#a peter whose arc was becoming the working class hero he is in the comics would need to be disilusioned for the old heros he idollized

[just-an-enby-lemon]

Is genuinally shockig that I never found an animatic or an edit using Rät by Penelope Scott to represent Peter and Tony's relationship in the MCU.

[loopy777]

whats your thoughts on Venom, the green goblin and doctor octopus, the three characters who are generally held up as spidermans archenemies? which one do you think has the best potential as spidermans definite enemy if they were written perfectly, and which series do you think had the best portrayal of each of them respectively?

If I had to crown THE Spider-Man Archnemesis, I would have to give it to Green Goblin. Doc Ock is the oldest, and the first to both defeat Spider-Man and make him consider quitting, but ultimately Norman has taken more from Spidey, gotten more personal in their conflict, and created more of a legacy for the mythos. Sorry, Otto.

That said, I don’t really like designating a single archnemesis for Spidey because Norman hasn’t completely dominated the field. Ock runs the Sinister Six, Spidey’s big Villain Team and one of the best Villain Teams in all of superhero comics. (And let’s face it, the Legion of Doom is bigger only because DC characters got more media exposure for a long time and Superman’s villains are so good that Lex Luthor, Brainiac, and Bizarro lift up the likes of Solomon Grundy and Cheetah when they’re all on a team together.) Venom has the whole Evil Knockoff thing going and a unique and terrifying ‘stalker’ gimmick that puts him in a special class, not to mention how he directly overpowers or counters all Spidey’s abilities.

And, honestly, the whole ‘Goblin’ gimmick is kind of arbitrary and has nothing to do with spiders. Clowns and bats don’t have a direct relation, but at least they’re opposites in terms of color and purpose, so Batman and Joker kind of seem like twisted rivals. Goblins and spiders are only linked in that they’re both kind of Halloweeny, but Spider-Man has little to do with Halloween or spooky stuff, anyway. But I better cut this line of thought off before I start explaining how Spider-Man shouldn’t be Spider-Man at all and him being Frog-Man would make just as much sense and then we wouldn’t have to deal with pictures of icky spiders in all Spider-Man media.

But yeah, Norman Osborne is still indisputably a cut above the others.

Ock is really just a typical mad scientist with a robot-arm gimmick that allows him to directly fight with Spider-man. He’s well-written and constructed, granted, and I love how his arrogance contrasts with Peter’s humility, how they’re such opposites in terms of empathy, and how different their paths become after science-based accidents that granted them unusual powers. Bendis’s “Ultimate Spider-Man” comics nicely honed in on this theme, and I also appreciate how both Stan Lee’s prose story in the unrelated “Ultimate Spider-Man” short story collection (...it’s a title Marvel loves to reuse for some reason) and John Byrne’s attempted origin revision linked the irradiated spider to the explosion that created Ock. All great villains should be dark reflections of their heroes, but while Ock has gotten some great stories that make him a top-tier villain, he still offers little storytelling potential beyond his mad scientist archetype. Now, I know what comics-readers are thinking at this point: Yes, I did read the original “Superior Spider-Man” run and I think there’s some real potential there, but honestly I feel like it was under-served by Dan Slott’s pacing and foibles. And I haven’t seen an adaptation of it yet that I think really fulfills the possibilities. But the idea is great, so maybe Otto will get his chance to level up his rivalry with Spider-Man.

Venom’s problem is that he’s a little too focused on his revenge on Spider-Man. The stories where he stalks Spidey, wandering into Peter’s life to fold laundry with Aunt May, popping up to have a surprise tussle with Spidey just to throw him off-balance, etc- Those are great and make Venom seem super-scary, especially since Spidey can’t beat Venom in a fight without some kind of edge or gimmick. But all Venom wants is revenge on Spidey, so after he’s failed a few times to get it, what do you do with the character? He’s not scary if he keeps failing. The original idea was to have the symbiote pass on from Eddie Brock and take on other hosts, and that might have opened the door for some new kinds of stories. I know this was eventually implemented 20 years later, with the original Scorpion getting to be Venom for a while, and symbiotes becoming a whole Thing with a bunch in various colors, but I didn’t read any of those stories and they don’t seem to have left much impression on the general Spider-Man fandom. Ultimately, it was chosen to ‘redeem’ Eddie Brock and make Venom into an “anti-hero” (for a definition of the term that means “protagonist who kills people but doesn’t have to worry about that whole ‘consistently laid low by their fatal flaw’ thing”) which did sell a bunch of comics in the 90′s and set up some tension-filled team-ups with Spidey. Nice idea, if implemented in a really shaggy way, but -- again -- what do you do after that? Venom/Eddie isn’t really a compelling lead who you can keep telling stories about. (Yes, I saw the Venom movie. It has like two minutes of amusing material and two hours of boring dreck, and none of it is memorable.) And making him evil again runs into the same problem as having left him evil in the first place. Venom was a good idea whose time came and went, and perhaps someone will find a way to make him fresh again. But until then, I think he gets by more on his visuals than anything.

