I was re-listening to the fourcast from two weeks ago, marveling at my own brilliance as usual, and I heard something that brought me up short. David was explaining the various titles that are going to be released as part of the Flashpoint storyline. I, after being skeptical due to always hating big events, was drawn in to the idea of Flashpoint. Not the idea itself; I still don’t know what it is and unless someone can explain it to me in one sentence I will continue to not know what it is, but to all the other titles.
As much as I hate to admit it, seeing as I’m an angry soulless person who doesn’t want to be happy, DC was pretty much giving me exactly what I always said I wanted. I always wanted more ‘What if’ or ‘Imaginary Tales’ or ‘Other World’ type stories. That’s why I love Superman/Batman so much – it had license to jettison canon and just go crazy. I like fun and funny stories. I like brief one shots. From the covers and the small accompanying blurbs, that’s what Flashpoint seems to consist of. Bruce Wayne owns a casino! Hal Jordan’s a fighter pilot! Here! Have a DCU Aerialists book! Here’s Lois Lane leading some kind of resistance.
What can I say but “Awesome!”
And what did I say but, “They’ll screw it up somehow.” Okay, that was a sarcastic aside at the end of the podcast, just to throw in a sting, but isn’t that what most fans say? Half the point of being a comics fan is being cynical. And often those cynical predictions turn out to be correct.
Why? Well, let’s start with the inherent problems of any major undertaking. I know, it’s just a comic book, but with an integrated universe with sixty years of history and a multi-media concept that has different versions in movies, TV, dvd, online gaming, books and comics, there is no minor undertaking. Add to that the basics of trying to juggle art, dialog, story, and the relationships of the characters in 20-22 pages, and it’s a tough struggle to make it all work.
More important, though, I think, is the expectation of the fans. When people get in to comics, they tend to like a lot. Everything is new. Everything is close enough to what they want that they can get something from it. And if they don’t? No big deal. Drop the book. I certainly wasn’t in a tizzy about Green Arrow continuity when I was first reading books. I just thought he was a guy in a funny hat.
After a bit, that changes. People fall in love with certain stories. They fall in love with certain characters. And when they fall in love, they do so with that character, and that story. As far as they’re concerned – that is how the character is. So if it’s just a momentary trend, or an extreme look at the character, either they are going to have to re-adjust their understanding of the character, or they are going to be chasing a dream forever. Guess what most people will pick. Guess how that makes them feel.
Still, though, I think the main problem with a lot of comics is people deceive themselves about how they’re going to feel. I very much include myself in that statement. I was talking to a friend who writes, the other day, as well as a friend who draws. They both take requests. They almost always regret taking requests. I’m willing to bet the requester often regrets making the request. Because no one ever gets what they want. We can swear up, down, and sideways that we ‘just’ want something – Black Canary and Catman in a fight, Wonder Woman and Oracle going out on the town and having fun, Batman being a great, friendly guy. We can get down on our knees and swear on our mother’s life that that’s all we want. We’re lying.
Most people even believe that one simple thing is ‘all’ they want. I know I did when all I wanted was Birds of Prey to come back. But that wasn’t all I wanted. I wanted a different artist, and I didn’t want Hawk and Dove involved, and I wanted it to be a fun book with people having fun, and I wanted Oracle to get to talk to Zinda a lot because they never really connected. I had a whole huge concept for the book in my mind without even knowing it. Don’t get me wrong, I like that Creote and Savant are involved – love it. And they’re getting a new artist. And I’ve come around to Hawk and Dove. I think they’re a good addition to the team. But I said that “all” I wanted and when it came around I complained because I meant that I wanted the book and I also wanted some other things that seemed oh so obvious to me.
(Clearly the bat symbol should be more orange. Forget this.)
That’s what my friends get all the time. They get requests, and they fulfill them, and then they get lukewarm thank yous because the character that lived in the person’s head was nothing like the character that these people wrote or drew. They meant Black Canary in that blue and black swimsuit outfit she wore in the original Birds of Prey. They meant black-haired Catman from the early Green Arrow series. They meant Batman being friendly, but not that friendly with Catwoman, doesn’t everyone know that he’s actually all about Talia? They meant this character with short hair or that character a little more aggressive, or sure they asked for this aspect but they would never have included that one.
