Eight songs here, which should play in random order. The list:
-The Smiths – Heaven Knows I’m Miserable Now
-The Verve – The Drugs Don’t Work
-The Verve – Bitter Sweet Symphony
-Joy Division – Love Will Tear Us Apart
-The Smith – There Is A Light That Never Goes Out
-The Stone Roses – Fools Gold
-Blur – Trimm Tabb
-Blur – Under the Westway

My friend Amy hooked me up with a playlist she called “Madchester and Manchester.” You can listen to it here if you have Spotify. I was going to embed it here, but it turns out you need Spotify to hear the songs, so… I did a lot of extra legwork and turned the tracks I like best (plus two more) into an 8tracks mix.

I say I like britpop, but what I really mean is “I like Damon Albarn-led or -related projects, like Blur, Gorillaz, and so on.” Albarn’s work has been the main way I’ve experienced britpop, even down to it being the lens through which I learn about britpop history. Oasis exists in relation to Blur. I was introduced to Justine Frischmann not through Elastica but via “Oh, she’s Damon Albarn’s girlfriend, some songs are probably about her, and the best Blur albums are post-breakup.” It’s not that I’m a superfan — I own a lot of his stuff and I figure his name is enough to get me onboard, but I wouldn’t say I’m obsessive about it — so much as I’m ignorant of the context. I wasn’t there, I was a kid when all of it was going on, and frankly, there ain’t a lot of young black kids in Small Towne, GA listening to The Smiths or whatever. I didn’t even hear an entire Beatles song, and recognize that it was The Beatles, until high school.

So I reached out to a few friends who’d know. Amy hooked me up weeks ago, and it took me forever to listen for stupid reasons. (I wanted time to be able to really listen to figure out what I liked, which is typical of me.) I got Ron Richards to kick me a lot of album recommendations in a few different genres, too, since we have so little overlap in taste.

I’m trying to broaden my horizons, and the best way I know how to do that is to do something new and then see how it makes me feel. In this case, I took Amy’s playlist and listened to it a few times on shuffle while walking around the city and commuting home. After an hour or so, I started starring whichever songs caught my ear for whatever reason. Maybe I liked the melody, maybe I liked a particular line, or maybe I liked something more ephemeral.

Whichever way it is, the star means I need to pay attention, and paying attention means either checking out more songs from the album the song originates from or asking friends what else sounds similar.

I don’t really have an endpoint for this. I just wanna know more, and spider-webbing my way to more seems good enough to me.

Thanks Amy. Sorry it took so long.

The two songs I added to round out the mix are a couple Blur joints I like a lot. The only Blur album I don’t own/haven’t heard is The Great Escape, I think. I passed it over when I was heavy into Blur, by accident maybe, and haven’t had a chance to go back yet. Which is weird of me, but hey.

–I wrote about Frank Quitely & Mark Millar’s Jupiter’s Legacy. It’s soft like baby butts, but also the best comic Millar’s written in recent memory.

–I wrote about Ananth Paragariya and Yuko Ota’s Johnny Wander. I like it a lot. Website.

ComicsAlliance is closed. To my knowledge, it wasn’t because of hits or performance or controversy. It didn’t fit, or something. Dunno. Either way, I spilled 477,770 words on 317 posts over about three and a half years.

-I watched Matthew Vaughan’s Kick-Ass finally, the adaptation of the odious Millar/JRjr comic. It was eleventy times better than the comic, but still pretty dumb. It’s like they intentionally shied away from making a good movie in favor of a weird quirky… thing. Hit-Girl was the most interesting part, and they botched every single action scene with her, including the big introduction where she rescues Kick-Ass.

It’s weird. It wanted to be an action movie, but the action was shot poorly almost as a general rule. The hallway run toward the end had so many good parts, like Hit-Girl dodging bullets, but it was delivered in the laziest, stupidest-looking way. Why cut every time someone moves an arm? I mean, maybe it was because they needed a stuntman (stunt-girl?) for Hit-Girl, but people have been using stuntmen for decades without it look like crap.

Anyway. The trailer for Kick-Ass 2 was funny, but ehhhh. Figure I’m good.

Open thread. What’re you reading/watching/hearing/enjoying?

Hey everybody. Big update this week. Got me, Gaijin Dan, Was Taters, Jody, Brobe and Space Jawa. A good crew.

