Archive for 2013

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This Week in Panels: Week 181

March 10th, 2013 Posted by Gavok

Good news, everybody! Rotworld is over! Open up the champagne! Knock over the giant statue of Arcane! We can finally move on!

Welcome to this week’s edition of This Week in Panels, the segment that takes a bunch of comics me and some others have read and cuts them down to size into single panel chunks that best describe what kind of comic you’re going to get. With me are Gaijin Dan, Was Taters, Jody and Space Jawa. Oh, and Matlock, the guy who convinced me to start reading Injustice: Gods Among Us contributed too. Good for him.

The one for Avengers was a hard choice because it’s a really clever issue and I didn’t want to give away the ending. My pick comes off a little ho-hum. It’s still worth checking out.

Also, I had my first Improv 401 performance today. I’ve done better and I’m sure I’ll do worse, but I have two more shows left in the next month and I’m confident I can improve. It seems like I’ll have a video to post in a day or so.

Age of Apocalypse #13
David Lapham, Renato Arlem and Valentine De Landro

All-New X-Men #8 (Gavin’s pick)
Brian Michael Bendis and David Marquez

All-New X-Men #8 (Jody’s pick)
Brian Michael Bendis and David Marquez

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Crossover Celebration Part 7: Robocop and Terminator Duke it Out Over the Decades

March 7th, 2013 Posted by Gavok

I can’t think of a more fitting mixing of properties than Robocop and Terminator. Both 80’s movies are perfect opposing sides to the same coin. Robocop is a robot on the outside with a human on the inside. Terminator is a human on the outside with a robot on the inside. Robocop is about the extreme dangers of mankind. Terminator is about the extreme dangers of technology. Robocop is a machine bent on protecting humans. Terminators are machines bent on destroying humans. Robocop’s theme rings of optimistic victory. Terminator’s theme rings of impending doom. Robocop saved Sting from the clutches of the Four Horsemen. The Terminator failed to save us from Axl Rose. You get the idea.

There have been two comics about the two sides clashing via two different companies with two decades in-between. One of them is exceptionally good. The other one is not. The first one is by pre-insanity Frank Miller with Walt Simonson on art. That should spell it out pretty easily, I’d say.

The four-part series Robocop vs. the Terminator was released in late 1992 by Dark Horse. It’s released a year after Terminator 2 and just months before Robocop 3, which also has Miller’s name on it… whether he wants it to or not. Interestingly enough, Robocop vs. the Terminator has virtually nothing to do with Terminator 2 despite the movie’s immense popularity. Going further, this isn’t even a traditional crossover in the sense that none of the Terminator cast appear at all. The most we get is references to the adult John Connor. There’s no sign of him, his mother, his father or even the T-1000. The most we get is a T-800 that may or may not have the same appearance as the one from the movies. Though he does steal a blind man’s shades, so I guess it’s supposed to be an Arnold-bot.

It’s a unique mixing of properties where it’s simply Robocop and his world interacting with the world of the Terminator. Not the characters, but the concepts.

Several decades into the future, the war with Skynet is all but finished. The last remaining humans are overwhelmed by the machines and the last survivor is a tough-as-nails female soldier with a bowl-cut named Flo. She uses the diversion of her comrades’ deaths to find out for sure what caused Judgment Day to happen.

Uh oh.

With more robots on their way to get her, Flo drops trou and runs into a time machine. She goes back in time to not-so-distant-future Detroit, where she’s almost run over by a cab driver. Strangely, nobody bats an eye to the fact that she’s nude and instead her inability to look where she’s going (by teleporting in front of a moving car) causes the driver to pull out his gun. Many onlookers get ready for the showdown by taking out their own pieces, but Flo disarms the cabbie and steals his gun. Everyone backs off and goes on with the rest of their day. The thing that really gets Flo about all of this is the very sacrilegious idea that man would threaten man with violence. Then again, Skynet hasn’t happened yet.