The more you know a character, and like a character, the more specific that character is in your head. You know what they’d do, and how they’d do it, and how their stories go, and how they rate compared to other characters, and that they’d never do that. I don’t feel sorry for comics creators. (I’m too busy envying them.) And I don’t think that fans should button their lips when they don’t like a story. (I certainly don’t.) But I can’t help feeling some sympathy with people who are trying to deliver exactly what the fans want – with characters they themselves love – but can never really do it. Because everyone knows that Batman or Superman or Wonder Woman would never be in a story like that.
FLASHPOINT: GRODD OF WAR #1
Written by SEAN RYAN
Art by IG GUARA
Cover by FRANCIS MANAPUL
FLASH FACT! Africa belongs to him!
One-shot • On sale JUNE 15 • 32 pg, FC, $2.99 US • RATED T
Seriously DC Comics: get a black friend. Male or female, it doesn’t matter, just get one. We’re easy to find. Get one and then ask him if it’s cool to have Africa ruled by a monkey. Just run it by them, real casual-like. “Hey man, what do you think about this?” If they give you the gasface or their eyebrows narrow… change your plans.
How come Africa is always the one continent that someone gets to rule ALL of? No one rules an entire continent in the real world, and Africa has dozens, if not hundreds, of distinct peoples and cultures. I get that treating it as something other than a homogeneous Dark Continent would require, I dunno, opening Wikipedia or something, and that it’s just easier to make up a country with an African sounding name. I get that you guys don’t actually care about colored folks. They’re just action figures yet to be produced, a checkbox waiting to be ticked on the path to a “diverse” universe. Your track record has proven that, and as much as I wish otherwise, I can’t really fault you for it. You’re in the business of making profit, and black people don’t sell to the pet market you’ve groomed. It is what it is. This is the world we live in.
But for really real, though: you seriously need to get a black friend.
-You know what’s tough to figure out?
-How old capes are.
-We talk about whether or not we should care, does it matter, what makes sense, and on and on.
-We basically talk around the idea of time passing in comics, so listen in and pass some time.
-6th Sense’s 4a.m. Instrumental for the theme music.
-See you, space cowboy!
A nice, diverse week in this installment. I’m joined by a very full set of panelists such as David Brothers, Was Taters, Space Jawa and VersasoVantare. Due to a little snafu, Veraso’s 2000AD contributions didn’t make it into the last week, so here you go.
B.P.R.D. Hell on Earth Gods #3
Mike Mignola, John Arcudi and Guy Davis
The Damon Albarn Appreciation Society is an ongoing series of observations, conversations, and thoughts about music. Here’s the fourth, where Graeme McMillan (Techland, Spinoff Online) joins me to talk about Blur’s Think Tank. We broke it down track by track for you, so follow along on your mp3 player or listen to the embedded music videos.
Graeme: There’s something about this song that really makes me feel like it’s 13 done right – It’s got the same droning, mumbling, incantation thing going on, but there’s a sharpness and clarity to the noise, at the same time, if that makes sense? Also, it’s only 5 minutes, and really doesn’t outstay its welcome (It also changes things up enough so that it almost feels like a couple of songs in one – I really love the bassline that comes in around 3:30). Lyrically, there’s something to be said about the first line of an album being “No, I ain’t got nothing to be scared of, no,” after the break-up depression and drama of 13. It’s the sound of someone who’s found a new confidence in himself, and wants you to know.
David: I bought Think Tank off Amazon, and it comes with a hidden track first, which is actually just the first 6:45 of the twelve-minute first track. It’s the talking guy from “Parklife” yapping about something over droning and pulsing kind of backing music. The music part is okay, but it’s called “Me, White Noise” and it’s easy to see why. There are some good bits in it (especially around 2:18 or so when it goes really dancey), but it pretty much instantly overstays its welcome, and then goes on for a full six minutes.
