    by SleazyG.

    I was bleary-eyed with all the SDCC reading I had to do and misremembered their statements. Dunno if there's somebody else working with him, but Nekron's definitely a major player.

  • July 29, 2009, 1:29 p.m. CST


    by rock-me Amodeo

    Well, I would hate to see you argue a point that you DIDN'T feel was correct, lol... But Peter Parker not having a noble, self-deprecating streak, or Batman not liking guns...are these personality traits, or are they open to interpretation? Should we count on them to remain true? <br><br> This mind-altering thing was a BIG DEAL for Selina. But you seem to think that any and all history of a characters is completely up from grabs so as not to be a slave to continuity. I agree somewhat, but I also I say that recent history is not to be disregarded, else how is a character to be recognized, month from month? Admittedly, it's the never-ending conundrum of comics - how do you show character development while keeping the facets of the character that made them popular? And from time to time, a character DOES need re-interpretation, and re-invention. But that was not the case. This IS the Catwoman from Final Crisis and Hush and all that recent jazz. It's not a relaunch of the character. <br><br?In fact, I'll even go one further: given her LONG history of individuality, would she tolerate even being tied up for...ah, but I guess that's an invalid question. There's no point in trying to take satisfaction in know how a character would probably react, or being surprised when they react at all, because there's no sense in having an preconceived notions of the character's personality at all, because it could change from year to year, comic to comic, page to page...or panel to panel...

  • July 29, 2009, 1:29 p.m. CST

    Sleazy/ Angel of Death

    by Laserhead

    Thanks, Sleazy. Cleared that right up.<p>Joe, I saw most of Angel of Death online, and it was really, really bland, with pretty shoddy production values. I was surprised that Bru's efforts yielded something so cheap and cliched.<p>Anybody else want to weigh in on First Flight? I want to know if it's just me that felt it sucked.

  • July 29, 2009, 1:32 p.m. CST

    I'll even go one further...

    by rock-me Amodeo

    Given Selina's LONG history of individuality, would she endure being tied up for...ah but I guess that's an invalid question, given that we should take no delight in knowing when our favorite character's buttons have been pushed, or knowing how they might react, or being surprised when they don't. All these things could change, from year to year, month to month, comic to comic, page to page...panel to panel...

  • July 29, 2009, 1:34 p.m. CST

    rock me

    by comicgeekoidtoo

    you make a good point, but it comes down to what you feel is REALLy important in terms of character. those examples you gave, sure I agree. But in term sof Catowman, those aspects of her personality have only been introduced into her character in the past few years. they may be important to you, and a lot of those stories are great, but i just wouldn't consider it intrinsic to the character as i understand it. i certainly could be wrong

  • July 29, 2009, 1:35 p.m. CST

    Having now Wikipediaed Nekron

    by Laserhead

    How could it NOT be him?

  • July 29, 2009, 1:48 p.m. CST

    And I could be wrong, too.

    by rock-me Amodeo

    Coolio. Good point on your side, too.

  • July 29, 2009, 1:53 p.m. CST

    rock me

    by comicgeekoidtoo

    were awesome

  • July 29, 2009, 2:09 p.m. CST


    by gooseud

    1. It pains me to say this, but I'll come right out with it: Bru is in a major slump on Captain America. He gives the reins to Bucky, then gives him nothing to do with them but sit around and reminisce about the good old days for what seems like 20 issues now. Seriously, how many flashbacks can one book hold? And the Cap:Reborn thing is stolen directly word for word from the Lost tv show. I mean, completely plagiarized. Also, is Incognito only a 6 issue mini? That sucks ass. 2. I always found Superboy Prime kind of amusing, as such a direct point blank shot on all the fanboys who are like "The DCU has gotten so DARK, Boo friggin Hoo!! I want a return to the golden age of Superman fighting Mr. Mxzylplk all over Metropolis, someone get me a tissue!". 3. Walking dead rules. That last-page reveal is one of the most hilarious WTF??? moments of the series, I mean truly, Kirkman: W.T.F.

  • July 29, 2009, 2:11 p.m. CST

    I had a Summer Tentpole

    by gooseud

    in my pants reading the latest issue of Incognito with Ava Destruction. Thats all I have to say about that.

  • July 29, 2009, 2:11 p.m. CST

    I find that...

    by rock-me Amodeo

    ...i must agree with you.

  • July 29, 2009, 2:30 p.m. CST


    by Joenathan

    I just noticed that about Incognito, as well. Talk about disappointing. <br><br>As for Cap... I think both aredevil and Cap are maybe better read as trades as sometimes those arcs do seem to draaaaaaaaag. I also noticed the Reborn/Lost... ah... similariities. This isn't the first time I've seen a comic creator or artist do this and I always wonder: "Do they think they're the only person in the world to have seen Goodfellas or Godfather or 5th Element or 28 Days Later or whatever...?" Where's editorial? Where's common sense? I mean, I don't blame someone for using a similiar plot point or maybe, MAYBE, copying something, but you have to ask yourself if that plot point is worth the hassle of the familiarity?

