Wait, What? Ep. 133: Born Before '61

 photo 2dbf736d-a049-4513-aac6-8146f61dc223_zps80e75131.jpgAs I reacall, Patti Smith shit-talked the Bizarro Movement in Just Kids, didn't she?

yes yes yes this is a real thing that was published and yes yes yes it is Steve Gerber how did you know?

After the jump, another episode of our humble little show, complete with show notes that are even more humble and, um, even more little?

0:00-4:26: A weirdly off introduction! Words are exchanged about the weather, albeit briefly.There were some Natalie Merchant/10,000 Maniacs I was going to drop here in the show notes because she sings some song where the chorus mentions the weather, right?  I owned that Maniacs record where she sings about  beat writers and I don't know why, but thinking about that now makes me wish I could travel back in time and punch myself in the face.  I mean, technically, I could just punch myself in the face right now without the time travel (and god knows, there's plenty of times where I do exactly that, most days) but it seems like it would be letting the me of the record-buying era off far too easily. 4:26-17:20: "You know what it is?  It's nature preparing us for James Spader as Ultron." And with that, we are officially off to the races!  Also covered: Variety headlines; Nextwave: Agent of Hate; Ben Stein; every Ultron story ever; and Dan Slott's interview on the Nerdist. 17:20-26:47:  This leads to us talking more specifically about Superior Spider-Man by (you guessed it) Dan Slott and various artists. 26:47-33:57: By contrast, Graeme also has a lot to say about Young Avengers #9 by Kieron Gillen and Jamie McKelvie.  Graeme also is loving Wolverine and the X-Men by Jason Aaron and Nick Bradshaw (with heavy-duty spoilers at the 31:01 mark for about a minute?) 33:57-40:00: And we had positive things to say about Justice League #23 by Geoff Johns and Ivan Reis and the conclusion of Trinity War. (And there are spoilers here at 35:52 until about 37:00, if you want to avoid having one of the book's big moments revealed.) 40:00-43:31: The Batman Inc. Special! Dear god, am I going to list the times for every one of these books, and also whenever we spoil an important moment in that book?  I wonder who will find my desiccated corpse in this chair? Anyway, we talk about this grab bag "epilogue" with a special shout-out to the terribly executed afterword by Grant Morrison.  What the fuck, DC -- that is basically the special shout-out (spoilers!) -- what the fuck. 43:31-55:09: The American Vampire Anthology! Adventures of Superman #4 with stunning work by Chris Weston!

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Action Comics by Scott Lobdell and Tyler Kirkham!  Superman Unchained by two unknown newcomers whose names escape me! 55:09-1:12:02: Superman related!  Jeff grabbed Superman: Phantom Zone by Steve Gerber and Gene Colan and he has mixed feelings about it.  Adoration, sure, I mean how can you not adore stuff like the image that heads up this entry but….well, there are things, and Jeff talks about them. (Oh, does he talk about them!) 1:12:02-1:25:42:  Graeme has read the latest Batwoman collection, Batwoman Vol. 3: World's Finest. And this leads to us talking about the fruits of collaboration, the current difficulty with seeing today's work as such, Stan Lee & Jack Kirby, and more. 1:25:42-1:34:59:  Speaking of Jack Kirby's OMAC: One Man Army Corps:

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Jeff speed-reread all eight issues of OMAC and oh man that is glorious, glorious stuff. Since this was recorded the day after Jack Kirby's 96th birthday, we had to talk (all too briefly!) about the wonder that is the man's work. 1:34:59-1:38:03: Jeff also read the collected The End of the Fucking World by Charles Forsman, finally getting a chance to finish it many months after loving the first issue. 1:38:03-1:44:21: Jeff has read Batman 66 and walks to talk about it, and tries to instigate a bigger conversation about digital motion comics that, sadly, neither Graeme nor Jeff himself are really ready to have yet?  Oops. 1:44:21-1:53:53: This does lead us to discuss Infinity's infinite comic, which leads us to discuss recent work by Jonathan Hickman for Marvel, which leads us to discuss Matt Fraction's work for Marvel, which leads to... 1:53:53-end: Closing comments!  Ben Affleck as Batman! Scary fingers! And…scene.

Look to the skies! (By which I mean: iTunes!) Look to the skies! (By which I also mean:  our RSS feed, which is absurdly long now.  It's like the opening scrawl to Star Wars -- it just scrolls into the horizon forever, at this point.)  The candy-coated skies!  (By which I mean, uh... you are also welcome to check out the episode below, should you choose, at your leisure?)

Wait, What? Ep. 133: Born Before '61

As ever, we thank you for your kindly attention!

Wait, What? Ep. 121: Gilded View

 photo 5E3A629E-A54B-4884-98E6-1460BC90AC28-8923-000010541BE34CED_zps4e7b381d.jpgErroneously called 'Barbarian Romance' by Jeff throughout the hours that follow. Image, I believe, by Corey Lewis for Brandon Graham; Apologies if that link is a jerk.

Oh my god, it almost doesn't matter what hour of the day or night it is, my next door neighbors WILL NOT FUCKING SHUT UP.

After the jump: show notes just the way Thomas Hobbes would like 'em: nasty, brutish and short.  (Actually, just short.)

Sorry, I'm angry and terrified about the bombing at the Boston Marathon.  My best wishes and condolences to everyone involved.  It feels weird just rolling this forward but the show must go on, right?

0:00-2:32:  We go right from greetings to tech problems to Age of Ultron in under two minutes! 2:32-28:14: Comixology, Apple, and SAGAgate!  Our least favorite controversy ever? Maybe!  Our favorite issue of SAGA yet? Almost certainly! 28:14-42:24: Comics! Graeme has read the Avengers Assemble AU issue written by Al Ewing and has things he quite enjoys.  Jeff talks about Age of Ultron #5, but in more of a light overview kind of way and not in his standard "Haters gotta hate and god am I a hater" kind of way.  Graeme has recently reread Bendis's Siege event and compares it with  the AoU pacing… 42:24-48:59: Jennifer Blood #25, writing credited to Al Ewing but it's not.  (What the hell is up with that, Dynamite?) 48:59-1:01:22: Batman & (Red) Robin #19 by Peter Tomasi and Patrick Gleason: the term Haney-rific is used. 1:01:22-1:07:16:  Batman #19 by Scott Snyder and Greg Capullo: the term "Cronenbergian body horror" is used (but lightly, which may not count).  The four page preview of Lazarus by Greg Rucka and Michael Lark also gets some love from us. 1:07:16-1:07:37: Intermission One! 1:07:37-1:30:56: Jeff talks about how great the Whatnauts are. (Big props to Voodoo Ben!) Also, for those of you unsure about our status as hunters & gatherers.I'd like to say we smoothly segue from there to Archer & Armstrong #9 but it's not smooth even slightly.  Graeme has some information about reaction from Quantum & Woody's co-creator, Mark Bright. Also discussed: Tony Bedard, Joe Casey's Sex, and Dive Bar by friend of the podcast Dave Clarke which you can read online. 1:30:56-1:46:34: Finally, Jeff gets around to talking bit more about what he digs about the Hulk, a point that was supposed to have been made several podcasts ago -- so thanks for waiting!). We cover the concept of a character's iconic era; the return of the Marvel 700 giveaway; Ditko; Bendis; Abhay; and more. 1:46:34-2:01:38:  Also on Jeff's mind these days:  Barbarian Revenge (as Brandon Graham might put it).  More specifically:  The Chronicles of Conan and Thundarr The Barbarian. So of course, we talk about Roy Thomas, John Buscema, Kamandi, uggs, Steve Gerber, Jack Kirby.  Is it any wonder Jeff is almost slobberingly rhapsodic at the end of it? 2:01:38-end:  Closing Comments! More Age of Ultron talking because -- well, honestly, I'm not entirely sure why. And Zeb Wells! And Richard Nixon! Also, this is the penultimate episode before a skip week so take note.