Graeme: God, I’d entirely forgotten about “Me, White Noise.” It’s like the uglier brother of “Parklife,” with the jangly guitars grown into squelchy noises and everything sounding like a hangover. It really reminds me of “Essex Dogs” from Blur, but a very bad take on the same idea – It’s different, yes, but so different that I didn’t really have any desire to listen to it again after the second listen or so.
David: Other than that though, “Ambulance”? I like how it sets the stage for the rest of the album. It’s typically Blur subject matter, a kinda melancholy love song thing about your own personal shortcomings, but the music feels newer. It doesn’t sound like “Tender” or “Boys & Girls” or “For Tomorrow.” The rising action that kicks a little before the end is great, too, and it sounds like an orchestra rising up behind the singer looks.
You’re right on the significance of the first line, too. I thought this record was much, much less mopey (as much as I like moping) than 13. Albarn’s singing on “Ambulance” reminds me of “Beetlebum.” You’ve seen the video, right? Where he’s essentially fellating a microphone? The delivery there reminds me of the delivery here.
Graeme: I can see that, but the video it reminds me of is “No Distance Left To Run.” This is Damon still a little sleepy, waking up and everything better after a good night’s sleep.
2. Out Of Time
Graeme: Another beautifully sad song, and again, there’s a clarity to the noise that makes everything feel new after 13. But there’s also the… counter-programming, perhaps, of the Moroccan instrumentation that really adds something to the way it all sounds, and makes it feel as large as the lyrics demand. “And you’ve been so busy lately/That you haven’t found the time/To open up your mind/And watch the world spinning/Gently out of time,” sings Damon, and it’s like he’s gone from snarky observer (Modern Life Is Rubbish/Parklife/The Great Escape) to introvert (Blur/13) to… what, enlightened observer? But there’s such melancholy in the way that he sings it that it doesn’t come across as impartial. Am I making sense?
David: “And you’ve been so busy lately/ That you haven’t found the time/ To open up your mind/ And watch the world spinning/ Gently out of time” is exactly what drew me to this song, actually. It paints a fantastically detailed picture of a world where all is lost, but not really, because there is still something pretty. We just have to slow down to see the beauty and finally notice the decay.
This is an easy one to relate to. It reminds me of Atmosphere’s “Modern Man’s Hustle,” from God Loves Ugly. The chorus (which is infinitely catchy) is “I will show you all you need to know/ You must hold on to anyone that wants you/ And I will love you through simple and the struggle/ But girl, you got to understand the modern man must hustle.” Like, yeah, I love you, BUUUUUUUT surviving has to come first. Priorities. (and if you want to talk about albums that are autobiographical for the listener, I couldn’t listen to God Loves Ugly for like three years.)
Being too busy to take the time to do nice things is pretty much the dictionary definition of modern life, innit? Turns out modern life is rubbish (sorry).
Graeme: Interesting… I’d always taken it as Damon being someone who’s almost reprimanding – albeit very, very gently – the listener/whoever he’s singing to for being too busy. As in “This is who you’ve been, but you have to change, or you’ll never get better.” Are you saying that you hear it as Damon just being sad that that’s the way life is now?
David: I’ve been listening and re-listening to it while replying to you, and the song definitely isn’t partial. He’s singing about the way things are, but pushing for the way things should be. I think you’re right about Albarn admonishing the listener, but it’s also told from the first person plural at certain points, which says to me that he shares some of the blame. “Where’s the love song to set us free?”, right? It feels sort of like resignation, whether from him (“I can’t quite make the leap to this kind of love”) or about her (“You need to slow down, life could be really nice for us.”). The Atmosphere reference isn’t quite as close as I’d thought, on further reflection.
But basically, this one is saying to me, “We/you/I ain’t perfect, and we make do, but it’d be nice if we could do better.”
3. Crazy Beat
Graeme: Maybe it’s just me, but this sounds like posturing, like they’re trying to do something like “BLUREMI” or earlier, punkier music, and it just doesn’t convince – Again, there’s something about the production that doesn’t work for me, it’s muddy and feels small in the same way that a lot of 13 did. It feels out of place in the album, as if they were told by the record company to come up with an upbeat single and half-assed this.