Currently I’m working on another big countdown list project. I don’t know how long it’ll take before the first entry, but the research has been very interesting so far. In the meantime, I have another Crossover Celebration post coming up soon.

Anyway, here’s a bunch of panels that lead up to how fantastic Young Avengers is.

All-Star Western #19
Justin Gray, Jimmy Palmiotti, Moritat and Staz Johnson

Avengers #10
Jonathan Hickman and Mike Deodato

Batman Incorporated #10 (Gavin’s pick)
Grant Morrison, Chris Burnham, Jason Masters and Andrei Bressan

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I made a joke on Twitter the other day that went something like “The trick to getting me to write about comics is to either make me mad, discover great art, or for me to come up with a dumb idea I think is funny.” The third one is why I wrote three thousand words about Quitely & Millar’s Jupiter’s Legacy (“I wonder if I could write about every page of this comic…”) and the first one is pretty much the only reason I write about industry-related things or news, as opposed to the actually interesting part of comics: the comics themselves. The middle one is why I clicked on a random link on Tumblr and saw this:

Drawn by Jamie McKelvie, background inks by Mike Norton, script by Kieron Gillen, colors by Matt Wilson, and letters by Clayton Cowles. McKelvie talks it out here.

It’s good, right? I like this a whole lot. Bleeding Cool has a bigger version, but I think the small is good enough to wow.

Here’s a secret: whenever I write about comics, I’m not trying to show you why something is good so much as figure out how to express why it clicks for me. I don’t draw comics. I don’t write them. I read them. I don’t know from pens and quills, but I do know my taste. And I’m drawn to things that are either immediately understandable — a Frank Miller or Masamune Shirow action scene, some Katsuhiro Otomo rubble, a pretty girl drawn by Inio Asano, an Amanda Conner face — or so striking that it makes me look twice.

Let’s be real: you don’t study every panel in a comic, even in the good ones. I love several dozen panels in Frank Miller & Lynn Varley’s Dark Knight Strikes Again, but I’ve never looked at the panel of the weird mutant orphans escaping from jail and rubbed my chin, you know? It’s not that it’s not important. It’s just that it’s normal. Sometimes you just take things in stride until something appears that forces you to pause.

That pause is one of the reasons why I love comics. I want to be challenged and surprised when I read, and the best way to do that is to throw something at me that I either haven’t seen before (Masamune Shirow cranking up the panel count in Appleseed) or that’s familiar, but perfected or done in a new way (Frank Quitely’s work on We3 is a new spin on the same tactics Shirow was working with).

(I get the same thing out of rap, here and there. I want to hear bars that make me go “unh!” by accident like I was an old black lady in church and the preacher just said something wild profound.)

This McKelvie spread puts me in mind of Bill Keane’s Family Circus more than anything else, and it’s exactly what I want out of comics. There’s also this from McKelvie’s explanation:

Kieron mentions in the AR segment for the book that when you make comics as a team you’re really trying to pretend to be one person making the whole thing. That’s why we believe the best comics come out of close collaboration, and not just a production line.

You can tell when an artist and writer are in sync, I think. Or at least, I’d like to think. Who knows if I’m right, But either way, we need more stuff like this.

Yesterday saw the release of Before Watchmen: Comedian #6, ending this big experiment and going out on a whimper. The whole Before Watchmen concept was announced 15 months ago to a tornado of controversy and online arguments. One of the things that kept it so prominent in the internet news cycle was how many talking points it brought up. Some were mad because DC Comics screwed Alan Moore and Dave Gibbons out of the rights to the series. Some were annoyed because Watchmen was such a self-contained classic that you can’t really add to it. Some felt that even if you did add to it, what’s left to be said? Some noted how desperate for money DC came off as when a 12-issue series was prequelized into 37 issues, plus a backup.

(Sorry, it’s my nature.)

The announcement appeared to be one of the straws that broke the camel’s back for David. David’s since stopped reading any and all new Marvel and DC titles and hasn’t looked back. I’m not so affected by the im-Moore-ality of DC’s actions and I’m more enthralled by the circus of this move than the comics themselves. As a comic blogger, my own philosophy is that I would love for every comic I read to be good, but if it isn’t, I hope to God it’s at least interesting because that can sometimes be even better. Whether you loved or hated the idea of more Watchmen comics, you have to admit that the audacity of it is interesting as all hell, else nobody would be talking about it.