And, on the off-hand chance you read all that and want to listen to the podcast [Note to self:  put episode link above show notes?], well, it's probably on iTunes, fingers crossed, and you can also listen to it below:

Wait, What? Ep. 121: Gilded View

As always, we hope you enjoy and thank you for listening.

"I Tried Everything Else." COMICS! Sometimes Chaykin's Awake!!!

Hopefully you all made it through any storms okay, my American friends! If you did I've got some rubbish about comics for ya.Content! You might not want it, you might not like it but it's there!

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G.I. COMBAT #5 Featuring The Haunted Tank Art by Howard Victor Chaykin Story and Words by Peter J. Tomasi Coloured by Jesus Arbutov Lettered by Rob Leigh The Unknown Soldier Art by Staz Johnson Written by Jimmy Palmiotti and Justin Gray Coloured by Rob Schwager Lettered by Rob Leigh The Haunted Tank created by Russ Heath and Robert Kanigher The Unknown Soldier created byJoe Kubert and Robert Kanigher DC Comics, $3.99 (2012) Photobucket

First up, I have to thank Corey (Ottawa) for bringing this comic to my attention. If it wasn't for our Canadian Contingent I'd not have known the art chores on this were by everyone's favourite filth peddler Mr. Howard Victor Chaykin! I wasn't expecting much here to be honest, I thought he'd probably be busy drawing comics too frisky for the UK to have any electrolytes left over for a book about a, well, a haunted tank.  I don't know if it's being able to clip art the shit out of this book due to its emphasis on hardware but the bits that aren't hardware have Howard Victor Chaykin pounding the pages with a barrage of highly entertaining images. Unlike, so I hear, the pounding he's giving the pages in that other (banned) book.

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Tomasi gives him a totally stupid story to illustrate involving a nutty veteran clad in The Flag being tank-napped into a supernatural rescue mission while being pursued by Wonder Woman's high-tech ex Steve Trevor. It is nonsensical stuff but, I don't know if you've ever given it much thought but, the whole concept of The Haunted Tank isn't going to win any awards for realism. So why not go wide on the goofiness.  Chaykin seems to be enjoying himself and it all comes together a lot more successfully than some of his recent efforts. Not once did Jesus Arbutov's colour work have me reaching to ring the police and at times I was tempted to throw back my head and bellow Blessed-style "CHAYKIN'S AWAKE!!!"  Maybe he just enjoyed ringing up his russety pal Russ Heath and irritating him by going "Pop! Just drawn a tank! Pop! Just drew another! These computers are great! Now how long did it used to take you to draw these tanks, Russ? Pop! Drew another! Hey, I ever tell ya I can see the beach from my window?" I don't know, I just really enjoyed his stuff this time out. It was GOOD!

WOLVERINE MAX #1 Art by Roland Boschi & Connor Willumsen Written by Jason Starr Coloured by Dan Brown Lettered by VC's Cory Petit Wolverine created by Len Wein, John Romita Snr and Herb Trimpe Marvel, $3.99 (2012) Photobucket

While Jason Starr is a good writer of novels and I have also been known to enjoy the work of Roland Boschi the real reason I picked this up was because of Connor Willumsen. He does not disappoint! Boschi's pages seem somewhat rushed and concern the present day Wolverine fighting sharks and having no memory of why he ended up doing that. Also, his legs grow back and everyone is only slightly perturbed by this. Perturbed's too strong a word actually. I know health care professionals are rushed off their feet and are basically the busiest people in show-business and The Japanese are a modest people...but I think two legs growing back, bones and all, would cause more than a raised eyebrow and a muttered aside, suggesting such an event is more a case of exhibitionism than it is straight up miraculous. Jason Starr's handling of Wolverine's talents but in the real world is off to a choppy start is what I'm saying.

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Willumsen, however, burns rubber from the off with his flashback scenes which portray Daniel Day Lewis from There Will Be Blood stepping into the original Claremont/Miller mini-series but in a grubbily humming Underground Comix stylee. So amazing are his inky doings that even the writing seems elevated with Victor sounding especially characterful in his disdain for the normals. I would buy this series purely for the further expansion of these elements.  I would but Marvel seem to have upset Connor Willumsen so much that he has jumped ship. His work will not be appearing in any subsequent issues of WOLVERINE MAX and so I will not be buying them as without him this comic will be less than GOOD! Well done there, Marvel! Yes, that is sarcasm.

DAREDEVIL: END OF DAYS #1 Art by Klaus Janson and Bill Sienkiewicz Written by Brian Michael Bendis & David Mack Coloured by Matt Hollingsworth Lettered by VC's Joe Caramagna Daredevil created by Bill Everett and Stan Lee Marvel, $3.99 (2012) Photobucket

I asked my LCS why they sent this (you're darned tooting I did) and they said it was because I liked Janson and Sienkiewickz, which is true. What they failed to factor in is that ladling the  steaming hot writing of Brian Michael Bendis over the top of their efforts is, at this stage in the game, like climbing a stepladder to fart repeatedly right in my face as I admire a Vermeer. It's distractingly puerile and pretty quickly spoils the whole experience. The best bit (i.e. the very worst bit of very many bad bits) is when Ben Urich's (very long, very, very fucking awful) monologue accuses his audience (his readers, geddit!) of not appreciating words. This is super-awesome because he's being written by someone who treats the English language with all the care and attention of a hungover abattoir worker placing his bolt-gun to a steer's head.

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This is a writer who seems to have a working vocabulary of, maybe, fifty words and whose solution to every writing conundrum (an introduction to The Incal, an introduction to a HVC art book, a recipe for quiche, instructions on how to install a Norton Commando Boyer ignition etc) is always a chatty, faux-conversational, uninformative, space devouring style which smashes grammar's head in with a brick and is in no way to be taken as an indication of a complete inability to write anything approaching a joined up sentence. Christ, this is why I ask my LCS not to send his (dismal, dismal) stuff. This comic is smug, vacuous, inane, pandering, complacent ineptitude par excellence. This comic is CRAP! I did not like it.

THE INFERNAL MAN-THING #3 Art by Kevin Nowlan Written by Steve Gerber Lettered by Todd Klein Also "...Man-Thing!" from Savage Tales #1 Art by Gray Morrow Written by Gerry Conway & Roy Thomas Man-Thing created by Stan Lee, Roy Thomas, Gerry Conway and Gray Morrow Marvel, $3.99 (2012) Photobucket

And so we close the comic and close the curtain on one Steve Gerber as he defies the laws of nature and reality to bow out of comics for the final time, some four years after his physical death. As we bite back the tears lets allow a manly clap on the back for Kevin Nowlan who did Gerber proud twice over with beautifully considered art to which he then applied a thoughtful and innovative colour palette.  Together with this final VERY GOOD! chapter of Gerber's playful, humane and imaginative end-song Marvel have also included Manny's first appearance.  Whether placing an ending with a beginning together in such close proximity is Marvel's way of acknowledging the Cycle of Life or just another attempt to squeeze a property until the pips squeak we'll probably never know. (Steve Gerber would have known.)

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FATALE #8 By Sean Phillips and Ed Brubaker With colours by Dave Stewart Fatale created by Sean Phillips and Ed Brubaker Image, $3.50 (2012) Photobucket

I've not been impressed with this series so far but I will admit that while this issue still wasn't terribly good it was a whole lot better. Maybe it had something to with a sudden upswing in the density of incident or the fact that Phillips' art seemed more lively since he was given a couple of occasions on which to strut his stuff style-wise.  I still don't find it to be convincingly evocative of a time and place; it'll take more than some beards in a VW van to make me swoon at the authenticity of the '7os vibe, man.  At times I can almost smell the spirit glue holding all the sideburns on. Most deflating of all is the fact that the series is still hamstrung by bizarrely conservative and old-fashioned sense of horror (tentacles! men in robes with daggers! cemeteries!) which means the horror is never actually, well, horrible.

