Ilash's Recent Comments
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!
March 28, 2019 4:01 pm As expected, a great show. One thing that Morrison does better than anyone else and is arguably the reason why so few team books live up to JLA is that he can perfectly encapsulate these characters with just a stray line of dialogue or a couple of panels of action. Most team books that do justice to the various team members are properly character-driven books like JLI, where the action is always secondary but JLA is almost entirely plot and action-driven but it still manages to give you a great feel for the characters as well. Most action-oriented team books try to replicate what JLA did but they either forget the amazing character moments or they're written by people who, frankly, just aren't on the level of a Grant Morrison. Anyway, like I say, great show. You really made me want to go back and reread these comics for like the fifty billionth time.
March 28, 2019 2:18 pm Really excited to listen to this one. These are some of my favourite superhero stories ever (though it stops just before Rock of Ages, I believe, which was the highpoint of the run) and a real game changer for superhero comics. Plus, while Porter wasn't as good then as he is now, it's one of the few comics to feature the amazing Oscar Jimenez, who is best known for his work on the Flash with Mark Waid. This whole thing is worth it just for issue #5 (the Tomorrow Woman story), in fact.
March 14, 2019 5:34 pm Really fun show this week, guys. As it happens, I did some catching up with a bunch of titles so I also came into this feeling extremely positive about comics right now. Just in regards to Ken's question, I think it's always crucial to keep in mind that comics then were written very differently and usually for very different audiences. There's often a lot of imagination and bright fun in SIlver Age and Bronze Age comics but they're also aimed at a much younger audience and are usually more simplistic in terms of characterization and the dialogue and narration tend to be exposition heavy and clunky. That said, I would echo recommendations for Moore's brilliant run on Swamp Thing and I would definitely also throw out a recommendation for Steve Gerber's Howard the Duck, which was genuinely years ahead of its time. Also, a lot of these older comics may not read great but it's always worth checking out the art of guys like Kirby, Neal Adams, Jose Garcia Lopes and Bernie Wrightson in their prime. Hell, I even absolutely love Infantino's work on the Flash - at least his earlier, fluid work, rather than when he came back with a much stiffer style later on.
February 18, 2019 7:49 pm You and me both. What was once the home of Watchmen, Preacher and Sandman is now a company that caves to even the slightest controversy and seems intent to micromanage everything to death. I would say I don't know how something like Mister Miracle was published but even there, an M-rated book still had its swearing censored. Things are definitely not entirely right at DC right now.