I decided to give it a fair enough shake. I didn’t read every single comic. I didn’t even read every single series. After the fact, they announced a one-shot of Dollar Bill (which I merely flipped through) and a two-part Moloch story. From what I understand, the Moloch one wasn’t bad.

Nite Owl by JMS and Joe Kubert was something I gave up on two issues in. It had its moments, but it just didn’t grab me. I guess it lost me because the origin aspects of the character are pretty good, but then JMS rushes through that so he could get to Nite Owl and Rorschach being a team. If anything, I did like an idea introduced about how Nite Owl and Rorschach don’t see eye-to-eye because of the way they remember their mothers affecting how they see women. I just found the series pretty boring and I was already feeling anti-JMS from his more recent DC work.

I didn’t feel the need to pick up Dr. Manhattan by JMS and Adam Hughes because I just didn’t have any faith in JMS at this point. I’ve heard mixed reviews swaying towards negative, but the art is apparently pretty.

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America’s concern over sending a message of tacit approval or even forgiveness of domestic violence motivates a level of vitriol directed toward Brown that provides a case study on the way we shame now. In London stickers warning “Do not buy this album! This man beats women” labeled Brown’s 2012 album Fortune (RCA). The same album received this six-word review from Chad Taylor of Iowa’s independent weeklyCityView: “Chris Brown hits women. Enough said.” On any slow day, comedians on Twitter can rely on a lazy dig at Brown to earn them a satisfactory number of favorites and retweets. Twitter comedian Jenny Johnson displayed a particular penchant for antagonizing Brown, manually retweeting him with references to the assault. He tweeted, “Can I wow you?” She retweeted with, “You misspelled “beat the shit out of you.” Brown tweeted “#DontGiveUpBecause you are special!,” Johnson added “ #GoToPrisonBecause you are a woman beater! This went on for years until last November when, to Chris Brown’s tweet of, “I look old as fuck! I’m only 23…,” Johnson added “I know! Being a worthless piece of shit can really age a person. This resulted in Brown replying for the first time, telling her to perform a number of sexually explicit acts and eventually deleting his twitter account. To Glamour magazine, which congratulated Johnson last month for “speaking her mind,” Johnson said, “Any type of abuse should never be tolerated.”

–Ayesha Siddiqi, You, Me, and Chris Brown | NOISEY, 2013

This piece by Ayesha Siddiqi is a conversation I’ve been trying to have for ages. It never goes well. I either screw it up because my mouth is stupid or I feel so strongly about it that I can’t quite get my thoughts to crystallize. Or I’m talking to someone who has no intention of actually having any conversation where Brown isn’t the worst person since Hitler. That one always frustrates me.

Anyway, this is a good read and a very important discussion to have. America is terrible at forgiveness. Prominent politicians suggest that people should be tortured and deprived of their rights because they’re criminals, getting raped in prison is seen as both a punchline (!) and justice (!!), and “live by the sword, die by the sword” is seen as some sort of axiom instead of a tragedy. “He got what he deserved,” we say, when we’re mad enough to care.

I’ve got a lot of thoughts on this that I’m still trying to work out, and Siddiqi’s essay is going to be a big help as far as that goes. The thought I’m trying to figure out how to express is that we need to start pushing for rehabilitation, help, and forgiveness, instead of just stopping at eternal punishment. I don’t think that believing that the guilty should be punished is in no way incompatible with that position.

Siddiqi’s killer on Twitter, too. Follow her.

Week 187. And you don’t stop. Tonight’s the night I get in some shit. Deep cover on the incognito tip. …sorry.

Light week, all in all. I’m joined by Gaijin Dan, Space Jawa and Matlock. Never expected to see a double-helping of Sonic the Hedgehog comics on ThWiP, but here we are.

Batman: Li’l Gotham #1
Dustin Nguyen and Derek Fridolfs

Bleach #533
Tite Kubo

Cross Manage #29
KAITO

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Today is the big release of Injustice: Gods Among Us. I picked it up, along with the Season Pass of downloadable content. With that, I get some of the Flashpoint costumes, which includes Pirate Deathstroke. Less important parts of that include four extra characters, who will be released over the next couple months. There’s plenty of speculation of who some of them will be, such as Martian Manhunter or Mortal Kombat’s Scorpion.

Last night, it was revealed that the first DLC character will be none other than the Last Czarian himself, Lobo. Even though I have three more names to wait for, I might as well keep the trend going by explaining Lobo to people who don’t read comics.