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Ask Dr Racism: Blackface, Cosplay, Intent, Reactions, and Responsibility

March 5th, 2013 Posted by david brothers

Personal anecdotes first, talking about blackface later. Chronological order right here:

In kindergarten, this kid I was friends with sang a song to or at me. It went “Jingle bells/Batman smells/Robin laid an egg/Grandma pulled the trigger/and shot a nigger/and Joker got away!” I joked on tumblr that it was the first mash-up because it combined two different songs with the same melody, but in real life I went and got a teacher, who reprimanded him in the limpest way possible.

A few years later, I don’t remember exactly when but young enough for “playing games in the car” to be a thing I still thought was cool, me and my cousin played a game. It went “Chinese mother,” and you pull the corners of your eyelids up. “Japanese father,” and you pull the corners of your eyelids down. “Mixed kid,” and you do one up, and one down. I was in the car with my cousin and grandparents, with my grandfather driving and my grandmother passenger seat driving. And my grandmother, she turned around, right, and she didn’t say anything, but she laid that Look on us. You know the one. It’s kind of looking down the nose with your eyebrows narrowed and your mouth tight. That “I raised you better than that” look, the one that makes you stop what you’re doing cold, apologize, and then never do it again. I’m from a Christian family, and we were raised to do unto others. Be fair, be loving, be honest, be genuine, be right in your life. That stupid joke I picked up from somewhere? Anti-Christian. Full stop. I knew better in the abstract. But not in the specific. I didn’t think it through.

Twenty years later (a complicated and fancy way of saying “a few days ago at Emerald City Comicon”), I found out about a blackface Geordi LaForge cosplayer. I don’t know who he is, and I don’t particularly care, but I did make a joke about it:

And that was it, I think? Maybe an RT somewhere. I had a couple conversations over the weekend about that guy, of the “Did you see him? Can you beLIEVE him?” variety. On Sunday, a couple friends told me there were a blackface Walking Dead troupe, only I was so exhausted I was utterly incapable of figuring out what that meant. I got stuck on “There are black zombies in Walking Dead? What a weird costume, blackface aside,” and sort of forgot about it.

Rich Johnston over at Bleeding Cool posted about it, and my tweet (proving even my so-so jokes are pretty funny!!!!), and the message board dudes got MAD that I would threaten VIOLENCE against someone who was just trying to have some FUN and show his RESPECT and all types of other all-caps offended-you’re-offended let-me-tell-you-what-racism-really-is internet fedora dude nonsense. So:

I could never figure out a good one, I guess because high concept jokes about the US Marshal Service in film are difficult, but this led to some comic book dudes tweeting at me about it anyway. They had a few points, but I’d heard all of them before, ad nauseam. I’m breaking it up into three sections — intent, offense, and education — which I think covers the spectrum.

Intent: When people bring up intent, they’re talking about what someone meant to do, rather than what they did. And that’s cool, I get it. I didn’t mean to be a dick to Asian peoples when I was a kid. I thought I was just having fun with my cousin. My grandmom knew better and put me in my place.

People intend a lot of things, but the only thing that matters is what they actually do. If what you intended to do is show your respect for someone, and you do it by replicating an incredibly dehumanizing practice, guess what! You’re a jerk. You can be a jerk through ignorance as well as malice. And blackface? Kind of a jerk move.

So no, intent doesn’t matter in this situation. It would be one thing if they were challenging or exploring some idea, as Garth Ennis did in Hellblazer, but they aren’t. They’re dressing up to impress their friends, not comment on our world today.

Shorter version: nobody taking part in that stupid Harlem Shake fad means any harm, but they’re still disrespecting and obscuring the long history of the actual Harlem Shake.

Offense: I’ve had people telling me how offended I get to be when people do offensive things since I was a kid. “It’s just a joke!” is a good one, “they didn’t know any better!” is another. “I hate everyone equally!” is a good’un. But what it comes down to is this: how much something gets to hurt me? That’s an internal process that I honestly don’t have a lot of control over. I can say “I don’t let things bother me,” but that’s a toughguy way of saying “I try to ignore these things that really hurt me inside.” There are some things I don’t care about that are offensive, some I do care about, and that balance isn’t something where I pick and choose. Some jabs hit my kidneys, others my forearms.