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The humourlessness of the whole thing has also struck me recently; this was unfortunate because I then realised I couldn't recall one incidence of humour in all the work I've read by this author. That's a lot of pages in which to not crack a smile. Maybe it's me. Senses of humour are personal after all but still  the funniest thing in FATALE #8 is when the rather tasteless competition in the lettercol results in one John Cleaver out writing this whole series with just one paragraph. Mind you, if any readers do want to send me pictures of them crying while they remember horribly traumatic events from their lives they are welcome to do so(*). Get really close in there so I can see the fat bulbs of those tears bloating from your sad ducts, kids! The winner could receive a pen! So, yeah, this issue was OKAY! and you can buy it from The Savage Critics Digital Shop...here! (Although if more than 10% of the comics reading audience do so a big red light starts flashing and Brian Hibbs starts rushing everyone to the shelters as AROOOGA! AROOOGA! echoes rounds his shaggy head. It's a true fact, cats and kittens!)

(*) Don't do this. It's a joke.

ACTION COMICS #13 Featuring... Superman in..."The Ghost In The Fortress of Solitude" Art by Travel Foreman Written by Grant Morrison Coloured by Brad Anderson Lettered by Steve Wands Superman in..."A Boy And His Dog" Art by Brad Walker (p) & Andrew Hennessy(i) Written by Sholly Fisch Coloured by Jay David Ramos Lettered by Patrick Brosseau Superman created by Jerry Siegel and Joe Shuster DC Comics, $3.99 (2012) Photobucket

It's strange the connections your mind makes. In my head Morrison's recent callous remarks regarding the treatment of Siegel and Shuster and the portrayal of animals throughout his work suggests to me one of those lovely people who care more for the feelings of animals than those of people. Which is all really cuddly on the surface until you press them on the issue and they suddenly hiss at you that people deserve what they get! Which I find a less than generous rationale and more than a little confusing in its mix of sentiment and insensitivity. Almost as confusing as this comic which I have a strong suspicion makes no sense but as I too have a soft spot for tales of the gud dog I'll let its muddled nature pass this time and say this comic was OKAY!

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So yeah, those were certainly some words about what I believe scientists are now calling COMICS!!!

Wait, What? Ep. 105: Ringing Endorsements

Uploaded from the Photobucket iPhone AppBrandon Graham's Multiple Warheads: Worth the Trip

Safe and dry on the left coast, we are willing and able to provide you with two-plus hours of distraction.  At no point in the following podcast do we mention the extensive rat population of New York clawing their way to higher ground even if it means going through dark, electricity free apartments and the helpless population contained therein to do so.  Not once!

So...join us after the jump and help us think happy thoughts, won't you?

Show notes?  Why yes, we do have show notes, now that you mention it...

1:01-4:46: Greetings!  Welcome to the hundred and fifth episode of the world's worst conspiracy. A brief bit of culinary discussion before we gear up to our four color topics of discussion.  Although this is the our first-ever "book club" podcast where we sit down and finally discuss in full Sean Howe's remarkable Marvel Comics: The Untold Story, we also thought we should give you some reviews and news analysis, too.
4:46-31:19:  First up:  the gorgeousness of Brandon Graham's Multiple Warheads.  Graeme and Jeff both read it, both dug it, and both dig into it for your entertainment, edification and (probably) exasperation.  There's also a bit of discussion about the latest issue of Prophet for comparison/contrast.
31:19-31:40:  Intermission Uno.
31:40-1:07:04:  More comics! We're a mite divided on Batman, Inc. #4 and Flash #13. Also, under Graeme's microscope:  Superman #13. Talon #1, Ghost #1, Captain America #19, The Hive by Charles Burns, and, in passing, Superman: Earth One, Vol. 2.
1:07:04-1:07:26: Intermission dos!
1:07:26-1:08:23: Incidentally, though this episode is debuting just before Halloween, we didn't record this in costume or anything...though Graeme does start us off with a very good HAL imitation.  Too bad they haven't invented the "Sexy HAL 9000 costume" for Halloween...yet.
1:08:23-1:56:55:  Sean Howe's Marvel Comics: The Untold Story.  Graeme and Jeff praise it; we kvetch about it; we both whole-heartedly recommend it and have a variety of caveats to issue.  It's the first episode of the Wait, What? Book Club and we invite you to give the book a read and us a listen.
1:56:55-2:02:23:  Tech corner:  Curious about what model of Kindle Graeme is using?  Jeff is!
2:02:23-end:  Closing comments: In case you wanted a section of the podcast that's all about what to get Jeff for his birthday, listen to this section first!
And...there you have it.  Quality talk about (some quality comics and comics-related nonfiction).  This week we're skipping recording so if you fell behind and want to catch up, you've got two weeks to do so.
And if you want to listen to this podcast I just finished notating the heck out of...well, you have probably seen it staring at you from the corner of the block of Haddonfield, iTunes Illinois.
But if not, I believe you will find out it lying just below the Doyle house window below...waiting for you now:
May everyone everywhere stay dry, healthy, and safe, and have a fine ol' All Hallow's and All Saint's!

"Let 'Em Loose, Bobo!" COMICS! Sometimes They May Arouse The Proles!

How goes the day! I guess after that Olympics Opening Ceremony I should just assure all our American friends, particularly your President, that the National Health Service doesn't actually mean that you have a socialist nation 3,000 miles off the coast of America. And, no, if you let this stand all of Europe isn't going to go next in a kind of domino effect. You guys are so ansty!

Photobucket Connor Willumson/Jason Latour (art/words)

I read some comics and then did the words thing. You can do the reading bit if you like, if there's nowt on the box.

UNTOLD TALES OF THE PUNISHERMAX #2 Art by Connor Willumson Written by Jason Latour Coloured by James Campbell Lettered by VC's Cory Petit Marvel, $3.99 (2012) THE PUNISHER created by Gerry Conway, John Romita Snr and Ross Andru Photobucket Cover by Kaare Andrews

This VERY GOOD! book is about Punisher Max. Unlike the Regular Punisher he does not have a beard, and his stories have swears, gore and dead kids in ‘em! Because, yes, Regular Punisher now has a beard. That’s the only thing that caught my attention in that recent irritating crossover with Daredevil. Not wishing to impugn the, no doubt, exhaustive research by Greg Rucka into face foliage, but I don’t think it’s a good look for Frank. He should be clean shaven do you not think? Shaving’s about discipline, shaving’s very military. But a beard? A beard’s not about discipline, a beard’s about vanity. Vanity’s not really something I associate with psychotic vigilantes. I have a hard time believing Frank Castle puts his War on Crime on hold while he just trims his tidy beard. Yes, I can believe a man can fly, but apparently a vengeful killing machine that has a face care regime is a step too far for me. No offence intended there to any bearded people. Particularly any bearded people built like brick shit houses who control this site. The Punisher's beard is important, yes?

Photobucket Connor Willumson/Jason Latour (art/words)

Anyway, this book is about the other Punisher, the one who can eat soup without upsetting people at the next table. It’s called Untold Tales and yet here they are. It’s the second issue and like the first issue the real reason for paying three dollars and ninety nine cents is the art. Last issue’s art was pretty good but this issue’s art by Willumson is preposterously good. I’m not well versed in anything too freaky but even I can tell there’s a real ComiX vibe to the art. It’s got a wild-eyed and feral vibe to it which makes the contents of every deceptively traditionally shaped panel thrum with an animal heat and press against the page with an almost physical weight. The youngsters will appreciate that the sound FX are even drawn in as though they are giant inflatable physical presences, like Frank Quitely did in that Batman comic that time. Admittedly this senses shattering artistic performance is yoked to a fundamentally meat’n’taters tale; one which seems inspired by that old Jerry Lee song (“Come on over, baby, we got Castle in the barn!”) and has a big chunky gold shout-out to the King. No, not Jack Kirby. Elvis. Jack Kirby’s dead, stop going on about it. Stan Lee did everything! C’mon, Stan Lee probably stood behind Jack Kirby’s chair and moved his simple little hands for him. Why not, eh?

MIND MGMT #2 Story, art and cover by Matt Kindt Dark Horse, $3.99 (2012) MIND MGMT created by Matt Kindt Photobucket Cover by Matt Kindt Did you notice the stitches on the guy's face? Ahuh, Matt Kindt is still EXCELLENT!