  • July 29, 2009, 2:34 p.m. CST

    Iron Man & Wolverine animes...

    by Mr.FTW

    So now that we're here in the comic forum and not just the regular talkbacks what are the thoughts and opinions on those Marvel/Madhouse anime projects?<p> I thought they both look amazingly awesome and can't wait to see them. So far I've read a lot of bitching about Wolverine's hair which I think is beyond silly.

  • July 29, 2009, 2:43 p.m. CST

    They should make the Blackest Night villain Gaiman's Death.

    by rev_skarekroe

    Just to piss him off.

  • July 29, 2009, 2:53 p.m. CST

    Wolverine and Iron Man animes

    by Joenathan

    I can tell by the style that they're not the kind of anime I enjoy. It's that long-limbed, narrow-hipped, loaded with oh so deep ruminations on falling cherry blossoms, that I probably won't bother.<br><br>Yeah, yeah, Warren Ellis is involved, but he's made it pretty clear he didn't do much but provide some initial direction, which to me reads as: Outline.<br><br>I'm not going to bother to seek them out, but if/when they final do hit and they turn out to be awesome, then sure, I'll give them a try.<br><br>A valid question about he Wolverine anime though, is: Why bother calling it Wolverine if all you're using is the claws? This obviously isn't the case in Iron Man, so why the extreme veering away from any other noticeable hallmarks of the character?

  • July 29, 2009, 2:54 p.m. CST


    by Joenathan

    Did you finish Planetary or what?

  • July 29, 2009, 3:13 p.m. CST

    Wolverine anime character design

    by Mr.FTW

    I can definitly see how the design might take people back because it's a little different but I wouldn't say it's deviating all that much. Unlike DC's Gotham Knight or the Animatrix these new shows are been made for the Japanese market first and foremost and while they will obviously make their way state side soon enough they are just applying the style and asthetic to the character. Wolverine may look taller, thinner and younger but honestly eversince the first X-Men movie Marvel has done the same thing, not to the same extreme but Wolverine hasn't bee the 5 foot nothing squaty character in a lond time. The amine is supposed to be based of of his Japan adventures which is what so many people want from the Wolvie movie. The animation looks stellar and if the stories are good I don't think people should mind the long hair so much.<p> I know anime isn't everyone's thing but I'm loopking forward to these shows.

  • July 29, 2009, 3:13 p.m. CST

    Planetary Front To Back Review

    by gooseud

    Well, It sucked I thought........just kidding! PSYCHE!! LOL Ok so little backstory, I read the first part or so when it originally came out and dropped off around the hiatus, so the 2nd half was pretty fresh to me, I had a very very rough idea of where the story was going somewhat from mild spoilers I had picked up along the way, but nothing major.....Problems: I stand by my criticisms of the first 3rd of the story. Taken individually, they are awesome, but in a serial format, they appear to lack even the barest connective tissue between issues, I felt like I was reading 2/3rds of each issue and the other 1/3rd got lost at the printers. I also think the various delays and bullshit surrounding this series is inexcusably unprofessional garbage (how did people read this book when they couldnt go front to back like I did? How was that stand-able?). Jakita Wagner was a complete cipher, poorly written and nearing "deus ex machina", "invincible chick saves the day" status at times. So there are the criticisms........ok, having said that, clearly it all comes together in truly awesome fashion. Its a great book, I cant deny it (not that I would want to, I think Ellis is near-God when hes on). Did people not like the final conclusion of what happened to the Four? Did I pick up that vibe on these talkbacks at an earlier date?......I found the 2 issues with the angels, the spaceship, and the fate of the Thing analog to be amongst the most visually stunning, thought provoking, and haunting issues I've read in a long long time, maybe ever. The amount of moral dilemmas, thought provoking issues, action, and visual blockbusters in that arc is fucking incredible, they should teach that one at "Comics School 101"...........The Drummer was awesome........I think Ellis is haunted by the same issue we have discussed in this talkback, mainly that if the Fantastic Four existed, why didnt they cure cancer instead of fucking around with, say, Mole Man? Answer, according to Ellis: Because they didnt give a shit......I found the issue with the Four taking action against the Green Lantern, Wonder Woman, and Superman analogs to be cynical, bitter, and truly affecting. That one issue is what Mark Millar and his ilk have tried to achieve for years and been unable to there you have it. Thoughts? Observations? You guys are probably more familiar to the title then I am, seeing as I just read the last 13 issues a week ago. Anything I'm missing?

  • July 29, 2009, 3:15 p.m. CST

    Next Week

    by gooseud

    League of Extraordinary Gentlemen Vol. 1 and 2, front to back.

  • July 29, 2009, 3:41 p.m. CST


    by DennisMM

    A final commentary on "Planetary." The angels/Jacob Greene two-parter is just amazing. I was very impressed, post-hiatus, with "The Gun Club." It has a touch of that sad aura of wasted possibility that is at the core of "Magic and Loss." <P> While I was outraged by the two long hiatuses, I have to cut Ellis some slack. Apparently, he was not able to work at all for a long while. When he could, he had contracts he was required to honor before he could attend to creator-owned work like "Planetary." He also was hampered by Cassaday having taken on other work, understandably - work which, again, was under contract. These last two years, while I'm once again unhappy, can be blamed in part on Whedon & Cassaday's "Astonishing X-Men."