David: I like this one more than you do for sure, in part because it’s basically in the vein of “I Love Rock & Roll” (in subject matter, at least, and in execution with the “I love that crazy beat” part) set over something I’d want to dance to. It’s light, though, and I don’t even think it’s single worthy. Like, maybe in the ’90s, but this feels like a throwback, save for the talkbox. This is just okay.
Of course, after I say “this doesn’t feel like it’s single worthy,” I google and find that it was a single. Well.
4. Good Song
Graeme: The first of many songs on this album that feel as if they could’ve come from a Gorillaz project. I’m not sure what the differentiator is for me, but maybe it’s the drums and the finger-picked acoustic guitar sounding like a loop? It’s a very slight song, but nice enough. Maybe it needed a guest-star, a la Gorillaz.
David: Hands down best part of the song is “And you seem very beautiful to me” and that lead-in to the instrumental break. The last verse is no good, though. The falsetto doesn’t work, the trailing off… it feels like he’s trying too hard. You’re right that it’s slight, and I think what it needed was a female vocalist, someone to go back and forth with Albarn.
Graeme: Yes! Bring in Little Dragon. I still think “To Binge” from Plastic Beach is the best Albarn song in years. Or maybe just the most complete.
David: “To Binge” is great, but c’mon… it’s gotta be “Broken”.
“You seem very beautiful to me” is great, though. Seem is one of those words that I think is a little wishy-washy, like you use it when you don’t want to make a firm statement. That, then, raises the question of just how sincere this song is supposed to be. Is it just an attempt at an escape? I dunno, but this track needed more to make me dig it.
5. On The Way To The Club
Graeme: This one just kind of leaves me flat. I don’t DISLIKE it, I just don’t particularly like it, either. It’s just there, and not very interesting to me. Again, parts of it – everything post 2:05, in particular – really sound like an unfinished Gorillaz song to me.
David: Man, yeah, I have hardly any opinion on this song at all. I get it, it’s about longing and not really being able to do much about it, but it feels like half a song. I don’t buy it. I keep forgetting its on this album, too. It just comes and goes. Post-2:05 sounds a little Demon Days-y, but only in sound, not in focus. The wailing and noises there felt like they had a point, while here… it just feels like dead air.
6. Brothers and Sisters
Graeme: I love this song; I love the guitar, and the way it sounds like it’s going to be a totally different song until the bass comes in. I love Damon’s attempts at rapping, I love the moaning background vocals, and the way the song twists and turns into something completely different by the time it finishes, especially the really dated-sounding keyboards. One of my favorite songs on the album.
David: Setting aside my obvious attraction to anything named “brothers,” you’re right here. The slant rhymes, the chorus, all of it is great. Do you hear him slurring his vocals on the chorus? “Gi’ us somethin’ toniiiight…” I love drug songs, and while this isn’t as teeter-totteringly clever as, say, Aesop Rock’s “Greatest Pac-Man Victory In History”, it’s still great just for its sheer straightforwardness.
I love how he flirts with the word “sobriety” at the end, too. Albarn goes “Librium for anxiety/ Drinking is our society/ Guessing out of tirety” and that’s great, because you KNOW the next rhyme HAS to be sobriety, but, no the song’s over. No sobriety for you.
7. Caravan
Graeme: This sounds like a cousin to “Battle” on 13 somehow, but again, much cleaner and… more melodic, perhaps? Again, I love this song, especially the arrangement (The guitar? keyboard? that comes in behind the singing at 1:15 really makes the song for me) and the distortion on Damon’s voice. The laziness to the “la lala la la la la”s as well, it feels effortless, intimate. There’s something very… disconnected, in a good way, about a lot of the sounds on this album, very spacey but in a different way to 13 – I really like it.