THE SHADOW #4 Art by Aaron Campbell Written by Garth Ennis Colours by Carlos Lopez Lettered by Rob Steen Cover by Howard Victor Chaykin Dynamite, $3.99, (2012) THE SHADOW created by Walter B. Gibson Photobucket Cover by Howard Victor Chaykin

It’s a shame Campbell isn't just that bit better because this issue he does a pretty good job; there's a real sense of time and place, a sense that someone has done their homework, that materials of an archival nature have been attended to but, due to certain core failings, he can't help but  fluff the big emotional bit somewhat, which has the unfortunate effect of my authorially intended species-shame at Ennis’ intentional homage to The Searchers being trumped by the fact that I find myself thinking, man, hats sure are hard to do. And they are, ask Lou Fine, so this was still GOOD!

BLACK KISS 2 #1 By Howard Victor Chaykin Image Comics, $3.99 (2012) BLACK KISS created by Howard Victor Chaykin Photobucket

"That's a Pez Dispenser, right?" Cover by Howard Victor Chaykin

Ban This Sick Filth!” blared the Daily Mail headline that Wednesday morning. Of course “Ban This Sick Filth!” is the Daily Mail’s headline every morning and had nothing to do with Howard Victor Chaykin’s new exercise in saucy muck being held by The Customs. Oooer! Held by The Customs! Fnarr! Fnarr! The true extent of the upset was only revealed when the owner of my LCS commented, “No one cares, John.” Before adding, “And when are you going to pay for all these comics.” Leaving him to his quips I realised something had to be done, so I poked my head over the wall and saw Her Madge was pegging her washing out. I mentioned the whole thing to her, and she said she remembered meeting Howard Victor Chaykin when she guest starred in Viper and he had "sad eyes, like a child with a grazed knee" and agreed to get The Head Boy over to sort the whole HVC BK2 UK situation out.

Photobucket "I can see the beach from my window. That's how much I give a s***." He didn't say when he wasn't contacted.

So Cammers turns up, and he's a bit out of sorts because we’d interrupted him holding the back door of the NHS open so the Private Sector could run in and strip the place bare, wires and all, before anyone cottoned on. He’d got a copy of the moral soiling rag in question and he held it up to his face, his statesman’s face, his face with all the statesmanlike integrity of a lard sculpture of a single bum cheek, but with eyes, and commenced to read with those eyes. And he goes, he says,  “Yes, but is it a book you would wish your wife or servants to read?" And Her Madge points out it isn't 1960 and tells him to his face that the book will be available next week, or she'll be reminding everyone about that time he left his own child behind in the pub. "Did he thank you, then?" said my LCS owner when I told him of the entirely imaginary lengths I had gone to for HVC. "No", I said, "And he’ll never have to.

THE SIXTH GUN #23 Art by Tyler Crook Written by Cullen Bunn Coloured by Bill Crabtree Lettered by Douglas E. Sherwood Oni Press, $3.99 (2012) THE SIXTH GUN created by Cullen Bunn & Brian Hurtt Photobucket Cover by Brian Hurtt

Yeah, I miss Bat Lash too, so this was GOOD!

 

ADVENTURE TIME: MARCELINE AND THE SCREAM QUEENS #1 Written & illustrated by Meredith Gran, Jen Wang Coloured by Lisa Moore Lettered by Steve Wands KaBoom!, $3.99 (2012) ADVENTURE TIME created by Pendleton Ward Photobucket

Much like Blessed Brian Hibbs I asked an 8 year old boy what he made of this comic. There must have been some kind of miscommunication because quite quickly there was a lot of shouting and after a bit of tussling a police presence was required. Anyway my court date is next month so if anyone can put me in touch with a good lawyer that’d be great. Otherwise, this comic aimed at 8-year old children contains a reference to the popular children’s entertainer Iggy Pop(!) and revolves around the fantasy of having a super-awesome musical career; that’s really more a teen and mid twenties thing, I think. Although these days I guess that dream can be dragged all the way into your forties. Mind you, it will probably weather the ravages of time about as well as the skin on the back of Cher's knees.

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Meredith Gran (w/a)

People may mock, but you only need to do one song that plays over the end credits of the latest Jenifer Aniston flick (one where workaholic Jen learns the value of things via a series of laugh-out-loud hi-jinks stemming from her upsetting a genie and being cursed with a set of talking balls on her chin) and you’ll never have to hit up your Mom for cash again! I dunno, if you’re doing a kids comic I’d say get the stuff kids like right first, and then put all the hip stuff aimed at your mates in. Otherwise you’ll end up with something that’s really nice looking but essentially EH!

 

FATIMA: THE BLOOD SPINNERS #1 and #2 Story & Art by Gilbert Hernandez Dark Horse, $3.99 (2012) FATIMA: THE BLOOD SPINNERS created by Gilbert Hernandez Photobucket

Covers by Gilbert Hernandez

Now this, this, is a comic an 8 year old boy would like! In fact it’s a bit like a comic an 8 year old boy would create. An 8 year old whose pets keep disappearing. It’s a disturbingly affectless presentation of a gorily deadpan comedy parody/celebration of genre trash. Maybe it has something serious to say about the human condition. We’ll probably never know as rational thought quickly gets tickled into insensibility by the women in bikinis shooting zombies, cleverly stupid names like “bittermeat”, laughably terrible jokes and the rewarding central conceit of beautiful people with beige minds seriously making a mess of the whole saving the world thing.

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Gilbert Hernandez (a/w)

Look, the people in this awesome comic wear devices that look like metal Y-fronts to make them invisible for the delightfully childish and arbitrary time of 3 minutes. That should clue any slowcoaches in that this is no Walking Dead. And that's just peachy by me.  I also liked the letter in the back of #2 that said Fatima had a “manly” face. It’s comics by Gilbert Hernandez! Don't be getting all prissy, John Sayles wrote Alligator. I hear Beto's (I call him Beto because we are so close we were practically separated at birth.)  now been doing this stuff for 30 years, man and boy, and he remains VERY GOOD!

THE INFERNAL MAN-THING #1 and #2 Art by Kevin Nowlan Written by Steve Gerber Lettered by Todd Klein Marvel, $3.99 ea (2012) MAN-THING created by Stan Lee, Roy Thomas, Gerry Conway and Gray Morrow Photobucket Covers by Art Adams

This doesn’t read too well as individual issues as (as I am sure we are all aware) it is an OGN cut up and shoved out in three easy, and pricey, pieces. It’s taken this long because Kevin Nowlan has taken this long. According to the text piece in #1 he was doing a page a week. At the Marvel page rates I have made up in my head, he would have starved to death before getting to page 10. So, rather than produce a half-assed product or die, Nowlan took his time and did other stuff. And I do have to say that the art here is very, very impressive. He’s got a ‘80s Kyle Baker thing going on, but with the additional, and considerable, oomph a foundation of fully painted colour provides. It’s a purposefully limited palette which gives everything a humid and lurid look. Like a swamp, see. Also, Nowlan’s also given Man-Thing a bit of a make-over and it’s kinda nice too, particularly the way Manny’s head seems to have slipped down to rest on his chest. Nice, that. Causes your gaze to stumble every time, good effect there. The words are very Steve Gerber, which is to say it’s very satirical in that endearingly adolescently blunt style Steve Gerber had. And when I say “adolescent” I don’t mean it as a put-down I just mean that in the sense of being energetic and all-encompassing. I always think of Steve Gerber as being an American version of Pat Mills, writing wise anyway. Although Gerber's more willing to accept his own portion of blame for the way things suck, I think. Maybe that’s why people respond more warmly to the work of Gerber than that of Mills.If you like Steve Gerber you'll like this, if you've never read Steve Gerber it's a good start as it is very Gerber-y. If you don't like Steve Gerber we won't be spending Christmas together. Because he and this are both VERY GOOD!

