Ilash's Recent Comments
July 28, 2019 10:50 pm Great episode, guys, as usual. I'm actually fairly ambivalent about Planetary and much of Warren Ellis' work. While Transmet remains one of my all-time favourite series and I have a particular soft spot for Nextwave, just about everything else he's done doesn't ever hit me in the way that I think it's supposed to. He's clearly a very talented writer and I wouldn't say I don't enjoy stuff like Planetary and The Authority but there's a cynicism and smugness to most of even his best work that always keeps me from fully investing in his comics. It's funny, therefore, that you guys mention that there is a heart and optimism to his comics. Not because I don't agree with you at all but because I sort of do but that doesn't change my general feeling about his work. I can definitely see spots of humanity in stuff like the Authority or Planetary but they just never seem to break through that layer of cool, snarky indifference. Transmet is a major exception to this as that humanity comes through very loud and clear almost right from the off but especially once he started doing once-off issues of Spider covering ordinary and often quite broken people, which really highlighted Spider Jerusalem's underlying broken idealism. I really wish this wasn't the case because everything else about Planetary is pretty damn exceptional - though, yeah, Cassaday is definitely better in the first half of the series than the latter parts - but the lack of emotional connection stops it from going down as one of my absolute faves.
June 20, 2019 9:17 pm Man, what a great interview. Totally different from any other Tom King interview I've read or heard. Brilliant job, Josh. You guys totally just sounded like old friends chatting. I do, however, wish you would have touched on the reaction to Heroes and Crisis, which was probably the first overwhelmingly negative response to his work to date. Even Batman, which divides fans, hasn't received anywhere near the same level of vitriol as HiC. It is, admittedly, the only thing of his that I've ever outright disliked. Would have been interesting to hear his thoughts on the subject. Still, when my biggest criticism of your interview is that at nearly two hours it just wasn't long enough, you know you're doing something right.
June 3, 2019 2:41 pm Nope, they were still referred to as Oreos during JLI. It was only later that they weren't allowed to call them by that name.
May 30, 2019 10:41 pm Fantastic show guys and a great pick of a book to discuss. Unfortunately, I'm nowhere near as big a fan of this as you guys are. I was underwhelmed by it when I first read it about ten years ago and I was underwhelmed by it after rereading it for this show. I agree entirely about Mazzuccheli's art - though I have the 1987 trade, which doesn't include the extra issue and does feature that dot-matrix colouring that later printings seem to correct - and the craft, in general, is really very impressive by everyone involved. My big problems are that the first half of the book has been copied enough times to turn me off of it slightly - but only slightly. My bigger problem is the end. Everything after Matt's "rebirth" still reads as anticlimactic to me and, though Miller does write a surprisingly good Cap, that whole ending with Nuke felt tacked on. It's possible that my dissatisfaction with the ending comes from the fact that so much of this reads like a self-contained story only to feel like just another chapter by the end. To be honest, I'm glad I don't have to actually review this comic since so much of my misgivings about it are hard to nail down. All I know is that I do massively respect Born Again and I like 90% of it but I don't love it anywhere close to as much as I wish I did. Daredevil is far from my favourite character but I have certainly enjoyed some of his comics (especially a solid chunk of Waid's run) and am a big fan of Miller's '80s Batman comics but I simply can't bring myself to love Born Again - or the other Miller Daredevil that I read. It's weird. Really awesome to hear you guys speak this enthusiastically about it, though. I certainly finished the episode understanding why you guys loved it so much, at the very least.
April 30, 2019 9:19 pm See, I don't think that was Bendis' strength at Marvel. He was and is at his best when he is somewhat contained and doesn't guide the entire fictional universe. Plus, sorry, I think his Superman is very focused and purposeful right now with a lot going into the upcoming Event Leviathan. And this is the saving grace of DC in general now. I don't like Didio's version of the DCU - he's a fine business/ marketing dude but he should leave the creative stuff to the professionals - so if the whole thing was reflective of that, I would probably feel the same way as you do about DC. Instead, because they have these popup imprints, both officially and unofficially, their output is much more modular now and you can freely enjoy Superman or Wonder Comics without having to worry about Didio's vision dragging them down. Even stuff like Shazam and Green Lantern have some of the highest profile creators around so they've been left to do whatever they want to do there as well. One area that I do worry, though, is Doomsday Clock. Johns is basically channelling Alan Moore with it (which may just be why it's probably the most impressive thing he has ever done just on a technical level) so I understand that that may be causing the delays but it's just as likely that he is being delayed by the constant changes to the DCU that Didio is currently making and that what was once something designed to transform the DCU has now become fairly inconsequential to the bigger picture. That may well be a good thing for the book itself but not for the rest of the line.