David: The distortion is what makes this one. It’s like Kanye’s 808s & Heartbreak, where a robot voice is playing this very melancholy role and hitting melancholy notes. This is another one of those rainy day songs, where really all the video has to be is a camera looking in a window from the rain while the band plays. That’s the exact picture this paints in my head. Intimate is a good word, but I wouldn’t go quite that far. There’s definitely something at least slightly masking his emotions–in this case the distortion.
I do like how the song reverses course in the second verse, though. First verse: “I’m a screw-up.” Second verse: “No, wait, I have family.” And “Sometimes everything is easy” feels like it has an unspoken “but not this time” sitting there in the shadows.
8. We’ve Got A File On You
Graeme: See, THIS is what I wanted “Crazy Beat” to sound like. This feels like an upbeat, shouty song that actually BELONGS on the album, and done in just over a minute! This is the kind of punk I want.
David: The first what, twenty seconds of this song? Flawless. It’s something that should be in one of Tarantino’s soundtracks. The rest of the song is great, sure, but that wind-up before the pitch is great. I think “Crazy Beat” is too different in tone for it to work as being a really shouty piece, though.
Graeme: I first heard this song when the album leaked online, and it was missing the last “ON YOU!” Weirdly enough, I think it was better that way. It just… stopped. Seriously, play it back and stop it right there. You’ll hear what I mean.
9. Moroccan People’s Revolutionary Bowls Club
Graeme: This is really a bass-heavy album, compared with all the other Blur albums, isn’t it? Alex really takes a massive role on this one, and really grounds the songs in a way that he’s never really had to before. Case in point: For everything that’s going on in this song, it’s all about that bass line, and it’s the bass line – and probably Dave’s drums – that make it feel so loose and light. This is another one that feels like, with different vocals, it could be a Gorillaz song.
David: You know, I couldn’t tell you what a bass guitar sounds like if I tried. If someone pointed out the differences, sure, I probably could, but right now? No idea. You’re absolutely right in that the music carries this one, but I really dig the way that the vocals come in as a track of their own two minutes in, with the ’80s (or at least what I associate the ’80s as being like) vocal distortion feeling more like music than actual vocals. I really like the drums here, too, but can’t quite articulate why. They sound sort of like the boom-bap from some of the indie hip-hop I was into in high school.
10. Sweet Song
Graeme: Definitely my favorite song on the album, it’s another Albarn song that just feels honest and open and effortless, and again, he’s being melancholy. It’s something that he does really well: Not SAD songs, necessarily, but melancholy ones, ones completely infused with sadness, but also some kind of optimism that keeps it from being a complete downer (“But I hope I see the good in you come back again/I just believed in you” is the kind of beautifully heartbreaking line, all filled with regret and hope that I love Elliott Smith for, even though everyone else in the known world seems to think he’s only about the depression). I like that the song ends, but the track continues with that long fade that sounds like something moving further away, for another few seconds, too.
David: This sounds like it could have easily been on 13, or even Plastic Beach, when I think about it. This feels like “On Melancholy Hill”‘s lyrics mixed with the music from “Broken.” “I deceive I deceive I deceive I deceive ’cause I’m not that strong/ hope you feel the same” is a little bit brilliant, too, the kind of line you want to chew over for a while.
I can’t quite decide what the song’s actually about, though, in part because of that line. Did he hurt his girl, was she not open to him trying to do good, what what what? “I hope I see the good in you come back again” sounds like she went sour, not him. It’s just a little ambiguous, isn’t it?
Graeme: All the best melancholy songs are ambiguous, I think; all the better for you to think “He/She’s singing ABOUT MY LIFE.” I know there are multiple Albarn sad songs that I feel completely possessive about, and it’s all because of the very specific readings I give them.
11. Jets
Graeme: Another could-be-a-Gorillaz-song-in-an-alternate-universe track, but it feels unfinished and a bit throwaway in a way that earlier instrumentals hadn’t. Also, by the time the saxophone comes in, just being a bit jazz-wanky, I’ve pretty much lost interest.
David: I actually really, really dig this one. It sounds like a Saul Williams song, from Albarn’s voice down to the heavy, messy drums. I like how it has a few specific modes, too: the part where Albarn’s lyrics fade in and then fade out (which is the heavy part), the plinky-plink part before and after that, and then the oppressive bit after that, before flipping back to plinks. This is good writing music and a real head-nodder. The sax was a bit much, though, especially around 6:05.