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Kevin Nowlan/Steve Gerber (a/w)

According to #1 there's a lot of respect in this project. And yes, there probably is but this is Marvel. And so, as respectful as it was of your Uncle Nate to turn up to Pappy's funeral, it would have been better if he hadn't crammed his pockets with canapés, winked at the widow and blocked the bog with a boozy poo before drunkenly falling through a window. It’s a sloppy package what with the reprint of “Song-Cry of The Living Dead Man” looking kind of cheap and, in the second issue, having a double page spread printed on the front and back of the same page. This comic cost me two pounds and ninety nine pence Sterling, and yet I've had menus from the local pizza place pushed through my letterbox that had more thought, care and consideration in their design. But, I’m sure somewhere in there is a very real respect for Steve Gerber. At least Uncle Nate turned up, y'know. Ultimately, as Marvel as it is, it’s done out of respect for Steve Gerber, who is dead. And of course even Marvel respect the dead. Except for Jack Kirby. Who, it seems, can still just go f*** himself.

I hope you all had a smashing wekend and read some smashing COMICS!!!

Wait, What? Ep. 94: The Basement Japes

Uploaded from the Photobucket iPhone App Above: The Farm Fusion Waffle, which is a liege waffle topped with mushroom, spinach, roasted pepper, tomato and marinated chevre, from the Waffle Window, Portland, OR.

Yes, that is one mighty tasty waffle, let me tell you -- although let me be honest, I do not tell you in episode 95, I merely mention it to you now. But!  Trust me, it's darn good.

As for what we do discuss in this episode, join me behind the jump for... show notes!

1:20-3:24: The Basement Japes: an introduction
3:24-13:21: The front page of Time.com and how to get there; Jeff makes Graeme break down the process behind his recent Dark Knight Rises
13:21-22:03: Graeme has recently seen Transformers: Dark of the Moon on Netflix Watch Instantly  and would like to talk about it and a certain amount of contemplation transpires about the quote-unquote charms of Michael Bay.
22:03-32:02: By very sad contrast, Jeff has something to say about Melissa & Joey, which he mistakenly calls "Melissa Loves Joey" THE ENTIRE TIME.  Is Jeff really so damn old he would get the title confused with Joanie Loves Chachi?  The answer, sadly, is yes.  Fortunately, Graeme steers Jeff toward Sex House, instead.  Although that seems like a weird lead-in to mentioning Jarett Kobek's new book, If You Won't Read, Then Why Should I Write? (and yes, I also get that title wrong, too), it actually works quite well, honest.
32:02-32:22: This is the point where we acknowledge that we have not really talked about comics at all, yet.
32:22-34:18: So instead of talking about Transformer movies, we mention Transformers comics and GI Joe comics.  Woo!
34:18-40:51: Well, and so you can't really talk about GI Joe Comics without discussing Top Shelf's Double Barrel, can you? No, of course not.  Trust me when I say we speak glowingly of Double Barrel #2.
40:51-56:04: Jeff's other major comic read of the week was catching up on three weeks of Shonen Jump Alpha. Can Jeff handle jumping into Yu-Gi-Oh! Zexal on its ninth chapter?  (Spoiler: no.) The pros and cons of reading a mass of serialized information all at a go also gets a bit of the ol' poke & prod.
55:04-1:00:24: This gets us talking about how jumping on points and story density can work both for and against a story's accessibility with mentions of Morrison's JLA in trade, Mark Waid's interview at the AV Club, and whether Marvel's recap pages work.
1:00:24-1:02:59: Kieron Gillen has his own podcast, DECOMPRESSED.  We haven't listened to it, but we are very excited about it!  Check it out here!
1:02:59-1:14:09: Graeme tallks about Dark Avengers #177 by Jeff Parker and Kev Walker, and Wild Children, the recent Image book by Ales Kot and Riley Rossmo
1:14:09-1:16:28: Graeme picked up the new Eddie Campbell graphic novel, The Lovely Horrible Stuff, digitally (for only five dollars, and you can too, here at the SavCrit Digital Store) and tells us about it.  It sounds quite good.  (I admit it, I've picked it up since and can sign off on Graeme's recommendation.  It really is quite good.)
1:16:28-1:29:00: Other books Graeme discusses:  Action Comics #11,which he likes more than Jeff did, Infernal Man-Thing; and Punk-Rock Jesus.
1:29:00-1:45:38: Were you still wondering why Graeme liked the first volume of the Greg Rucka Punisher trade even though he didn't like the individual issues he tried?  He tells us here, and we get in to a bit of a tussle over the nature of The Punisher, and the differences between Rucka's approach and Ennis's approach.
1:45:36-1:58:34: Does that mean we end up talking about Rucka's run on Elektra and his career at NuMarvel as well as his current webcomic, Lady Sabre?  Why yes, it does!
1:58:34-2:03:32: The end (of the episode) is nigh! Although promising earlier to spoil the hell out of Walking Dead #100, Jeff instead tells the comic book collection bet story from Bleeding Cool.
2:03:32-2:10:24: When we recorded this, Neil Gaiman doing Before Sandman was just a rumor.  Want to know what we thought of the announcement before it was announced?  We talk about it here!
...Oh, and also closing comments, which we are still not very good at doing.
If you've got iTunes, it may have already set the nose of your faithful RSS bloodhound stirring.  Alternately, you are welcome to have a listen to it here, and sniff at it dismissively at your leisure:
Oh, and a word to the wise, we aren't recording this week, which means we won't have an episode for you next week -- I've got a trip lined up for this week, and I realized it would actually benefit my life greatly if we baked this kind of thing into my schedule, so expect us to have one skip week a month from here on out.  (Think of it as an opportunity to catch up.)
As always, we thank you for listening and hope you enjoy!

Trying to get back on track: Hibbs' 7/4 & 7/11

I posted the Batman Earth One review last week, so that covers my "quota", I guess. I'm going to mix up a little of this week and last for this week's post from me... ADVENTURE TIME MARCELINE SCREAM QUEENS #1: I've actually not read this, but I brought it home for Ben, as I've brought home every issue to date so far. Eight minutes of silence later, he handed it back to me, and said I should bring it back to the store. "What's wrong with it?" I asked, puzzled.  "Eh, I don't know," he said, "I don't think it had enough action is, and it wasn't very funny." So, that's what a comics-consuming eight year old boy thought. I'll go with that first word then and say EH.

  FUCK ALAN MOORE BEFORE WATCHMEN OZYMANDIAS #1 (OF 6): I kind of don't even want to discuss the "plot" (which, I shit you not, added a "Women in Refrigerators" moment to WATCHMEN as the grossest of its sins), but, oh my god what a crazily lovely comic book. Jae Lee just killed it here, invoking the sense of design that WATCHMEN had, and totally putting his own spin on it with a moving "round" design on every page. this may well be an execrable, money-grubbing project that is being told soullessly and clumsily by most of the writers, but fuck me if this isn't the most beautiful comic of the month by far. That's some Eisner-level art, yo. Too bad it is in service of such a horrible comic book. Two poles of rating for art and writing, landing it smack in the middle with an OK for overall rating.

BLOODSHOT (ONGOING) #1: Wow, that's a gory comic. Like really crazily keep it the fuck away from kids level of gory. Do people actually like that, actually? There's an alright set-up, I guess, in here, with "weapon for the government" and "everything you think is a lie" and all that, but there wasn't a thing in here that got me considering to actually come back and read issue #2, because I don't really see any signs of it going in anything other than a regular Frankenstein direction. Fairly EH.

BTVS SEASON 9 FREEFALL #11: Oh, I liked this issue. Actually, it might have made a better issue #1 than issue #1 was. I very much need Buffy to stop being such a whiny girl by now -- the character has been going backwards for most of the last year, and this plot line seems like it gives her a chance to move forward again. GOOD.