But in this case? I keep saying it, but the sum total of me acting on my offense was making jokes about US Marshals. I didn’t go off, I didn’t write an 1655 word essay about blackface, and I still got called upset and condescended to about reactions to offense! YOWZA. It’s “u mad” disguised as “I’m very cool and progressive and positive and you aren’t!”

You can disagree with my response. That’s totally cool. I’ve done/will do that. But c’mon son.

(Another dude said I lost the conversation because I used disrespecting as a verb, and well… if that’s what you say, bruh.)

Education: A different guy, not the condescending guy but another one, said that it was a teaching moment for the lady cosplaying Walking Dead. She’s a good lil gal, never meanin’ no harm. She means well, so why not educate her instead of zinging her to literal death?

That’s a good point, and he’s right. I honestly believe that education is crucial to fixing racism. If I didn’t believe that, I wouldn’t spend Februaries pulling teeth and talking about this stuff with regards to comics until my eyes bleed.

I could have sought out Blackface Geordi or the Alexandra Jolson Walking Dead Trio. I could have explained to them how blackface has been used to lock black entertainers out of the entertainment business. I could have talked about how blackface has been used to dehumanize black people, which in turns makes it easier to think of them as being different and weird and so on. I could talk to them about the utter savagery that America, and the colonies before it, and Europe in general has forced upon the black race, whether African or American or some combo of the two. I could do that in my sleep at this point.

But why does it fall to me to do that? Why does the butt of the joke, the guy who looks at someone “having some innocent fun” that is explicitly something that has been used to destroy and degrade people who look like me? “Listen, maybe if you just told this guy punching you in your guts that it hurts, he’d stop? Maybe he doesn’t know?”

“Boy, if only someone told those colonists that maybe they shouldn’t slaughter native peoples…”

Nah, son. People are going to do what they want to do. Somebody should tell them what’s up. But that ain’t on me. It’s their mess, and I’m expected to clean it up? No. They’ve got parents. They’ve got teachers. They’ve got friends. They’ve got people who love them. Somebody should have told ’em, but expecting me to do it? To always be on call? That requires a retainer, and you can’t afford me.

You don’t have to know the history of race relations to not be a dick about race. That’s this weird reductio ab absurdum argument, where you have to be an expert to know things. You don’t. You just need a friend, or the internet, or to simply think about what you’re doing beyond “is this fun.”

Blackface isn’t obscure. There’s controversy every year about it, whether in movies like Cloud Atlas or some dumb party in some dumb college in some dumb state. It’s not like I’m getting mad (getting “mad”) about somebody not knowing that… I’m trying to think of a really deep cut bit of savagery here… I dunno, it’s not like I’m expecting people to know that Tommy Hilfiger hates blacks (he doesn’t, but for a while we were sure he did) or that there’s ground up glass in Kool cigarettes (ditto). This is basic. It’s in the news. It was in the news the week of the con!

People know about blackface. And if you don’t know, I guarantee somebody you know knows. If you think, even just a little, you’ll figure this stuff out before you step out of your house in a bad makeup job.

The burden of explaining why it’s offensive? That isn’t on me. If I choose to do it, and I have hundreds of time at this point, I’ll do it. But if I choose to make the joke? I’m going to make the joke. And if you choose to tell me that I was wrong for being offended and making that joke? Son, you are turning a corner that you can’t walk back around.

dr racism out.

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Wait, What’s This About DC Killing Damon Wayans?

March 5th, 2013 Posted by Gavok

“Tell the others it’s over, Alfred. Batman. All of it. This madness is over.” – Bruce Wayne, Batman Incorporated #1

The big news of the week is the death of Damian Wayne, latest Robin and son of the Dark Knight himself. Created in an Elseworlds story in the 80’s, the idea of “Bruce and Talia’s kid” showed up in a couple other alternate realities. My favorite of which is Kingdom Come where under the name Ibn al Xu’ffasch, he didn’t do anything of note. They don’t even outright spell it out that it’s Bruce’s kid until the sequel, but like with much of that comic, there’s miles of details to be found throughout. For instance, despite being a part of Lex Luthor’s little cabal against metahumans, it’s strongly suggested that Ibn is a mole working for his father all along.