LOBO

Alias: None, though he’s given himself a laundry list of nicknames
First Appearance: Omega Men #3 (1983)
Powers: Super strength, excessive healing factor, immortality, can talk in space, can clone himself by spilling his own blood
Other Media: Showed up on the Superman cartoon and Justice League spinoff, appeared on Young Justice, sort of appeared in Justice League: Crisis on Two Earths, had a 16-bit fighting game that was never released and a film student created a rather well-done live-action recreation of a Lobo comic featuring real actors.

With a couple storyline exceptions, Lobo is a terrible character. He’s a terrible, overly-shitty character. And that was the intent.

Lobo was created as a villain in the series Omega Men, where he had purple hair and wore purple and orange full-body tights. Veteran comic writer Keith Giffen created the character as a way to take the piss out of the likes of Wolverine and other tough guy murderer comic characters. He never expected Lobo to catch on so much and become exactly what Giffen was trying to make fun of. Despite being the character’s creator, Giffen kind of hates Lobo, but he doesn’t hate the money that he’s made for him.

In the early years, Lobo mainly appeared in space-related comics like Omega Men, L.E.G.I.O.N. and R.E.B.E.L.S. He appeared in one story for Giffen’s well-regarded Justice League International (which I highly recommend), where he was very briefly deputized as a member of the Justice League before anyone realized that he was actually a bounty hunter secretly out to get them. By this point, he was redesigned to the more recognizable space biker appearance.

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Eight songs here, which should play in random order. The list:

-Bone thugs-n-harmony – No Surrender – Creepin On Ah Come Up
-Method Man – Meth vs Chef – Tical
-Notorious BIG – The What – Ready To Die
-OC – Time’s Up – Word…Life
-OutKast – Funky Ride – Southernplayalisticadillacmuzik
-Soundgarden – Black Hole Sun – Superunknown
-TLC – Switch – Crazysexycool
-69 Boyz – Kitty, Kitty – Nineteen Ninety Quad

Y’all remember 1994? I barely do, personally. But, here’s a few joints I was feeling at the time, a mix of predictable choices and maybe a couple dark horses. (I got “Black Hole Sun” off Beavis & Butthead.)

I have a dumb Method Man story. When I was a kid, I didn’t know that songs got edited for radio and music video play. I mean, I knew there were songs with cuss words, and songs without cuss words. I just didn’t realize that there were also songs that had at one point had cuss words.

At the time, I was really into that “All I Need” video with Mary J Blige. It was creepy and weird and Mary J’s part was beautiful, so when I found out my uncle had the CD, I snuck into his room when he was at work (or maybe college?), turned the volume knob way down on his receiver, and loaded it up. I went straight to “All I Need,” ’cause that was the move.

AND WHOA. Is this the same guy? This guy is cussing all over the place. I listened to some other songs — more cuss words? Maybe it isn’t the same guy? So I put the CD back where I found it, confused.

A few days later, the music video came on while I was chilling with my uncle and I found it in me to ask about it. I don’t entirely remember the whole conversation, but I remember being pretty smooth about it. But I was probably ten years old, so I couldn’t have been that smooth. I was like, “Hey, is this the guy whose CD you have? The scary one?” and he said yeah. “But… he cusses?” Yep. “Oh.”

Their name sounds like a joke today, but it’s hard to overestimate how big Miami Bass was at the time, especially 69 Boyz. Nineteen Ninety Quad is the 1994 equivalent of like Rick Ross’s Teflon Don or Jay’s Blueprint Who Cares. It was all bangers, and every day on the way to school, we were singing either 69 Boyz, Tag Team, or them Bankhead Bounce dudes. Or making our own radio edits — “We don’t need no water, let the mother mother burn!”

TLC’s CrazySexyCool is one of the hardest albums ever. It’s cool if you disagree, but go back and re-listen to it. It’s super good. Despite a childhood ban on cussing, me and my cousin knew all of Bone’s “No Surrender” by heart. We wore that tape out. Liquid Swords, too.

-I liked Dylan Todd talking to Jim Rugg about Rugg’s new project Supermag. Rugg is one of the sharpest dudes in comics, in terms of both talent and knowledge, and it’s nice to see somebody interview him who can keep up.

-I liked this drawing Angie Wang did of a Billie Holliday lyric.