12. Gene By Gene
Graeme: This always makes me think it’s a really simple love song (“You’re my jelly bean” strikes me as such a lovelily goofy expression, and completely unexpected by this point in the album) done very elaborately, based around what sounds like samples of random noise? But I love it, completely, it’s just… happy, or at least it sounds happy enough that I find myself ignoring the lyrics and just listening to the noises, something I do to a lot of songs that just make me smile. For all I know, this is a really depressing song if you listen to the lyrics, but I don’t care. Someone (his daughter?) is Damon’s jelly bean, and that’s all I need to know.
David: Is this song depressing? Even looking at the lyrics I can’t quite tell, and the song being so incredibly upbeat muddies the waters even more. “Gotta get to know you, gene by gene” is good stuff. It feels like a song that’s straight up autobiographical, too. “Got a radio hit in mind…” This is another song that demands you nod your head along with the music, especially with around a minute to go and the vocals begin wrapping in on each other. The outro is weird, though, more horror movie than pop song.
“Get out the shower and I’m four fifty?” Google says “Force 15” but that makes even less sense.
Graeme: No, wait, that makes sense: Force 15, like a hurricane. Is that a British thing?
David: Ah, no, that makes sense. Wikipedia says that it only goes up to Force 12, but that still makes much more sense.
And on the point of it maybe being about his daughter–“jellybean” is such a daughter-y nickname.
13. Battery In My Leg
Graeme: It’s Blur-fan-heresy, I know, but this song – the only one on the album to feature Graham Coxon, who fell out with the rest of the band and left during recording – is just… I don’t know, overblown and bland in a way that the rest of the album isn’t, and I’m very glad that the rest of the album isn’t anything like it. Everything else feels more alive, whereas this feels uncertain and uncomfortable. You can hear the tension inside it, and it’s a relief when it’s done.
David: This song’s a drag, through and through. Even the piano keys taking the song out bore me to tears. The lyrics are okay, I guess, but it feels like a Blur song that’s intentionally Blur-y–“Here is what we do, so let’s go ahead and get it over with.” It’s like 2/3 of the songs on Jay-Z’s Blueprint 3 in that way. “This is what people expect.” Bleah. Pass.
created: You think a crackhead paying you back? Forget it.
biggie the bastard, sadat’s kind of spiritual
consumed: Number nine shoulda been number one to me.
-I saw Adjustment Bureau. It was pretty cool. I haven’t read/seen much of Philip K Dick’s stuff directly, just secondhand via Grant Morrison/Ellis/whoever. It made me want to read the novels/short stories in the end, so mission complete, I think.
-What did I do over the past week? I can’t remember for the life of me. I know I did more than see Adjustment Bureau, right?
-I spent a lot of time on Killzone 3 multiplayer.
-Oh! I beat Killzone 3. The ending is awful. I didn’t play any of the campaign when I owned KZ2, and I sorta wish I’d done the same for KZ3.
–Thrillzone 3 multiplayer is dope, though. They shoulda called it Illzone 3 (Trillzone 3, Realzone 3, Krillzone 3, Forrealzone 3). Tons of fun, and easy to get into and run a casual game with friends.
-I’m seriously at a loss here. What did I do last week? I just got off work, and today has been a Day, but I can’t have put seven whole days out of my head.
-I did get Joe Casey & Dustin Nguyen’s Wildcats Version 3.0 Year Two in the mail today. I’m happy to have that and Wildcats Version 3.0 Year One, even if I went out and got my issues bound. Those comics were great, and will be making an appearance here sometime soon. I’ve been doing some thinking on them and Grant Morrison’s New X-Men.
-The future was then.