His subtle storyline leads to one of my favorite little moments in that book. During the end, there’s a page that shows Batman walking through the Batcave, now transformed into a hospital for people affected by a nuclear bomb. All of Luthor’s league are forced to wear control collars as they tend to the sick, except for Ibn. Off to the side, there’s a sequence that tells its own story. Ibn drapes a sheet over a body. He appears broken up over this loss of life, but Bruce stops by to give him a reassuring look.

Ibn also had a mullet. That was a plus.

Anyway, the fully-realized Damian has become a focal point of Grant Morrison’s run on Batman. He appeared as something of a villain in the very first story, gradually turning into something a little less evil. He faded into the background for much of the early run and remained a complete bastard, especially towards his “brother” Tim Drake. Also, there was that look to the future in Batman #666 that showed a reality where he would become Batman after supposedly selling his soul to the Devil.

Damian wouldn’t begin to show any real change until Bruce’s supposed death. Battle for the Cowl gets a lot of warranted criticism for being an unnecessary miniseries meant to cash-in on Batman being dead, but there is one sequence I kind of like. Damian steals the Batmobile and takes some unidentified teenage girl for a joyride. Shit goes down, they get split up and Damian finds out that she’s been killed by Killer Croc. It’s actually kind of shocking to see Damian have a horrified reaction to this. By this point, any moments of him working on the side of good has been self-serving, trying to get Bruce’s approval or simply just fighting for the sake of fighting. It’s the first reassuring moment in the character’s history as there’s something resembling humanity being shown.

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This Week in Panels: Week 180

March 3rd, 2013 Posted by Gavok

Pfft. Jeff Parker. Who did he ever beat?

Ah, nothing like the first day of vacation. Before I get into the panels, just a quick plug. Next Sunday at 4pm, I’m going to be doing an improv show at the UCBeast in the East Village in New York. If you’re local, come check it out. It’s one of three shows I’ll be doing as part of being in UCB’s Improv 401 class.

To make my mood even better, Marvel just announced that they’re bringing back What If! Fuck yes! My bread and butter!

Got the usual crew this week. Gaijin Dan, Jody, Space Jawa and the photographer of the above picture Was Taters. Let’s get to it!

All-Star Western #17
Justin Gray, Jimmy Palmiotti, Moritat and Staz Johnson

Aquaman #17
Geoff Johns and Paul Pelletier

Batman Incorporated #8 (Gavin and Taters’ pick)
Grant Morrison, Chris Burnham and Jason Masters

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Come on in, it’s time to party with Smuckles and Friends

March 1st, 2013 Posted by Gavok

You’re on the internet looking at a site that is about is mostly about is occasionally about comics, so you are probably familiar with Chris Onstad’s Achewood. Originally meant to be about a trio of sentient stuffed animals, it mutated into revolving around a thong-wearing cat with too much money on his hands and his depressed mess of a best friend. It went on for years, gave many laughs, then stopped due to some personal stuff Onstad was going through. It picked back up, sporadic as it had become, but just the other day it was announced that Onstad is shopping around for a channel to get behind an Achewood television series. At first, we got a quick glance of some footage with “Everyday” by Buddy Holly playing.

Now we have a 5-minute proof-of-concept test footage dealy.

I’m down with Roast Beef here, though, “THIS IS SO WACKY!” needs far more oomph. It goes with the “Boomhauer from King of the Hill with the gimmick dialed down by a quarter” voice I always imagined him having. Ray seems a bit off to me. I always figured he sounded like Jeff Bridges. Ah well. I’m sure I’ll get used to it.

If it gets picked up. Please let it get picked up.