  • July 29, 2009, 3:41 p.m. CST

    Fuckety fuck fuck fuck

    by DennisMM

    A FINE commentary.

  • July 29, 2009, 3:46 p.m. CST


    by Laserhead

    Yeah, I had a slight issue with the way they defeated Mr. Fantastic and The Invisible Woman. By dropping them in a big hole. They had been built up as such world-threatening masterminds, the narrative had implied that Elijah was working toward some complex endgame-- which I agree played out beautifully with the Thing analog (and managed to use Galactus and Silver Surfer analogs). But the endgame of that complex endgame? Lure them into the desert and make the ground collapse beneath them seemed a bit simple, and shouldn't have worked. It just took a lot of the menace of these great villains away, and they didn't seem as formidable or threatening.

  • July 29, 2009, 3:54 p.m. CST

    The defeat of the Four

    by gooseud

    I could be stating the obvious here, but wasnt it supposed to be Elijah taking advantage of the ONE thing analog Reed didnt know (the location of the shiftship, which of course if he HAD known, would have spelled Game Over for the multiverse, as it would have given him freedom to travel effortlessly from Earth to Earth), to beam it out from under them, thus dropping them to their doom? It wasnt just ANY big hole, it was the hole created by the one chink in analog Reed's armor.

  • July 29, 2009, 3:56 p.m. CST

    Galactus and Silver Surfer

    by gooseud

    Didnt even pick up on those analogs. I rarely full-on GUSH about any comic these days, but.......Goddamn that arc was freakin amazing!

  • July 29, 2009, 3:59 p.m. CST

    On Another Note: Jean DeWolff

    by gooseud

    One of the truly great all time arcs on Spidey, and I'm not even a Spidey fan. Him simply yanking away Sin-Eater's shotgun and snapping it over his knee like a twig showed how powerful Spidey really could have been, if he had let himself go Punisher-style (and was one of my top 5 iconic childhood comics-reading moments). Then DD stepping in to be the voice of reason..........fantastic, underrated arc.

  • July 29, 2009, 4:01 p.m. CST

    The defeat of the Four

    by DennisMM

    I think you're exactly correct regarding the location of the ship being the ONE thing Dowling didn't know. I still thought it was a little bit easy that Drums managed to pass the electronics blocker to Snow - and that the Four's otherworldly science could be blocked by something very much of our world.

  • July 29, 2009, 4:04 p.m. CST

    Location of ship, sure

    by Laserhead

    But there's about a hundred ways for the Invisible Girl and Mr. Fantastic (even if he only stretches his mind) to save themselves from being dropped down a hole. It didn't matter that the hole opened up under them unexpectedly-- Kim Suskind can create and shape force-fields for Christ's sake. They should have survived being surprised by a big hole no problem.

  • July 29, 2009, 4:19 p.m. CST

    Ultimatum is finally over

    by drewlicious

    To be honest I just wanted to know if Spider-Man survived or not. Got the answer to that question. Now maybe everyone can just move on to something a little less mean-spirited.

  • July 29, 2009, 4:20 p.m. CST

    Were they dead?

    by Joenathan

    Or just fucked up, when Snow tossed them at Darkseid's feet? I'll have to go look again. Either way though -- quibble -- Maybe they didn't have as automatic of control of their power and honestly, although I'm not sure, I don't think Dowling had Reed Richard's powers. He wasn't rubber, he could stretch his mind or some shit that didn't quite make sense, but otherwise, there is no proof that he could physically stretch his body. They also shorted out her goggles that let her see, maybe that had bearing on her control, too. Plus, isn't a shift ship 50 miles high or something?<br><Br>Goose, excellant disection. The Angels arc is fantastic, but my favorite was the Sherlock Holmes issue.

  • July 29, 2009, 4:21 p.m. CST


    by Joenathan

    Did he survive?

  • July 29, 2009, 4:24 p.m. CST

    Planetary hiatus

    by Joenathan

    It was incrediblly long and admittedly, in a lesser comic, it would have ended my consumer relationship with the creato, but Planetary touches on almost everything I like. If there had been an issue with Winona Ryder naked in it, I would have sworn Ellis was writing the thing just for me, so I tolerated the delays because I hearted the product so much. Hypocritical, yes, but thats not my fault, if JMS and Loeb and whoever else didn't turn out such inferior books at such a slow pace, I wouldn't have quit them either.

  • July 29, 2009, 4:28 p.m. CST


    by Joenathan

    I like a lot of anime, I'm just not a fan of that particular style. Like, you've seen Gungrave, right? Well, that little fucking cowboy hat the guy wears in the future, I quit watching because of that terrible thing, so... yeah, one look at Wolverine an I recognize the type and know that its not for me... unless it truly is awesome, then 'll check it out.

  • July 29, 2009, 4:36 p.m. CST

    what about Eerie?

    by nolan bautista

    ...aren't Creepy and Eerie synonymous publications(along w/ Vampirella)?...

  • July 29, 2009, 4:43 p.m. CST

    Yeah, how did ULTIMATUM end?

    by SleazyG.