CROW #1: Uh, what? I know I've been saying this a lot lately, but IDW really has to get their shit together on the editorial level -- this comic's script is barely first draft where the title character appears on the last page, and the 21 before that is a ton of boring, endless repeating set-up -- the antagonist says or implies what they're going to do multiple times, AND we see it from another angle as well. This entire first issue should have been set-up in no more than eight pages, max, not padded out horribly like this.  I also think this new set-up completely upsets the straight-forward revenge of the original, AND misses the "sorrow is my fortress" vibe of O'Barr's gothy original. Almost as clear of a miss as I can possibly imagine, and I didn't even really LIKE the original very much (it remains a product of its time, very much) -- sadly AWFUL.

EARTH 2 #3: Honest to god, I wish ALL of the New 52 books were as solid and world-buildy as this one is. THEN we would have had something magic on display. This is really VERY GOOD stuff.

FANTASTIC FOUR ANNUAL #33: This year's annuals for this, DD and Wolverine are an interconnected story by Alan Davis, with connections to Clandestine. Clandestine has never quite worked for me, and I can't say why exactly, but I really love-ity love Davis' clean superhero art, and if I can't have him drawing silver age DC characters (or a variant thereon), then, yeah, have him draw what is very clearly his baby. I wonder though if he gets some kind of character participation or something for him to keep coming back to this when it keeps not clicking with the general audience? Anyway, this was solidly GOOD, and made for a nice stand-alone, star-drawn annual.

INFERNAL MAN-THING #1 (OF 3): In case you all were wondering, Jeff really IS sticking with his Marvel ban -- I could not get him to budge on what I thought would be the easiest tempt of all: new Steve Gerber, doing his #2 best known character, ooooh, with yummy art by Kevin Nowlan. It's a clear follow through on an old MT story, and I thought it showed a lot of strong maturity and growth in balancing the "Gerber wacky" with actually affecting human emotion -- that is to say: this is less of a lark than, say, NEVADA. I don't really like much of Gerber's tics, but I thought this was really solid stuff, well drawn and grounded. You can see why they let this take ten years (or whatever) to get drawn. Hm, maybe if I repitch it as "originated two editorial regimes ago"? GOOD.

PUNK ROCK JESUS #1 (OF 6): Wow, nice! It's a profane title (and probably a profane execution, if I was sensitive to such things, which I'm not), but I really really liked the setup of a morally screwed up entertainment corporation creating a reality show where they clone Jesus. Hijinx, as they say, then ensue. It's a little early to say whether Sean Murphy has the writing chops to stick the landing on this one, but this first issue was a pretty wonderful read. VERY GOOD from me, and my pick of the week!

SPACE PUNISHER #1 (OF 4): I didn't necessarily expect much from this (the name tells you most of what you need to know), but I did expect less toy-etic takes on the "normal" Marvel U (example: "Doctor Octopus" is a "Space Criminal" with octopus legs for a body) -- sadly AWFUL, and not the awesome I know you were hoping for.

ULTIMATE COMICS X-MEN #14 DWF: OK, the Ultimate universe has reached that point that it seems like all "alternate super hero universe" (CF: "The New Universe", the "Supreme Powers" Universe, etc.) finally end up at -- they don't know what to do with the CHARACTERS any longer, so they think "Well let's make big big changes to the WORLD". This issue opens with a map so you can keep track of all the fucked up things that have happened in Ultimate America -- DC nuked, the southwest an internment camp, and so on, and suddenly it is no longer "a world outside your window", it's something utterly unrecognizable and (this is more important, I think) unsympathetic. Even without the "We're officially out of ideas" stench that SPIDER-MEN brought to the line, copying the general throughline of (ugh!) THE PITT isn't going to lead to anywhere good for the Ultimate Universe. I have a hard time, other than from stubbornness, understanding why these books should still be published a year from now. AWFUL.

WALKING DEAD #100: That may be the single most fucked up thing that has happened in a series where all kinds of crazy fucked up things happen all of the time. Brutal, absolutely brutal -- but it sets the book out along what I hope will be a solid new direction that should shake all of the complacency away. I thought this was an EXCELLENT installment (And, ooh, MONSTER seller, too) -- may they have another 400 more issues after this! My ONE complaint? I was really hoping the 6 page (?) Michonne story that was in that issue of PLAYBOY would have been reprinted here after the letter col.

OK, that's me... what did YOU think?

-B

Wait, What? Ep. 84: Q and A DNA Q

Photobucket First off, our new graphic is courtesy of the incredibly talented Adam P. Knave (who on top of all the other things he does and does well, has added podcaster to the mix. Go check out The Glory, The Glory, why don't you?) and our old dashed-off scattershot introductions to the podcast, courtesy of me who has once again managed to land himself behind a scheduling eightball.

But!  That doesn't mean we didn't attend to our duties, as far as answering your questions go.  On the contrary, Episode 84 of Wait, What? is our first hour and forty five minute foray into the savage wilds of your inquiries.  Among the ground covered by Graeme McMillan and me:  our recommendations for DC Showcases and Marvel Essentials (both real and imaginary), the fall of Vertigo's Sincere Age, Alan Moore and the plight of 1963, our Free Comic Book Day picks, the damning influence of Big Question Mark, event comics, follow-ups to articles discussed without being read, work for hire vs. creative owned work, Steve Gerber and Foolkiller, Submarine, Elite Squad, our favorite comic book city,  and assorted cage matches and Hunger Games.

Also: Stuff.  Additionally: Things.

Men and Women With X-Ray Eyes (And/Or Specs) have already seen the podcast radiating in the iTunes spectrum (grappling perhaps with an Infrared Manta).  Those of us with only stereoscopic or lesser degrees of vision can certainly be satisfied with the auditory equivalent, as available below:

Wait, What?, Episode 84: Q and A DNA Q

As always, thanks for listening and we hope you enjoy!

Wait, What? Ep. 73: Thicker Than Forget

Photobucket We didn't even come close.

Don't get me wrong--we certainly tried.  But give Graeme and I more than four dozen questions with an amorphous time deadline and you're not going to get the bulk of those questions answered even with us putting in two and a half hours to get it done.  [Though we do so at the expense of Haruki Murakami's 1Q84: if you are currently reading that book, please skip over the 20-25 minute section of the podcast to avoid some ship-sinking spoilers.  (Sorry again, Luke.)]

So consider this Part 1 of our answers to your questions, with Part 2 to come next week.  If we go to Part 3, I give you permission to begin hunting us as the most dangerous game.  (Although, really we're a far cry from that: I'd say I'm about on par with hunting sloths or maybe opposums, and Graeme might be at the level of a squirrel, though the squirrel might be rabid, maybe.)

The Ancient Prophecies foretold this episode would be found in the land of iTunes. But lo, also shall ye find it here:

Wait, What? Ep. 73: Thicker Than Forget

As always, we thank you for listening, and for your questions, and for your patience.  We hope you enjoy!

Wait, What? Ep. 65.2: A Podcast--With A Gun!

Photobucket Yup, we came out of nowhere and rang your doorbell. We are a podcast--with a gun!

Oh, and Mallomars. God yes, Mallomars.

In this 90+ minute finale to ep. 65, Graeme McMillan and I talk a teeny-tiny bit more about Gerber's Defenders, then go on to more of our standard W,W? stuff: Matt Fraction on Word Balloon, getting stalked on Twitter, the pros and cons of interviewing pros (sadly, not at cons because that would make a terrific little phrase, being trolled on Twitter, the required-by-Internet-law discussion of Watchmen 2, the price of satisfaction, and, you know, lots more.

Statistically speaking, it is likely this fine installment is already available to you on iTunes. But, should you wish, it is also available for your chewing satisfaction on this very fine purveyor of Internet whimsy:

Wait, What? Ep. 65.2: A Podcast--With A Gun!

Thanks for listening, and--as always--we hope you enjoy!

Wait, What? Ep. 65.1: I Think We're All Bozos in this Podcast

Photobucket Yup, and so we are back with Wait, What? which some of you might remember from the days of antiquity as a thing like unto a radio play, enacted by Mr. Graeme McMillan and myself for the amusement of listeners.

Episode 65 was supposed to be a piercing search by the two of us for the more-than-two-of-you for the secrets to the considerable success of one Steve Gerber and his run on a Marvel series from the '70s popularly known as The Defenders. I would like to say we were successful but, um, well, you will hear for yourselves.