-I laughed at this story of goons getting scammed out of a bunch of money because they wanted to hook up with AKB48 girls, even though I understand that it is technically a bad thing. But it’s so funny. I have so many questions.

-I liked Sloane Leong talking about tips to avoid getting murdered by a slasher. Must-read. Take it to heart.

-I loved this Russell Westbrook photospread in ESPN the Magazine. Westbrook been knowing how to dress.

-Writing? I didn’t write ANYTHING this week.

-Psyche, I’ve been on tumblr, thinking out loud. Rick Ross dropped a line about rape in a song, backlash ensued, and eventually he apologized twice and Reebok dropped him from a sponsorship deal. It was a whole thing, I guess, but it sorta bugged me. I’ve spent some time trying to talk through it on tumblr, so follow the bouncing ball: here, here, here, here, here, here, here, here, here, here, and then it stopped because some dumb Apple apologist wanted to be a dick to me but didn’t realize I invented being a dick, and then ends with this, on Rawse & Context. Maybe you’ll dig it? I dunno, but I wrote it.

This weekend, I watched Place Beyond the Pines and Seven Psychopaths. Pines was really very good, sort of aimed directly at my heart (it’s about daddy issues and criminals). Psychopaths was still good the second time around, and it was nice to catch things I missed the first time. In hindsight, it’s not so much a crime movie as a Hollywood movie, which is interesting. I’d say more about Pines, but it’s totally worth going in cold. The most I knew about it was Liz Barker’s review, which you should also probably read, if you’re curious about what the movie feels like.

My dude Mahershala Ali is in there, too. I like that guy a lot, whenever and wherever he shows up. Eva Mendes, too.

I also started rewatching Chappelle’s Show, which is still absurdly funny. I think I’m well into season two at this point.

Open thread. What’re you reading/watching/hearing/enjoying?

Ahoy, friends! This week of This Week is pretty crowded. You got me, you got Gaijin Dan, you got Was Taters, you got Space Jawa, you got Matlock, you got Jody and even new guy Dickeye. Craziness.

What I find funny about this update is that there are three panel choices for Batman and Red Robin and not a single one of them has anything to do with the big Carrie Kelly hype that DC made such a huge deal about. And why would they hype that in the first place when, “Batman kidnaps the Frankenstein Monster!” is headline news in itself?

Take it away, Nick.

Age of Ultron #5
Brian Michael Bendis and Bryan Hitch

Avengers #9
Jonathan Hickman, Dustin Weaver and Mike Deodato

Batman #19 (Gavin’s pick)
Scott Snyder and Greg Capullo

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For context’s sake, here’s a post that breaks down just about everything that happened, and I use this comment to talk about what I think about the situation. I think those links should be pretty comprehensive, if you’re not clear what went down. The short version, which is a lightly edited version of what I posted in that first link:

1. Brian K Vaughan releases a statement that Apple has banned Saga 12, specifically citing “two postage stamp-sized images of gay sex.” Fiona Staples cosigns it. They stand behind their comic, which is the only sane choice.
2. These statements are later cosigned by Image Comics and ComiXology via retweets, tweets, and reblogs on Tumblr.
2a. ComiXology tells CBR “Unfortunately, because of our business relationship with Apple, we can’t comment.” when asked for comment.
3. Normal people urge others to boycott Apple and to buy Saga from ComiXology or Image Comics directly. ComiXology implicitly supports these actions by spreading word that the comic will be on the website, not the app, by way of tweets directly to consumers.
4. Twitter goes ham, understandably, because it looks like Apple is back rejecting gay content for vague or unstated reasons, something they have done before.
5. Websites follow suit, and a widespread discussion about Apple’s practices follow.
6. 24 hours after the news originally broke, ComiXology CEO David Steinberger releases a statement that basically says “oh it was us ha ha sorry!”

Now that we’re all on the same page, Eric Stephenson, Publisher at Image Comics, reached out for an interview to clarify things from the POV of Image. I shot him some questions, he shot me some answers, and away we go:

Can you give us a timeline of how things went down earlier this week? Did Comixology inform Image, and then Image informed Brian K Vaughan and Fiona Staples? I know it was a big deal on Twitter, but how was the news received in the Image offices?

Comixology informed Image on Monday afternoon; Image informed Brian and Fiona immediately thereafter, and in this case “Comixology” = David Steinberger and “Image” = me.