    I don't actually know anybody who was reading it, but there's still a morbid curiosity about how the whole thing ended. Fill us in!

  • July 29, 2009, 4:57 p.m. CST

    is there a new planetary?

    by mr. smith

    i stopped looking for a new issue a couple of years ago. loved the series, however.

  • July 29, 2009, 4:58 p.m. CST


    by Joenathan

    Last issue, supposedly

  • July 29, 2009, 5 p.m. CST

    I think, in Ellis's sci-fi world

    by gooseud

    it wouldnt have mattered if Suskind could have created a force field. It wouldnt absorb the kinetic energy. Put a guy in an inpenetrable steel ball. Then drop him off the Empire State. See what happens. Deflecting bullets? Sure. Absorbing the energy of a fall like that? No way. Also, yes they were dead as Abe Lincoln at the end. Deader then dead. Was that supposed to be Darkseid at the end? It was almost like some cross between Darkseid, the Inhumans, and mirror universe Trek. At the risk of sounding too over-praising, I will say that the "Torture of William Leather" issue was pointless and went nowhere. On the other hand, the City Zero issue was (in my mind) where the series first started to REALLY click, it was a typical Ellis-not-at-his-best scattershot idea-fest before that. City Zero and then discovering Leather in the lab was where it truly started to get rolling like a freight train.

  • July 29, 2009, 5:02 p.m. CST


    by gooseud

    IT has been years since I have touched that series, I have a funny feeling it isnt going to hold up well. Call it a hunch.

  • July 29, 2009, 5:36 p.m. CST

    SPOILER--Don't want to ruin it for anyone who didn't ask.

    by drewlicious


  • July 29, 2009, 5:41 p.m. CST

    SHAMAN WARRIOR is Awesome

    by Prof_Ender

    Scott Green pretty much said it all there: if you want kick-ass action, pick this title up.

  • July 29, 2009, 6:34 p.m. CST

    My problem with Planetary

    by Continentalop

    Is pretty much an issue of personal taste. In the series Warren Ellis points out that certain trends come along and "kill" previous trends. <p> The pulp heroes are killed by the super-heroes, representing how super-hero comics basically killed pulp magazines. <p> The Four kill Superman, Wonder Woman and Green Lantern, basically saying that Marvel's problem characters "killed" DC's simplier but and purer concept of super-heroes. <p> I don't see it that way - I see it as evolution. One generation helped begat the next generation. Victorian heroes to Pulp heroes to Golden Age super-heroes to Silver Age heroes. To me, a more apt analogy would have been Sherlock Holmes trained The Shadow who in turn trained Batman; and the Fantastic Four got their powers from encounter after encountering Superman's spaceship, who turn is really a John Carter analog from an exploding Barsoom. <p> Minor complaint, sure, but it is just that sort of tone that kind of bothered me.

  • July 29, 2009, 6:36 p.m. CST

    Neil Gaiman is fucking Amanda Palmer

    by DOGSOUP

    I don't think ANYTHING could piss him off right now.

  • July 29, 2009, 6:36 p.m. CST

    Grammar errors upon grammar errors

    by Continentalop

    To many to fix, but the big on is I meant to say "who in turn is really a John Carter analog's SON from an exploding Barsoom." <p> I'm trying to work and type - I can't multi-task worth shit.

  • July 29, 2009, 6:53 p.m. CST

    Planetary tone

    by gooseud

    I agree it can be a bit....odd. There are certainly odd things about that title. For me, the good is far more then the bad, but if people wanted to complain about the wild tonal shifts of the first 10 issues, or Jakita Wagner's cipher-like personality, or Snow's seemingly over-the-top invincibility in the final 10 issues, or the jarring chronological stops and starts of the middle 10 issues, all of those would be vaild criticisms. None were, for me, major issues, as I said the good far far outweighed the bad. However, do I think the title COULD have been better if Ellis had been allowed to get in a Walking Dead style flow of cranking out issue after issue monthly, thus smoothing out a bit of the herky-jerky whiplash-ness of the tone and flow? Yes. Had he been given the opportunity to do that I think the book would have gone down amongst the better runs of all time. As it is, its still pretty friggin good, and amazing in spots.

  • July 29, 2009, 7:03 p.m. CST

    I do like it though

    by Continentalop

    Just certain things rub me wrong about Ellis' book - his attitude towards marvel and comic books (which I explained above), his conspiracy theories involving the sci-fi movies of the 50s, the PCism he had where Fu Manchu is revealed to be "misunderstood" by the west and becomes friends with the other pulp heroes (I thought it would be more apt and braver if they saw him as representing the Orient and that they had to fight him to maintain the Western world's dominance during last century - not as evil as villain but also not someone who joins the side of angels). Little things like that just annoyed me but overall I like it a lot. <p>

  • July 29, 2009, 7:08 p.m. CST

    Liefeld and Ed Wood?

    by Star Hump

    Liefeld is the Ed Wood of comics? Isn't that being cruel to Ed Wood? Not only can Liefeld not draw, he's a shameless fucking thief. Ed Wood was incompetent but was he a lowlife, dirtbag thief?