We do discuss it, mind you, but alas we also discuss Carrier IQ for the first batch of minutes, a big pile of books by Kieron Gillen, Batman #252 from nineteen-seventy-something-or-0ther, and the first collected volume of the amazingly filthy and brilliant webcomic Oglaf.

And yeah, something-something-Steve-Gerber-something.

Badoon Brothers and errant Headman may have encountered us already on iTunes, but you are also invited to listen to us here, should that be your kind of thing:

Wait, What? Ep. 65.1: I Think We\'re All Bozos in This Podcast

Part 2 of 2 is right around the corner!  As always, we hope you enjoy.

Content w/o Contentment: Quick Capsule Reviews from Jeff

Oh, it's all in the timing.  Always.  Earlier today, Graeme and I were podcasting and all I really had read that was all recent were two comic books.  Now, less than twelve hours later, I have five (and a graphic novel I haven't yet finished).  Join me after the jump, won't you?  If nothing else, I promise to be brief.... NORTHLANDERS #41:  Marian Churchland is one of those amazingly promising artists I'm really rooting for (and her Conan is in my top five favorite Conans ) so when I heard on Twitter she'd done an issue of Northlander, I had to pick it up.

And it was pretty EH, I'm afraid to say.  I know I'm immune to Brian Wood's charms and have made it a point to stay clear of his work.  But I was surprised that Churchland's work didn't really knock me out here.  At first, I thought it was Dave McCaig's colors that use a really limited palette with some unoriginal color choices (although the work you'll see Churchland do in color, say over at her blog are similarly limited in palette she has a sharper eye for color in her own work to keep things from seeming monochromatic) or that Churchland's is nicely illustrative but very limited in its line weight. (I admit it, there are times where I run hot and cold on uniform line weight and this is one of those times where I'm cold on it.)  But ultimately, I think the problem is that Churchland is generally a very reserved storyteller: a lot of medium shots, a lot of long shots, and the close-ups don't get very close here at all.

In her debut graphic novel Beast, she proved herself to be an excellent chronicler of facial expressions made by guarded or private people, but here in a story where Birna, a young girl, must find the strength to take charge after her father has been killed, Churchland conveys the basic emotions easily enough but not the stronger emotional conflict--how she's able to take the steps from fear to resolve, or even the parts in her we see before her father's death that hint at her ability to make that leap.

While I think Wood skips over the actual drama in his story, I kinda expect that of him (alas).  It was probably an impossible task for Churchland to overcome that.  She's still got some growing to do, and I look forward to what she does next.  But I expected too much from her, and this was a still a very EH issue.

CAPTAIN AMERICA #619:  Brubaker and crew wrap up Gulag with both a tremendous sense of haste and a motivation for Bucky to escape (his part in training and awaking Sleeper agents in the U.S.) that really makes me think we'll be seeing Mr. Barnes again much sooner than the end of Fear Itself #3 would make one think.  As with last issue, I dig the almost anthology-like feel of the differing artists, and that dollop of Steranko-derived visuals.  (Though turning Joanna Newsom into the Black Widow for one panel was incredibly distracting.)  About as deep as a dixie cup, but I thought this was a GOOD read and I'll be a little bit bummed if the Bucky Cap era is truly at an end.

SECRET AVENGERS #14:  I liked this better than last issue, certainly, but this tale of two soldiers fighting mecha-nazis and their plight's connection to the Valkyrie's origin was pretty facile and weightless.  Not only is the "fear wave" angle of Fear Itself frustratingly used across the event, it's not even used in a consistent way here, where the two soldiers are cocky and fear-free in the face of their unbeatable enemy because, hey, if they weren't, that death scene wouldn't be surprising, would it? (Also, terrified people don't banter, I guess.)  And of course, the enemy is unstoppable until it's time for Valkyrie to stop one with one sword swing.  I guess I should be grateful that an entire shitty summer movie like Battlefield L.A. got reduced down to one quick issue but apparently I'm a cold ungrateful bastadrd.  This was some AWFUL filler.

FEAR ITSELF: FEARSOME FOUR #1:  Oh, man.  Once again, Marvel uses my nostalgia and fondness for older characters to take my money and shank me in the kidneys. Man-Thing, Nighthawk, Howard the Duck, Frankenstein Monster and She-Hulk join up together to make Steve Gerber return from the dead as an avenging ghoul.  It kinda broke my heart to see the first three characters so closely tied to Gerber's name handled so wretchedly. I spent a lot of time trying to figure out what I hated the most--was it having Howard look like his movie incarnation?  Was it having him act like a Bruce Willis character? Having an eight-page sequence of Nightwing acting like a pastiche of Frank Miller's Batman?  Having She-Hulk in the book for no reason (yet) other than have her be the typical female character in a superhero book?  (The typical female character in a superhero book asks questions for the men to answer, and crosses her arms so you know she's tough.)

I'm fascinated by the idea that this was written by (or for) someone who had a love of old '70s Marvel comics and either couldn't replicate what made them work if their life depended on it (or else had to have that worked over into "the modern style" of comics today.)  What an idiot I was for picking this up. Please avoid this CRAP work.

BLACK DYNAMITE #1:  Jun Lofamia does the art for this and if you had a thing for, say, Alex Nino back in the day, I think you'll really like what's going on here.  I loved the movie Black Dynamite and so was mighty pleased to see this gorgeous looking book on the stands, but I'm far more ambivalent about the story.  The film is such a spoof of Blacksploitation flicks that is so knowledgeable about how the genre worked that it essentially transcended its parodic elements.  The comic, like Jim Rugg's Afrodisiac, makes me really uncomfortable about how closely its parodic elements steer toward racist stereotypes.  (Also, did Dynamite really say "Can you dig it?" all the time during the movie?  He says it so much here, he seems more like The Shogun of Harlem from The Last Dragon.) Perhaps the creators of this book are as clued in to the Mandingo film genre as they were Blacksploitation and I'm missing the clever way the conventions are being twisted and re-twisted. But it felt like an uncomfortable misfire to me. (Also, a bit pricey for my blood.)  Gets an OK because of the lovely art, though.

So, you know.  As the man sez:  What did *you* think?

Saying Kaddish: The Passing of Steve Gerber.

It's been said by much smarter men than myself (Jules Feiffer and Gerard Jones being but two) that Judaism is perhaps the real secret identity at the heart of the superhero experience--one doesn't have to look much farther than Lieber and Kurtzberg, who built Marvel comics under the pen names of Lee and Kirby, to make a case for it. Of all the many things I've thought about Steve Gerber--and believe me, I've thought about him a lot since learning of his passing earlier today--what sticks with me is that Gerber was the hero without the mask, the guy brave enough to forego the secret identity. I grew up in whiter-than-white Humboldt County and even I could tell that Gerber was Jewish: his stories were always of outsiders (outsiders even by Marvel's standards) and usually focused on defiant, frequently angry, guys who viewed with both bemusement and amusement the world surrounding them. By the time I got to high school and started reading Malamud (a little), Bellow (embarrassingly less), and Roth (a whole shitload), I could see how Gerber and his work belonged as much to their tradition--that of the soulful shit-stirrer--as to Stan's patented mix of soap opera and winking carnival barker.

The term "patented" is almost more than cliched hyperbole, by the way. What makes eulogizing Gerber difficult--and it will be even more difficult when other writers of his generation pass on--is that his most substantial work was done while stylistically imitating someone else. Every writer passing through Marvel in the '70s had to write in Stan's house style and now that styles and mainstream tastes have finally progressed, I find it's a bit of tough sell to convince younger readers--and more than occasionally myself--that there's good writing buried underneath all the labored rhetoric, and the expository diatribes and the "Dear God, no!" melodramas, and those last panel captions that read, "And somewhere, in the distance, comes the gentle weeping...of a clown."