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Big Sean’s “Sellin’ Dreams”: Style & Substance

February 27th, 2013 Posted by david brothers

I like this Big Sean song “Sellin Dreams,” with a hook by Chris Brown. It’s about breaking up with your side girl so you can be faithful to your main girl, but I appreciate the wordplay, how Sean tells the story, than the subject of the story itself. At this point, this is my favorite joint on Big Sean’s Detroit, though maybe “I’m Gonna Be” with Jhene Aiko is a better song overall. The chorus on that one is stellar, but I like the wordplay in “Sellin Dreams” more.

“Sellin Dreams” starts off pretty wack, honestly. Hell’s paradise/pair of dice is a soft rhyme, like Maybach/laid back. No effort, right? But Sean manages to smoothly slide from punchlines to content:

Welcome to Hell’s paradise
I always heard life was a pair of dice
Seven, eleven, or a pair of eyes
As I’m looking at her smearing eyes
She yelling, “Take them glasses off
“Your eyes are the only thing that’s not lying”

pair of dice to snake eyes to crying eyes to hidden and lying eyes. That transition really works for me, and he doesn’t telegraph it at all.

One of the things I love the most about rap is how you can get away with things like this, hiding depth in simple punchlines. The style is the substance, right? The style builds up an image, and that image is what you pull apart to understand the song. He compares snake eyes, a losing throw, with crying eyes at the end of a relationship. It’s the kind of thing that isn’t immediately obvious, but you feel it in your gut.

He does a few other things I think are pretty clever. “Not caring to the point that I stopped lying” is pretty deep, if only because it suggests that his idea of caring is lying, right? What’s that say about their relationship? When my little brother played me this song, “I broke the levee to your eyes, that “I don’t give a damn” shit” was the killer line, the thing that caught my attention and made me sit up. Dam/damn isn’t worth much of nothing, but the addition of levees and the context of the song made it really work. I like “We had that independent love, you tried to bring a label in” too, though that’s a little more obvious.

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Black Panther & Black Supremacy

February 26th, 2013 Posted by david brothers

This’ll make sense tomorrow, I promise. But for now, enjoy (and feel free to discuss) this exchange from the letters page of Black Panther #4, which was written by Reggie Hudlin, drawn by John Romita Jr, and collected as Black Panther: Who is the Black Panther?. It’s a good comic, but I needed to excerpt this for another piece I’m working on elsewhere.

I typed all this out myself, so the errors are my own. Here’s the original joint:

panther-letters

Tomorrow: I’m throwing molotov cocktails at the precinct. We can discuss it rightchea if the comment thread on another site (I don’t know why I’m being secretive, it’s not like I write for anyone besides ComicsAlliance) isn’t to your flavor.


I read the Black Panther #1 relaunch with an open mind. I love the character and loved Priest’s run. Honestly, I haven’t liked much of the usual Marvel hype surrounding this new series (obviously aimed at Marvel’s perceived core audience of backwards-hat-wearing skateboarders), but I am totally willing to give the new writer a chance. The result was mixed feelings.

First, it seems that Reginald Hudlin can write comics. Marvel feels that only Hollywood writers can write decent comics; the truth is usually the opposite. I’m always wary of a new Hollywood writer, mostly because the aforementioned hype machine has wildly overrated their talents. But Mr Hudlin can visualize and write a coherent script. So far, so good. The penciling was fine. I did not care for how emaciated and anemic-looking John Romita Jr’s Spider-Man was, but he doesn’t make the same mistake with these characters.

The scripting started to break down about halfway through. Specifically, the meeting in the White House. The suggestion that a top military White House official would call blacks “jungle bunnies” is ridiculous and speaks to Mr Hudlin’s hatred of Bush more than his writing abilities. Really, President Bush has a much more diverse staff than any of his predecessors and the most diverse Cabinet that has ever existed. Is this President really going to tolerate racism in his staff, General or not? This scene did not ring true.

The white industrialists attacking Wakanda in the 19th century were a little more believable. This reflects the gree and racism of the time and besides, black tribes were also showing attacking. Wakanda is a rich nation, and as such is subject to attack throughout history by all sorts of forces. I bought this.

