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  • Birthday 06/19/1974

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The New Guy

The New Guy (1/8)

  1. Jameson was able to keep his involvement in the creation of the Scorpion a secret for years, but he came clean when the Hobgoblin used it against him in a blackmail scheme. He did end up having to step down as the Bugle's editor-in-chief and eventually had to sell the paper altogether. (For a while. Because, you know, comics.)
  2. The Power of Shazam! Vol. 1: In the Beginning hardcover: Collects the 1994 The Power of Shazam! graphic novel and issues #1-12 of the ongoing 1995 series. This was incredibly fun. The graphic novel constituted the second post-Crisis origin story for Captain Marvel, and it was almost entirely done by Jerry Ordway. Ordway was basically put on this Earth to write and draw Captain Marvel stories, and he's able to modernize Cap just a bit while keeping everything that worked so well for the character in the 40s. This graphic novel is basically perfect. It was followed a year later by an ongoing series, written by Ordway and drawn by Peter Krause and Mike Manley (unusually for the Big Two, the artists were credited before the writer). These aren't as amazing as the original novel, but are still a hell of a lot of fun, picking up four years after the events of the novel and slowly bringing Cap's lore back into his story. Mary and Freddy come into the story about halfway through, and introduce the wrinkle that the power of Shazam is finite; that is, Cap is as strong as he's going to get, and when the other two turn into their own superpowered identites, Cap's power is halved or thirded as a result. So while Cap can stand toe to toe against Black Adam by himself, if Mary or Junior are Shazamed up, Billy is going to get murdered. It's a very quick read that stayed entertaining throughout. The Amazing Spider-Man by David Michelinie and Todd McFarlane Omnibus: collects The Amazing Spider-Man #296-329. I spoke about this a little on Twitter, but this made me realize that I have historically been harder on Todd than he deserves. His issues really are demonstrably more exciting than the issues that precede his. The first year or so, when he still had to listen to his editor, is VERY good. Micheline was a longtime Marvel Bronze Age writer and he produces largely solid work. It's hilarious to see where he's had to cover for Todd's tendency to be way more violent than Marvel usually allowed in the 80s, and he has to explain that no, really, Spidey actually saved that guy off panel after we clearly saw him get smashed head first into a wall at terminal velocity. By the time "The AssassiNation Plot" happens it's starting to get ridiculous, but before that this is some solid-to-great Spidey comic work.
  3. Yeah, it was what it was. It truly did hang together as a story better then the Whedon version, but shit was FOUR HOURS LONG and entirely joyless.
  4. The season is... fine. Not awesome, not bad, just kind of okay. Chibnall is deliberately trying to do something different with the modern series - i.e., a series entirely comprised of one-and-dones like the classic series - but as a whole the episodes have not been stellar. The cast is great, and Whittaker is definitely a good Doctor. Also, a not-zero amount of the backlash has been from people gnashing their teeth about the Doctor having boobs.
  5. I believe the offending word in "Word Crimes" is "spastic", which is not really on the radar here in the US, but I understand is VERY not okay in the UK.
  6. Stepping in to say that I 100% agree with this. Not using it in a misogynistic way doesn't mean a LOT of people hear it that way when the word is used and "that's not how I meant it" doesn't mean it's not genuinely offensive to a lot of people. It's kind of like "I would NEVER call an actual 'r-word' the r-word." (Yes, I've had to rethink a lot of my childhood vocabulary.)
  7. I took a chance on it because the co-writer, Sarah Beattie, is fairly funny on Twitter, if (again) kind of one-note. Glad I did.
  8. Money Shot #1-5: I walked in expecting a ridiculous sex comic. I got a surprisingly intelligent story with some solid science fiction and three-dimensional characters in a thoroughly cheerful sex-positive comedy. This was much, much, much better than I anticipated and I'll be reading the next arc as soon as I can.
  9. I've seen the VHS box in video stores but never brought myself to actually rent it.
  10. As a longtime USA Up All Night aficionado, I have a great deal of affection for the oeuvre of one Linnea Quigley, myself. Nightmare Sisters, man.
  11. Yeah, the multiplayer is hemorrhaging players. It's not going to be full price for long.
  12. It's absolutely beautiful. I was tempted to get it monthly when it came out, but as pretty as it was I really didn't feel like I would be getting $4 worth of entertainment every month, and the story as a whole is not a $48 story. I found it being sold as a twelve-issue set at a convention for $25, and that was money very well spent.
  13. 1963 #1-6: A series of one-shots from 1993 (with titles like Tales of the Uncanny and The Tomorrow Syndicate) by Alan Moore, paying tribute to Marvel Silver Age comics. The art was mostly handled by Rick Veitch and Steve Bissette, with some inks from Dave Gibbons, Don Simpson, and others. This was interesting to read now, with yet another of Moore's "superhero comics are stupid and smelly and I hate them" interviews making the rounds; the industry has broken Moore's heart, but his love for the medium was very real at one point, and this is a pitch-perfect take on the very early days of the Lee-Kirby-Ditko Bullpen. It barely qualifies as satire; this is pure homage. It ends on a cliffhanger that never got resolved, due in part with (stop me if this sounds familiar) feuds with Bissette and publisher Jim Lee. Black Widow (2016) #1-12: The Chris Samnee/Mark Waid limited series. Unlike a lot of their other collaborations like Daredevil and Captain America, this is mostly Samnee's show. Waid provides dialogue as needed, but this story, a very 1960s spy story, is largely told through visuals (to the extent that Samnee is credited as a co-writer), with a focus on Natasha's balletic action style. It's gorgeous, but I read the whole thing in about 90 minutes.