One of Gerber's achievements--and I'm not sure if someone who doesn't know the period can really appreciate what a strange achievement it is--was to develop his own voice while immersed within that of another: within the Stanisms were the Gerberisms, the things you found only in Gerber's work, that held their own spell, bdspoke their own worldview. Cults popped up regularly in Gerber's work; so did supporting characters who would get fed up and leave the story; plots would expand out and then suddenly collapse in. The rich tapesty of the multiverse would unfold but always in the periphery: in the Florida everglades, in the park on a quiet day, over the Cuyahoga River burning at midnight. And at these places, you'd find an angry but decent guy--Richard Rory or Jack Norris or Howard the Duck--aware of his relative powerlessness, frustrated and bitterly amused at that powerlessness. As I said, I recognized that guy in Bellow's Tommy Wilhelm, in Roth's Portnoy and Zuckerman. (With Wilhelm, the recognition was semi-literal: when I read Seize the Day for the first time, my mental picture of Tommy Wilhelm was Colan's interpretation of Howard the Duck as a human man.)

Another Gerberism was the keystone for the idea of superhero as Jewish myth: Superman. At Marvel, Gerber created Wundarr the Aquarian, the superhero who is rocketed to Earth from a dying planet--except Wundarr arrives on Earth full-grown, with the intelligence of a child. With Mary Skrenes, Gerber created Omega The Unknown, a character that riffs equally on Superman and Captain Marvel--Omega is a hero come to Earth with a strange bond to a boy orphan. Later, Gerber went on to do several offbeat Superman projects. My favorite was the final issue of DC Presents where Gerber packed his entire pitch for Superman into one baffling Hail Mary: an insane Mr. Mxyzptlk destroys Argo City such that Metropolis is layered with a fine mist of kryptonite, and Superman, his power reduced, must live in pain and discomfort whenever he's Clark Kent, treading over the kryptonite impacted sidewalks of the city.

In fact, at the heart of Gerber's best work is Superman and Clark Kent: the powerlessness lurking in the heart of the powerful and, equally as important, the power lurking in the heart of the powerless. (After all, it's usually Rory and Norris and Howard who are the tipping point in the battle between good and evil.) Such paradoxes transcended the two scoops of ego gratification and bathetic male self-pity served up in the work of Stan Lee and most of his successors. While far from immune to such weaknesses (Gerber's worst work is like reading Harlan Ellison at his most histrionic), the duality of power-in-powerlessness and powerlessness-in-power which Gerber returned to thematically was a genuine belief in the world, founded on the way he saw it work: cults and corporations collapsed under their own weight; the little guy, though screwed, could still wrest victory from the jaws of defeat if he just kept at it.

I could type another ten thousand words and not get at the power of these and other achievements. (I didn't even start in on that awesome Daredevil storyline where the villain is an intelligent malevolent baboon whose pheromones make every woman his slave and who slugs it out with our hero on the roof of the White House, to say nothing of Starhawk, the first transgender superhero, Angarr The Screamer, the showgirl and the ostrich, KISS, Doctor Bong, etc., etc.) But what I should say is, Steve Gerber kept at it. He kept at it after Cat Yronwode (I believe) wrote an editorial about how his work no longer moved her; he kept at it after Jim Shooter cruelly (and inelegantly) mocked him in the first issue of Secret Wars II; he kept at it after Nevada was unceremoniously dumped, after Hard Time was canceled, after Marvel published Lethem's Omega The Unknown miniseries over Gerber's initial objections. Steve Gerber kept at it six days before he died, working in the middle of the night working on his current assignment, Doctor Fate. I'd like to believe in an afterlife, and Steve Gerber is there, keeping at it, seeing his stories end the way he wanted them to, when he wanted them to. If such an afterlife exists, it would be a world Gerber never spent much time considering, a world he never made--which would bring him, I hope, both bemusement and amusement, even if it meant he was finally the angry outsider no longer. Blessed and praised, glorified and exalted, extolled and honored, adored and lauded be the name of the Holy One, blessed be He, beyond all the blessings and hymns, praises and consolations that are ever spoken in the world; and say, Amen.

Gerber, Gerber everywhere, and not a drop to drink (and more TV)

On the original schedule, THREE new takes of made-Famous-by-Steve-Gerber titles were to have shipped last week -- the new version of FOOLKILLER didn't make it -- but even the fact that two of them came out makes me feel a little odd. OMEGA THE UNKNOWN #1: Given how much of the plot (and dialog!) of this first issue is Straight-Outta-Gerber, it's pretty hard to judge at this point just what Jonathan Lethem is actually bringing to the proceedings. What I did very much love was Farel Dalrymple's art (and lettering). It is a fine looking book, but not something that I expect the "typical" Marvel fan would have much interest in whatsoever. The DYI aesthetic is appealing to me, but we're an "alternative friendly" comics shop. How would this "play in Peoria"? Moreso, I kinda don't see this as attracting much of an audience in serialization -- over the course of 10 issues, this will wind up at $30, and there's just not enough here to make that attractive.

In fact, more generally, I tend to suspect that, without some heavy modifications in how they are put together and collected, the mini-series is rapidly becoming a dead format -- I'll imagine that the eventual (SC) collection of this will top out at no more than $25 (in fact, I'd suspect a "DC model" on this... $25 HC, followed by a $15-20 SC) -- so what is in it that is compelling that you have to get it NOW? I thought this was highly OK, but not OK enough that I'd follow the serialization.

HOWARD THE DUCK #1: I was pretty surprised how well Ty Templeton captured the "feel" of a HTD comic -- making him, I think, the first person to ever successfully do that. In fact, this is the first post-Gerber attempt at the character which has seemed even close to Gerber. Too bad the character now appears to be a chicken, rather than a duck. Juan Bobilla's is nice, as always, but, seriously, what's with the chicken look? (other than, I suspect, "trying to avoid a lawsuit"). I'd give this a low GOOD, I think, though its possibly from the expectation that this isn't going to sell well enough to get that eventual trade...

Hrm, planned to write more, but the B&T order just showed up, and I had to take a 30 minute break to count in the big pile of stuff -- got BEST AMERICAN COMICS 2007 in, as well as FRANK FRAZETTA ROUGH WORK, WILL EISNER'S LIFE IN PICTURES HC, and ALBION ORIGINS. Oh, and still MORE copies of HEROES OF THE NEGRO LEAGUES, that's been selling briskly for us.

Only a few minutes until the Diamond shipment is meant to show, so, quickly back to TV, I think...

REAPER: Liked the second episode better than the first, but I'm slightly concerned the lead is already "comfortable/competent" at his job, would have expected more of a Learning Curve. This might be suffering a smidge from being 60 minutes -- 30 minutes could have been a better length. A low GOOD

PUSHING DAISIES: *loved* that first episode. But I have a pretty hard time seeing how it is going to be sustainable over the life of a Series. I could see this quickly wearing on me, after about Hour 3, so I hope they have this figured out. But, I thought the pilot was EXCELLENT.

MOONLIGHT: I've never done this before -- I turned it off at the first commercial break, and deleted it from the DVR. My wife made it to the second commercial break. Ow. AWFUL.

HEROES: I'd be digging this a bit more if they weren't wasting so much time showing us the same thing week after week after week. Yes, we get how "Encubra y Daga"'s powers work (hope my Spanish translation is right there), for example. I also kinda can't believe that this early in the proceedings they're already falling back on Hoary Cliches like Amnesia; or Going Back In Time To Become Who You're There To Help. I was amused by Sylar and Princess Projectra this week, however (did the original actress want too much money to come back?). For all of that, the show is teetering on the OK line.

JOURNEYMAN: Not a good show, no, but I'm somewhat intrigued by the portrayal of the marriage, added to the cross time relationship. Just will take one episode to get me to quit, but I'm still watching for the nonce. Last night's Earthquake episode was HYSTERICAL. Earthquake's don't make streets EXPLODE like that. Very EH, but amusing to me.

OK, gots to go, I should be back tomorrow or Thursday with some thoughts on THE BEST AMERICAN COMICS 2007 (which I've had a review copy for more than a week)

What did YOU think?

-B