  • July 29, 2009, 8:30 p.m. CST

    Thanks for the GUARDIANS review, Rock-Me.

    by AmericanWerewolf

    It seems like that title was made for guys like you and I.

  • July 29, 2009, 8:44 p.m. CST


    by Immortal_Fish

    Doesn't anyone realize that Cheney has long since been replaced by a Foole for as many as six months?<P>And, yes, the walking gaffe is fully deserving of the capital letter and silent E.

  • July 29, 2009, 9:02 p.m. CST

    Jesus Christ, Invincible 64 owned my ass

    by White Goodman

    Best comic book on the market. Get with it people.

  • July 29, 2009, 9:06 p.m. CST

    Star Hump

    by gooseud

    Say what you really think, man! No need to hold back!!

  • July 29, 2009, 9:24 p.m. CST

    Good review of Planetary 10

    by paulrichard

    Might contribute to the conversation

  • July 29, 2009, 10:03 p.m. CST

    YOUNGBLOOD #9???????!!!!!

    by Six Demon Bag

    he statred this when i was in high school...liefeld's only done 9 issues!!!!

  • July 29, 2009, 10:13 p.m. CST


    by theycallmemrtibbs


  • July 29, 2009, 10:15 p.m. CST

    Did Rob ever learn how to draw wrist?

    by theycallmemrtibbs

    Well did he?

  • July 29, 2009, 10:23 p.m. CST


    by Handiana Jolo

    Totally agree on First Flight. After being pleasantly surprised by Wonder Woman, my hopes were high for First Flight. But instead we get a story in which nothing about how the constructs are created is explained, nothing about how willpower is the reason Jordan is the Lantern that he is, and nothing about, well, anything besides Sinestro building a yellow Death Star.<p><p> It's hard for a free download to not be worth the price of admission, yet here we are.

  • July 29, 2009, 10:54 p.m. CST


    by jay2517

  • July 30, 2009, 3:44 a.m. CST

    SAVIOR 28

    by Johnny Smith one of the best books of the year, right up there with THE NOBODY, RASL and THE UNWRITTEN. Brilliant stuff.

  • July 30, 2009, 7:20 a.m. CST

    Is Guardians better than Valentino's Guardians?

    by Toby_FN_Wong

    Just wondering. Although Valentino only did 25 issues the rest of the series was also damn good. But if this series comes close to that 62 issue run I might start picking it up.

  • July 30, 2009, 7:34 a.m. CST

    Yeah that Planetary #10

    by gooseud

    really legitimately crushing...........and made me want to see the Four get their asses beat more then probably any other villain in comics history. I really cant remember another bad guy I hated more then the Four.

  • July 30, 2009, 8:09 a.m. CST

    But then you found out what empty threats the Four were

    by Laserhead

    once they were dropped down a hole and Kim Suskind couldn't even be bothered to make an invisible force-field to protect them. Turns out they're not master-minds or ultimate evil, just some stupid pussies.

  • July 30, 2009, 8:11 a.m. CST

    Sorry, I won't harp

    by Laserhead

    It's not as bad as the JSA lining up to pass a bucket of water to fight a fire, but the four's final defeat sticks with me as a lame, lazy bit of writing. Ellis always puts a few in his stories.

  • July 30, 2009, 8:13 a.m. CST


    by Laserhead

    Thanks for your take. I'm confident now that it's not just me and my inability to enjoy things. These animated movies should all be slam-dunks- but Superman:Doomsday, New Frontier and First Flight are all pretty bad, and I still can't figure how the one moment of sheer brilliance and exuberance is the Wonder Woman flick.

  • July 30, 2009, 8:33 a.m. CST

    Ultimatum ended in a steaming pile


    I kept reading just to see how bad it got. It was like a 13 year old was writing it and said, "Hey lets kill this guy and that guy and then this one." <p></p> The deaths stop resonating around the 20th one. <p></p> SPOILER (if anyone cares) Basically Iron Man, Cyclops and Wolverine and a few others make their final assault on Magneto. Magneto turns Iron Mans and Cyclops weapons on Wolverine and Blast him apart. (But he's still alive as enoungh of a skeleton to stab Mags)<p></p> Magneto then completely wipes away Wolverine. Then Nick Fury uses Jean Grey to get in his head to tell him that man created mutants. He's then quickly convinced by Cap to realign the North and South Poles. <p></p> Then we see Scott Summer speaking at a rally of Anti Mutant protesters. Which he gets shot and killed at. It ends with Scarlett Witch giving Pietro his fathers helmet. <p></p> All in all between this and Red Hulk, I convinced Loeb needs to quit writing comics for awhile.