Then there was the Cap thing. I suppose there was a chance that on a really good day T’Chaka could take Captain America, but the scene just reeked of the “all black people are good, all white people are bad” attitude that permeated the story. And of course, our racist white General ferociously denies that such an event actually took place. I suppose this is Mr Hudlin’s way of telling fans like me that if we question that the great Captain America can be beaten (by a black man), we’re just as racist as the General. Sorry, not true. It’s just that it’s hard to beat Cap, period, regardless of the race of the protagonist. I’m still not sure if I buy that, but I suppose it’s possible. Then there was the fact that Cap’s shield was the wrong one for 1944. Of course it’s minor, and no, it didn’t affect my enjoyment of the story, but it’s just another way that NuMarvel in general, and the editor specifically, ignore any comic printed before 2000.

It’s too early to tell if Black Panther is going to be a good adventure comic or a soapbox screaming that every white person (and super hero) is, knowingly or not, a racist. Take a note from Priest on this; his run occasionally touched on racism, but he was never heavy-handed about it. I was impressed when Priest, a self-admitted liberal, depicted President Bush as a savvy leader during his original BP run. Priest managed to tell a story first, and stick in his personal agenda mostly not at all. Can this team do the same?

Again, because of my love for the character, I’ll stick around for the first storyline. I’ll never forget how cool I thought the Panther was in FF during the ’60s. And even cooler when he took off his mask and revealed that he was black (as you well know, black heroes were almost nonexistent at the time). So to the entire creative team, especially the writer and editor: story first, personal agenda nowhere.

——-

Ho-kay, Jerry. You grind quite a few axes with that letter — we lost count by the third paragraph, in fact. We think it’s only fair to let Reggie respond for the record. Reg’?

I respectfully disagree with you about JR Jr’s Spider-Man — you wanna see scrawny? See Ditko’s Spidey — and I love Ditko’s work! There is no doubt John is doing a great job on this book. That said:

Regarding your point that the White House sequence “is ridiculous and speaks to [my] hatred of Bush more than [my] writing abilities”: Whoah. I’ve been black for a very long time and I’ve met prejudiced people in every walk of life — regardless of race, creed, social position, or political affiliation. Acknowledging their existence does not imply that whatever group they belong to automatically shares their beliefs. As for whether such talk could occur in such rarefied circles, plenty of Presidents, from Woodrow Wilson to Lyndon Johnson to Richard Nixon, have been documented saying racist remarks. Do I think it’s in the realm of possibility that a White House staffer from either the Clinton or Bush administrations (remember, the story does not specify who is President) might make a racist comment? Yes. Would such a remark be tolerated? Well, in my story, the black woman who is running the meeting — Dondi Reese — summarily dismisses the idiot without breaking a sweat.

Regarding the Cap thing: I don’t engage in Hulk vs Thing debates, and I won’t engage in Cap vs Panther debates either. I am in the fortunate position of writing Black Panther, and the Panther beat Cap. Now, don’t get me wrong, I love me some Captain America — I spent 200 bucks on one of those fancy shield replicas on eBay — but Panther beat Cap, baby. Live with it.

Regarding your assertion that the whole story was saying “all black people are good, all white people are bad,” all I can say is, this remark says more about you than the comic I wrote. Aren’t the first “bad guys” in the book black invaders with body part trophies from previous raids? If you think I’m vilifying the administration, isn’t that a black woman in charge? Clearly, all black people aren’t “good” in this issue. So maybe the problem, in your eyes, is that there aren’t enough “good” white people? Why? Captain America may have lost the fight with the Panther, but he certainly doesn’t say or do anything to betray the principles he stands for. And when one guy in the meeting says something stupid, everyone looks at him like the fool he is, and once he is dragged away, intelligent conversation resumes — so why brand the entire room as racist because of one guy’s comments? I wouldn’t presume that about them, so why would you?