April 28, 2019 9:39 pm I don't know. I certainly agree about Wally and there have been some utterly bizarre decisions made by the head honchos at DC of late but there are more good to great books than there have been for a while. The whole popup imprint model, in particular, has been a stroke of genius, Sandman Universe, Wonder Comics, the Bendis-driven Super line, Young Animal (which will be back shortly for a second stint) have all been really solid overall with some real standout books in each. And then you have stuff like Doomsday Clock and the Green Lantern, which have been excellent. Plus, it's not very long ago that we had King/ Gerad's Mister Miracle.
April 18, 2019 11:08 am Yeah, I must say, one of the reasons why I never quite warmed to the Hellboy comics was that I was expecting a bit more of the humour and quirkiness of del Toro's movies when I first read them. It's good stuff, just not what I was expecting and a bit more dour than it needs to be. I think the movie, though, is something else entirely. My problem isn't that the characters are put through their paces - favourite writers of mine like Ed Brubaker and Joss Whedon do it all the time - but that there's a general level of contempt that the filmmakers (as to who is to actually blame for the film's tone is perhaps more complicated than just laying all the blame at the feet of Neil Marshall) have for both their audience and their characters and that the general levels of grotesque violence and gore are handled in just about the most cynical ways imaginable. It's too witless to work as solid b-movie grunginess and too callous and unimpactful as anything more serious. It's just... ugly. Isn't it ironic that despite having a much higher age restriction than del Toro's films, it's so much more juvenile? The whole thing plays out more like what a slow-witted thirteen-year-old boy thinks "maturity" is - which would be fine, I suppose, if it was actually made by a thirteen-year-old boy. The idea that adults made this bilge is nothing less than highly embarrassing.
April 16, 2019 2:28 pm First, way to go, Josh, for doing this solo! Especially for this bloody movie. Speaking of which, I do think you were massively charitable to this film. I'm not a huge fan of the comics but I've liked what I've read but I really liked Del Toro movies and this isn't so much a step down as it is a plunge off a cliff. I thought this was genuinely, on nearly every level, awful. Harbour was fine as Hellboy and the monster designs were cool but the rest of the cast looked bored, the "edgy" overly sweary dialogue was embarrassing, the CGI was iffy, the gore and violence just felt desperate and even if the plot itself had potential, it was boringly and ploddingly executed. It also felt mean-spirited and cynical in a way that did it no favours and really puts it in a very unfavourable position to del Toro's movies. which were clearly labours of love to, at the very least, Perlman and del Toro.
April 9, 2019 9:21 am Yup, Section Zero is indeed a literal leftover from the '90s. I was pretty surprised to hear Josh disparage the paper quality in Detective 1000 (I actually only listened to last week's pod just before this one so this may be a comment for last week - which would make more sense) because that's the new stock used by DC on all their comics and I think it's a gigantic improvement over the flimsy, glossy stuff they were using before. This is much sturdier, doesn't suffer from glare problems and captures the colours quite nicely. Unless I'm misremembering and they used the old stock for Detective? Finally, one super nitpicky, grammar-nazi point: the singular of pants is pants, not pant. I'll see myself out.
March 28, 2019 10:37 pm Agreed. DC was in great form in the '90s overall. There were some stinkers but the '90s trends didn't affect them like it affected Marvel and Image. To your list, I could also add the triangle-era Superman, Robinson's Starman, PAD's Young Justice and Supergirl, Ennis' Hitman, Dixon's Batverse, No Man's Land, Waid's Impulse, Kesel's Superboy, the end of Giffen/ Dematteis' JLI, and, of yeah, a little something called Vertigo!