  • July 30, 2009, 8:40 a.m. CST

    The cover art to Ms Marvel is crap

    by Animation

    The chick on the cover looks kinda weird. Her head looks small and her body is kinda skinny, though her boobs are huge of course. Her nose looks screwed up and she has a weird expression. I can barely tell what the hell is happening in the pic. I can kinda tell that one of her legs is going down and one is going up, after some study. I eventually figured out that none of the red costume/hands/katana mess in the lower right corner was her leg (the one going up). Just above the hilt of the katana but below the arm of the steroid freak with claws (is that wolverine?!) there is a patch of background that is flesh colored. However, the way everything is drawn, nobody's body should be there. It should be a white background. Unless Ms Marvel's leg is both fat and snapped backwards after having been broken. And back to Wolverine, if that is who that is. Why does he have anti-popeye arms? They get real spindly on the end, but the upper body is all 'roid rage. I kinda see what Spider-Man is doing, but his left arm has some kind of mutant "grows really large as it somehow goes past the chick" look. Its all out of proportion. And what the hell is that red scarf? Is that part of Spidey's costume? Or hers? I cant even tell. Who approved this POS?

  • July 30, 2009, 9:08 a.m. CST

    Goose/City Zero

    by Joenathan

    I would agree that that is the issue where things got rolling, but I would also say that that was by design. The first few issues introduced the team and their world and some day to day missions, all of which had little pieces that came back later. Ellis set the book up like a season of television and I think, pacin wise, it worked just fine, especially because by the time City Zero rolled around you were primed and ready for the next step, you knew the world, now where does it go from here? And thats when he introduced the Four.<br><br>Also, the history of William Leather kicked ass

  • July 30, 2009, 9:09 a.m. CST

    New Guardians > Old Guardians

    by Cyrus Clops

    They're similar in name only, but I prefer the new version. Any book that successfully and seriously has a tree, a squirrel, and a talking dog gets the nod from me. I never cared for that "Look! It's Marvel's Legion!" stuff anyway, and never much into Valentino's work to begin with.

  • July 30, 2009, 9:12 a.m. CST


    by Joenathan

    Kill... Evolution... six of one, half dozen of the other when it all comes down, right? Either way, the new rises up and the old fades away.

  • July 30, 2009, 9:20 a.m. CST


    by Joenathan

    Is that really how Ultimatum ended? Wow. That sounds terrible. Worse than I imagined. How does Loeb get work? Who buys his stuff these days. Are people just like: "Well, sure, most of Long Halloween was plagurized and the ending was dumb, but... I can remember liking it, so.... I guess I'll buy Ultimatum... sigh..."

  • July 30, 2009, 9:39 a.m. CST


    by gooseud

    rules. That is all.

  • July 30, 2009, 9:54 a.m. CST

    Why Loeb gets work

    by Laserhead

    He only does projects with super-star artists (and he gets those artists by saying, Hey-- tell me what you want to draw, and I'll 'write' it), projects which can be marketed as events. He's basically sucking off the superior art talent he's paired with. This all started with his Tim Sale collaborations, which, if people were honest, everyone would realize sucked as much as anything he's done now.

  • July 30, 2009, 10 a.m. CST

    I did flip through Ultimatum...

    by Homer Sexual

    It looked so very train-wrecky. I almost bought it. I actually liked the Ultimate U (well, at least the Ultimates and, especially, Ultimate X-Men) and am sort of sad to see it decimated. But I liked seeing Valkyrie cut off Magneto's arm (again, in the LCS, didn't buy it). And Wolverine's death was kinda cool. I didn't look at it enough to see Scarlet Witch turned up alive. Ironically, I quit Ultimates the issue when Scarlet Witch was killed.

  • July 30, 2009, 11:31 a.m. CST

    I liked the Ultimate U

    by Joenathan

    X-men shook me awhile ago, but Ultimates was great (until Loeb) and Spider-man has always been good. <br><Br>And while I like the idea of REALLY shaking up the Ultimate U to remove it from the shadow of regular continuity, the death of Wolverine is dumb. Its dumb because like Spider-man, like Cap, like Iron Man, he's a main stay and you know he'll be back, especially him, because thats what he's designed to do, so I always feel like they're just wasting my time by pretending to "kill" Wolverine, "oh you're so edgy... yawn." Also, it just seemed too out of the blue, not that we needed a huge build up, but it just felt like everyone was chugging along and thn they had a meeting and then BAM! Ultimatum. <br><br>However, with Loeb gone, and good writers back in, I'm excited to see where they go from here.

  • July 30, 2009, 11:38 a.m. CST

    Joe, you just described

    by gooseud

    the feeling I have reading everything ever written by Millar!! BOO YAA!!! heh heh

  • July 30, 2009, 11:47 a.m. CST

    I Liked GL: First Flight

    by LaserPants

    It wasn't what I'd call a classic, but there was too much awesome in it to write it off. That whole scene where Sinestro and Hal hunt down that Alien Perp was friggin' great. But, yeah, I agree that as an origin / set-up it was ludicrously thin.

  • July 30, 2009, 11:48 a.m. CST

    Loving BLACKEST NIGHT, But, Something's Been Bugging Me

    by LaserPants

    Since when is Death and emotion? Since when is Willpower an emotion?

  • July 30, 2009, 11:51 a.m. CST

    Superman disguise

    by 8footTallGopher

    I'd have to go back to be sure... but I'm pretty sure in Man of Steel miniseries, when clark and his parents are figuring out his costume there is a line where he says that all he has to do is slouch a little and raise his voice and nobody will be able to tell...