Finally, regarding your concern that this book will become a “soapbox screaming that every white person (and super hero) is, knowingly or not, a racist,” let me say this: By necessity, many black people spend long hours analyzing the complex permutations of racism, while some of their white brothers and sisters have a harder time discussing the awkward and painful feelings the topic evokes. But sticking our heads in the sand only makes the problem worse. Until we develop a common language and a shared understand of each other’s experiences, these conversations will generate more heat than light. I don’t want to preach to the converted. I don’t want to preach at all. But I do want to challenge readers of every political stripe. I appreciate the fact that you’re willing to stick around. The more you read, the more you’ll see I’m an equal opportunity offender. The more you read, the more you’ll see I’m all about kick-@$$ action and heroics. And if you think Stan and Jack didn’t have a personal agenda, you’re wrong. Like The Beatles, they used their artistic genius to make the world a better place — and they succeeded.
–Reggie

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Do some pull-ups.

February 25th, 2013 Posted by david brothers

It turns out that what I grew up thinking were pull-ups are actually chin-ups, and real pull-ups are harder to do than chin-ups. When my friend Larry (of Move, Damn You! and mercilessly making fun of me every chance he gets fame) asked me if I had any fitness goals for the year, the first thing that came to mind was working on my pull-ups. I spent a lot of time playing with my little brother and sister over Christmas break, and they both enjoyed doing pull-ups on the bar in our grandfolks’ house. I used the time to figure out how many I could do and was pretty dissatisfied with my performance, so it was on my mind.

I figured that going with a flexible training regimen would be easier to manage and allow me adjust what I was working and how hard I was working it. The only things I made it a point to do every day was doing thirty pushups after rolling out of bed, doing thirty pushups before crawling into bed, and doing as many matched sets of pull-ups and chin-ups as I could manage several times a day.

I matched my pull-ups to my chin-ups for simplicity’s sake. In terms of effort, I focused on doing what I knew I was capable of plus at least one. When I could do four pull-ups, I pushed for five and sometimes managed six. When I could do five, I aimed for six and struggled toward seven. At six, I winced my way to eight.

In terms of schedule, I did at least two sets of pull-ups and chin-ups in the morning for a minimum total of 8 and 8, and often threw in a third on my way out of the door to be late for the bus to make it 12 and 12. When I got off work, I would come home, sit down for a minute, and then do at least two more sets, and sometimes a third (or fourth, or fifth, depending) before bed. I’d stretch before and after each set, too.

Around a month and a half after choosing a goal, on 2/18 to be specific, I beat ten pull-ups for the first time in my entire life.

It turns out if you do thirty pull-ups & chin-ups a day, and eventually graduate to something horrible-sounding like sixty to seventy pull-ups & chin-ups a day and more on Saturdays because there’s nothing else to do besides video games and naps, it’s easy to hit ten. Well, not “easy,” that’s not right — I mean to say that it’s doable. It’s reasonable. Feasible. With every pull-up I added to my tally, the better I felt and the more I felt I could do.

I focused my aggression this time, instead of just trying to go hard like I usually do and I hit this goal much sooner than I expected. I overreach a lot, honestly. I overestimate my abilities and then I get frustrated when I miss the mark. This time, I planned it differently. I chose a reasonable goal — double what I was capable of, plus two for a nice milestone number — and then I thought about what I was capable of doing at that point in time. After that, I just focused on consistently aiming at a level that was slightly better than my then-potential and trust that, in working those muscles, I would gradually increase that potential. That’s how muscles work, right? Science!

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This Week in Panels: Week 179

February 24th, 2013 Posted by Gavok

Hey, everybody! We got a huge update this week, thanks in part to Peter, the newest contributor. Also helped out by Gaijin Dan, Jody, Was Taters and Space Jawa. I don’t know Peter from Adam Warlock, so that goes to show that if you want to be the newer newest contributor, there’s nothing stopping you from climbing aboard the train.

To panels and beyond!

Action Comics #17 (Peter’s pick)
Grant Morrison, Brad Walker, Rags Morales, Sholly Fisch and Chris Sprouse

Action Comics #17 (Gavin’s pick)
Grant Morrison, Brad Walker, Rags Morales, Sholly Fisch and Chris Sprouse

Avengers #6
Jonathan Hickman and Adam Kubert

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