-You know what I miss? Frank Miller and Jim Lee’s All Star Batman and Robin, the Boy Wonder. I just skimmed this essay I wrote about it last year, and the essay isn’t half bad. I got a lot of what I wanted to say in there. There’s a whole lot to like about that series, and honestly, the only Bat-books that have even come close to being as exciting and compelling as ASBAR‘s ten issues was that sublime bit toward the end of Morrison’s run on Batman & Robin with Frazer Irving.
-I’m really looking forward to Dark Knight: Boy Wonder. Just wanted to let you know.
-I also bought The Pin-Up Art of Dan DeCarlo 2. I was expecting to see some Archie style cheesecakey gag strips… but Dan DeCarlo drew some absolutely ridiculous breasts. Carnival boobs. It’s funny, though. A lot of the jokes revolve around sexual harassment in the workplace (including a pun about “arrears” [ayo]), and it’s weird to see the Archie guy drawing what’s basically outlandish cheesecake from the ’50s, back when all girls were gold diggers and dudes were just like the wolf from Red Hot Riding Hood.
-Christopher Wallace, bka The Notorious BIG, Francis MH White, Biggie Smalls, Big Poppa. 1972-1997.
-N-O-T-O-R-I-O/ U-S, you just/ lay down slow.
-I can’t remember what I did, but tell me what you did, and we can conversate in the comments.
well “in god we trust”, guns i bust
David:Batman, Inc. 3 Esther:Batgirl 19, Batman and Robin 21, Batman Incorporated 3, Birds of Prey 10, Superboy 5 Gavin:Batman And Robin 21, Batman Incorporated 3, Booster Gold 42, Justice League Generation Lost 21, Incredible Hulks 624, New Avengers 10, Punisher MAX 11, Venom 1
-David bought comics!
–Heroes for Hire 4, by Dan Abnett & Andy Lanning/Robert Atkins
–Power Man & Iron Fist 2, by Fred Van Lente/Wellington Alves & Nelson Pereira
–Thunderbolts 154, by Jeff Parker & Declan Shalvey
–Joe the Barbarian 8, by Grant Morrison & Sean Murphy
-You’ll never guess which one he wasn’t too fond of.
-Esther only bought a single book, so David gets to do most of the reviewing.
-Luckily, the Fourcast! is your number one source for digressions… so this one’s an hour.
-HOLLA.
-6th Sense’s 4a.m. Instrumental for the theme music.
-See you, space cowboy!
Hey, if there’s anyone out there who digs this ThWiP series and has some graphic expertise, would you be able to whip up some kind of opening graphic? I could really use one.
Today I’m joined by Was Taters and Space Jawa. Jawa wanted me to mention that he covered the Rocket Raccoon and Groot backup from Annihilators because it’s superior to the main story. He isn’t the first person I’ve heard that from.
Azrael ended this week. I’ll miss you, you crazy, religious hybrid of Moon Knight, Ghost Rider and Venom 🙁
Annihilators #1
Dan Abbnett, Andy Lanning, and Tan Eng Haut
Annihilators #1 (backup)
Dan Abbnett, Andy Lanning, and Timothy Green II
. We broke it down track by track for you, so follow along on your mp3 player or listen to the embedded music videos.
. The chorus (which is infinitely catchy) is “I will show you all you need to know/ You must hold on to anyone that wants you/ And I will love you through simple and the struggle/ But girl, you got to understand the modern man must hustle.” Like, yeah, I love you, BUUUUUUUT surviving has to come first. Priorities. (and if you want to talk about albums that are autobiographical for the listener, I couldn’t listen to God Loves Ugly for like three years.)
in the mail today. I’m happy to have that and 
, even if I went out and got my issues bound. Those comics were great, and will be making an appearance here sometime soon. I’ve been doing some thinking on them and Grant Morrison’s New X-Men.
. I just 
. I was expecting to see some Archie style cheesecakey gag strips… but Dan DeCarlo drew some absolutely ridiculous breasts. Carnival boobs. It’s funny, though. A lot of the jokes revolve around sexual harassment in the workplace (including a pun about “arrears” [ayo]), and it’s weird to see the Archie guy drawing what’s basically outlandish cheesecake from the ’50s, back when all girls were gold diggers and dudes were just like the wolf from 