  • July 30, 2009, 11:55 a.m. CST

    So much awesome in it?

    by Laserhead

    As in 'none'?

  • July 30, 2009, 11:56 a.m. CST

    Ultimatum's greatest sin

    by drewlicious

    Other than killing off great characters in a completely non-sentimental (Pym kind of got me though) fashion it gave their greatest villain almost nothing to do for the most part. Doctor Doom. He barely did anything in the ultimate universe and then his head gets crushed like a grape in two pages. Then again if they want I suppose they can pull out some that Doombot bullshit later on.

  • July 30, 2009, 12:08 p.m. CST

    Karla Sofen, Ms. Marvel, Hawkeye, etc.

    by Johnny Ahab

    Karla Sofen is one of my favorite characters in the Marvel U., and I don't think she's been done any sort of justice in this massive never-ending ubiquitous Dark Avengers crossover (or the prior Osborn Thunderbolts run-up). Back during Kurt Busiek's (then Fabian N's) awesome run (till about issue 50 or so before they went to Counter-Earth and it all started to fizzle out), Karla/Moonstone was fantastic: a conflicted bad girl with megalomaniacal dreams - but also a seeming heart trying to burrow its way up from all the evil ambition that got in her way. She could manipulate rings around people for her own benefit, yet she was her own worst enemy too. She was edgy, bitchy, funny - and could kick all sort of ass. Couldn't wait to see what she was gonna do next. And the Hawkeye-Karla romance just made it all that much more intriguing. Then? She disappeared for years. But now that she's back, I wanna see the old conniving mastermind struggling with her role - and with Osborn more. What annoys me about the mishandling of her as Ms. Marvel (and Clint-as-Ronin for that matter) is that their entire relationship has been swept under the rug like it never happened. It's like Clint has been mind-wiped. I'm not crazy about his dead wife having been swapped for a Skrull, but now that she's back, that seems like a ripe scenario that none of the writers has exploited. ("You slept with HER??") Clint also cut Karla a lot of slack - and I'd love to see her try to reach out to her better angels, instead of just standing around pretending like he's never met her. While I'm on Clint Barton, anyone else tired of him as Ninja-Man?? Bulleye's taken his name and costume! So what does he do? Goes on TV to complain and spill the beans. God that's weak. I WANNA SEE A CLINT-HAWKEYE/BULLSEYE-HAWKEYE THROWDOWN! Now yes, Bullseye might probably win. But I loved in the T-Bolts run how Clint burst on the scene and ran rings around everyone by showing them that smarts & experience can often overcome powers. I reeeeeally wanna see Clint back as the Hawkster instead of just letting his whole prior identity be co-opted by a psychopath. Who's with me...? And yes, I agree, I don't like the manga-style artwork on this title. Blech.

  • July 30, 2009, 12:18 p.m. CST

    A good cartoon

    by Laserhead

    Alright, so sometimes I use my ten-month old kid as an excuse to buy cartoons. Yesterday I impulse-bought the first season of Spectacular Spider-Man, and I gotta say, it's really, really enjoyable. Many of you probably already knew this, but I'd never seen an episode. It's the most I've enjoyed Spider-Man in YEARS.

  • July 30, 2009, 12:30 p.m. CST

    Your Being WAY Too Hard On It Laserhead

    by LaserPants

    You found absolutely nothing of worth in it? Really? What about the scene I mentioned above? Or the Chase After The Spaceship Through This Wormhole part? Both of those parts were great. Especially the Sinestro shake down; trying to force that alien to OD on whatever Space Drug she was doing. I thought that, and the subsequent chase/battle were both pretty awesome.<br><br> Like I said, I agree that it was thin, the origin was perfunctory at best, but I thought the cool outweighed the 'meh'. I'd give it a 3.5 outta 5.

  • July 30, 2009, 12:34 p.m. CST


    by Mr.FTW

    Spectacular Spider-Man was a good cartoon, people just crapped all over because of the character design. But that show did cool things like introducing character before they became villain, showed Black Cat robing stores on Halloween before realling bringing her into the series, had a costume and character progression for peter after getting the symbiot. It was a good show, too bad it only lasted one season.

  • July 30, 2009, 12:45 p.m. CST


    by DennisMM

    They did mention that, but then Kent was presented as some sort of jockish, handsome, charismatic sort. It seemed a bit contradictory to me.

  • July 30, 2009, 1:03 p.m. CST

    Johnny Ahab

    by TedKordLives

    I gotta agree with you, re: Karla and Clint. There's so much potential there, and so many connections to bring that potential to fruition, I can't believe Bendis (or Reed or any-friggin-one) isn't jumping all over it. I hate that Karla got her reset button pressed, and I'm sick of Clint as 'Ninja-Man'. Yes, he's a masterless samurai, we get it! But the Clint I know would not let effin' Bullseye run around in his old costume, ever. That whole story better end with Clint beating the shit out of Bullseye- And Clint COULD take Bullseye, no question in my mind. It might be bloody, it may be close, but Clint wins for sure. <P> I realize I'm basically parroting everything you wrote, but you've (IMO) hit a few nails square on the head.