From there, Brian stated his wish to contact David directly, in an effort to get David to go to bat for the book against Apple. I wasn’t privy to what went down between David and Brian, but I do know they exchanged a few emails, and the result of that was Brian’s statement.

As far as how it was received, well, we were frustrated, which I think is understandable. We’d had a problem with XXXOMBIES recently, and I remember talking about that here in the office, wondering how it was that there was this seeming double-standard where books like THE WALKING DEAD and SAGA were approved issue after issue, but then XXXOMBIES was bumped back. So in a way, it was kind of like the other shoe dropping, but yeah, it’s never good news to find out that one of your top books isn’t going to have full distribution.

The iOS approval process is pretty opaque for most people out there. How far ahead of time does Image generally have to submit comics to ComiXology for conversion and approvals?

We generally turn stuff in about three weeks ahead of time.

How does ComiXology communicate to you, or their liaison at Image, that comics have been rejected? BKV specifically called out gay sex in his note about Saga #12. Do they supply an itemized list or some type of guidance?

With this and SEX #1, we found out pretty much right before the release date, like, the Monday before the Wednesday in-store date. With XXXOMBIES, a couple of the issues were up at one point, then they weren’t, and we inquired about what happened. We got a response about Apple’s guidelines and the amount of sexual content, graphic violence, and profanity in the book.

There was no itemized list about SAGA #12. David told me there was a problem with the sexual content and we went right into figuring out how to direct readers to their site and our site, etc. I think the focus on the gay sex just came from the fact that every other issue of SAGA had gone up without so much as a peep. The book has had a lot of adult content since the first issue, much of it much more prominently displayed, so that was mainly a case of, “Why was the gigantic orgy in issue four okay, but this isn’t?”

What’s the protocol when a comic is rejected? I assume ComiXology informs Image. Is that a situation where Image has the opportunity to request an appeal, if that’s possible, or is it just a notification that the comic will only be allowed on the web and Android stores?

The latter, basically, but in this instance, I think due to SAGA’s high profile in the marketplace, David was anxious to be proactive about alerting readers to the issue. We’ve argued this stuff in the past, like with XXXOMBIES, and in this case, Brian went to David and asked if there was anyway to change this decision so the book could go up. He was told no, as we were with XXXOMBIES, and we accepted that at face value.

I know there are people out there who think Brian jumped the gun by issuing a statement at that point, but his goal was to draw attention to the fact the book was going to be available digitally, even if it wasn’t going to be on the app.

Saga #12, and a couple other books were released on iBooks with no problem, as far as I know. Those are produced by Graphicly instead of ComiXology. Has Graphicly ever come back to you and said, “Hey, Apple says this doesn’t fit their guidelines?”

No, but the iBookstore has different guidelines, which was one of the things we all found particularly maddening about the whole situation.

Does Image generally let ComiXology handle the digital side of things, from conversion to approvals to whatever other processes may be required? Is it a pure hand-off situation where ComiXology has full or near-full autonomy, or does ComiXology consult with Image or the creators along the way?

We upload the files to them and generally speaking, they take if from there. We’re involved as necessary, but the whole point of the relationship is for Comixology to do the heavy lifting, as it were.

Since this news broke, Joe Casey & Piotr Kowalski’s Sex #1 and Rick Remender & Tony Moore’s XXXombies have been made available on the iOS apps. Are you going back to series that have previously been rejected and re-submitting them? I’m not sure how long the in-app purchase approval process goes. Were these approved by Apple upon release, but held back? Another situation entirely?

Well, there were the books you mentioned, plus Howard Chaykin’s BLACK KISS 2, and that’s about it. No issue of THE WALKING DEAD has ever been rejected, for instance, and there’s obviously a lot of graphic violence in that series — a guy had his head very brutally bashed in with a baseball bat in one issue and there wasn’t so much as a word about that — along with profanity and some nudity and sexual situations. There are obviously other books with nudity, but yeah, that stuff has never been a problem.

In terms of the books that were rejected, I can’t really speak to what the situation was there. I just know we were told they couldn’t up due to the content.

Can you talk about how has this changed your relationship with ComiXology? Is there an oversight protocol in place to prevent this sort of thing from happening again?

It sounds like Comixology has a better idea what Apple will accept at this point, so really, I don’t see this being an issue going forward. As I told David yesterday, the upside of the whole situation is we have the books up there no, so even though it was kind of a shitty ordeal for everyone involved, the outcome kind of made it all worth it.