  • July 30, 2009, 1:04 p.m. CST

    @drewlicious I forgot about Doom and Thing


    Supposedly Dr. Doom was the mastermind behind the whole Ultimatum event. However thing takes him out all by himself? The more I think about it I've come to the conclusion that JEPH LOEB is LIAM THE KID.

  • July 30, 2009, 1:10 p.m. CST

    Hey, Anybody Remember?

    by TedKordLives

    Gerard Jones & Jeff Johnson's Wonder Man series from the early '90s? Man, I really liked that series. I'll go ahead and say it: Splice was a really cool villain. There you go Fraction, I threw you a bone. Or Slott, whomever, take it and run with it. <P> And that art: whatever happened to Jeff Johnson? I really liked his style. Kind of a subdued Thibert-meets-Jim Lee vibe. <P> Anybody?

  • July 30, 2009, 1:14 p.m. CST


    by TedKordLives

    Ultimate Thing took out Ultimate Doom? Fucking LAME. Ult. Ben Grimm is a fucking chump, as far as I could tell from the first couple of storyarcs. He crushed Doom's head? Fuck Jeph Loeb. <P> Jeph, take some time off and mourn your loss. Please. Then try to write comics again.

  • July 30, 2009, 1:43 p.m. CST


    by optimous_douche

    I would say willpower is kind of an emotion, but you're right about death Laser.<p> I'll rely on the science types to answer thsi question since I'm just too lazy to Wikipedia it, "Is Black part of the light spectrum?"<p> If not, I think I can guess how it sneaked in to this.

  • July 30, 2009, 1:58 p.m. CST


    by Mr.FTW

    I thought this got covered last week, black in the light spectrum is the absence of all light. Where as white is the precence of all wave lengths of light spurring the white lantern idea.

  • July 30, 2009, 2:08 p.m. CST

    FTW, LPants

    by Laserhead

    Spect. Spider-Man's cancelled? Really?<p>That sucks. It could have become the definitive spidey cartoon. The animation was a little stylized, but not too badly (not remotely like Teen Titans or anything). And it looked way better than that trapped-in-1982 mid-90s series. Are you sure it's cancelled?<p>LaserPants, I think you're being too EASY on First Flight, bud. The Sinestro shakedown scene was OK for me-- not bad, but nothing special really-- particularly since we had yet to get grounded in any characters. It was just an animated riff on Training Day. Big deal. The chase was nice. But scenes are only good within the context of a story, and a couple good scenes stuck in a crap story is still a crap story. To me, at least. Demand more.

  • July 30, 2009, 2:13 p.m. CST


    by Laserhead

    Hey, I just checked wiki, and it says Spectacular Spider-Man has already had a second season, and that they're waiting to see how the DVD of season one sells before going into production on season three. So at least there'll be another season released to DVD, even if it doesn't make it to a third.

  • July 30, 2009, 2:30 p.m. CST


    by Mr.FTW

    I didn't realize it had a second season, I know the first season aired on on the CW while the KidsWB was still their Saturday morning programming block. When CW did away with the KidsWB and replaced with the 4Kids programming block I thought it ended along with The Batman and Legion of Superheroes. Disney picked it up like they have X-Men Evolution and all the other Marvel toons and airs it on Disney XD the former ToonDisney. I knew there were talks of a second season but didn't know it actually got made, I'll have to check Disney XD to see if they are airing the new episodes.

  • July 30, 2009, 7:51 p.m. CST

    Planetary At It's Best...

    by Buzz Maverik

    ...truly, legitimately presented new ways to look at 20th century pop culture (as opposed to adding middle school notebook doodle violence and swear words -- see YOUNGBLOOD which should have been called YOUNGBLUD, and I actually like this about YOUNGBLOOD). The Hulk-like preview and City Zero were high points for me. I was disappointed when we finally saw Jacob Green, I kinda didn't like it when we got down to Planetary being the good guys and the Four being the bad guys (I've read X-Men vs. Brotherhood or Avengers vs. Masters stories before). I'm not sure I cared for the members of the Planetary Group actually having super powers, or the link to the Authority (when you have space ships appearing over major cities, why is any of this secret history a big deal?). But I loved the monster island, the Matrix/Thor deal and especially City Zero. Eventually, I got tired of all the Extrorindary Gentleman/Wold Newton stuff, but Ellis and Cassaday had the class to end the book at the right point.

  • July 31, 2009, 9:46 a.m. CST

    Bah, Buzz Maverick,

    by Joenathan

    Bah! I wish it would kep going. I'm holding out hope that the last Planetary is actually a jumping on point for a new series written by Ellis and drawn by Cassidy about the adventures of the Shift Ship.

  • Aug. 1, 2009, 5:36 p.m. CST

    by Subtitles_Off

  • Aug. 1, 2009, 5:36 p.m. CST

    by Subtitles_Off

  • Aug. 1, 2009, 5:36 p.m. CST

    by Subtitles_Off

  • Aug. 1, 2009, 5:36 p.m. CST

    by Subtitles_Off

  • Aug. 1, 2009, 5:37 p.m. CST

    by Subtitles_Off

    I spam for a good cause.