The Green Goblin, in contrast, has a lot going for him in terms of storytelling potential. He’s a mad scientist, a wanna-be crime boss, a dark shadow of his civilian identity looking for revenge and/or illicit thrills, and personally has that ongoing personal hatred/rivalry for Spider-Man. That offers a whole bunch of storytelling paths, all of which have been taken and proven fruitful over the years. And that’s without getting into how Norman Osborne is the father of Peter’s best friend Harry, a flawed father figure to Peter in his own right, a ruthless millionaire industrialist before Lex Luthor gave it a try, and another dark reflection of the paths Peter could have taken in both aspects of his life. Even when Norman is dead, his legacy continued to be felt for 20-odd years with how Harry fell from grace. You can even link Norman to his spin-off the Hobgoblin; just Norman’s equipment getting passed on created another enduring villain. And, again, that’s without even looking at Norman’s murder of the one-time romantic lead Gwen Stacy being the event that ended the Silver Age of comics. Norman Osborne is just plain a truly great, versatile villainous character who has managed, despite being almost 60 years old, to still maintain an “Oh, no!” impact among Spidey fans when he shows up. Sure, there have been bad stories about him, and some over-exposure at times, but that hasn’t diminished his impact or ongoing potential.

As for portrayals, I’m overall a fan of the 90′s animated series and their takes. That show really petered out after a few seasons, but it introduced Ock with a bang and got a lot of mileage out of him. Venom got to do the whole scary stalker thing, and then the show put him on a shelf until his ‘redeeming’ death to avoid over-exposure, so that worked out fairly well. And while it’s odd how Kingpin and Hobgoblin took over most of the Green Goblin’s role in Spider-Man’s stories, what we did get of Norman was good, and the performance that went into the Green Goblin really sold the weird psychology of the character. Those three villains definitely got a chance to shine in this series, even if Green Goblin was under-used.

I also think the Sam Raimi movies overall did a good job. Green Goblin was perfect- aside from the costume. Willem Dafoe utterly nailed every aspect of the character, right down to the body language, and the movie did a good job condensing his rivalry with Spider-Man into a single movie. As for Doctor Octopus, I’m of two minds about how he got a sympathetic backstory and characterization. On the one hand, it made him a more compelling character and Alfred Molina danced nicely between the human side and the villainous side. On the other hand, though, Ock has classically never really been sympathetic; he’s an utter monster in behavior, and the insertions of bullying in his backstory have never changed that. Venom is the only one I think didn’t really get a chance in these movies; I like this version of Eddie Brock (really!), but he barely got an opportunity to be Venom and you can tell no aspect of the character really inspired the storytellers.

Spectacular Spider-Man, naturally, did a good job. I think this version of Green Goblin is the best of them all; I even got my DVD set signed by Steve Blum! Ock was also done well, getting to be the Master Planner as well as leader of the Sinister Six, although I don’t think I quite buy the timidity they gave the character before the accident. Similarly, I didn’t buy Eddie’s fall from grace as Peter’s best friend; one episode he’s upset because Peter’s blowing him off for hanging out, and the next episode he’s nearly killing Mary Jane just to mess with Peter. You might as well just start with Eddie being a monster, like the Raimi movie did.

I also think Bendis’s Ultimate comics did well by all three characters. I’m not really a fan of Goblin-Hulk, but Norman’s impact was fully in effect (even if we had yet another toothless homage to Gwen Stacey’s death with Mary Jane getting thrown off a bridge and surviving), and they fit him well into the Super-Soldier Arms Race aspect of the setting. Ock got some really great use, including an arc of character development and ‘redemption’ that still managed to allow him to be an arrogant monster to the end. Venom was under-used, but this might be the best ever interpretation of Eddie Brock and obviously inspired the Raimi version, and I love the origin of the symbiote here and how it tied to Peter’s father. My only complaint is that after that first great story, Bendis didn’t seem to quite know what to do with Venom; the video game and its comic adaptation seemed to be setting him up for more, but that didn’t come to anything.

So, those are my thoughts. As a Spider-Man fan, I think I’m spoiled for choice in picking an achnemesis. Despite the little flaws that keep Ock and Venom from topping the Green Goblin, they’re still heavy-hitters as comic book villains and could run the game in the rogues gallery of most other superheroes. But Spidey has one of the best sets of villains in the business, so that’s not surprising.

[oosteven-universe]

Dungeons & Dragons: Infernal Tides #3

Dungeons & Dragons: Infernal Tides #3 IDW Publishing 2019 Written by Jim Zub Illustrated by Max Dunbar Coloured by Sebastian Cheng Lettered by Neil Uyetake    An entire city is sent sliding into Hell, and the Baldur’s Gate heroes are trapped along for the ride! With infernal devils attacking from every side and no way home, how will our heroes survive? Infernal Tides continues the D&D comic odyssey.    Every single arc of this series is a must have, must read book.  This creative team found a group of folks who were complete strangers before finding themselves thrust into battle with each other.  This has led to many an adventure whereas they’ve become a family at this point and to see them in action is a thing of beauty.  This just goes to show that regardless of genre, this being based on an rpg, a superhero story is based upon the characters, their weapons and/or powers as they fight heroically against those who would do harm.  I really do think that if you haven’t given these a try yet you need to rectify that as soon as humanly possible.     The way that this is being told is sensational.  How we see the story & plot development through witnessing the sequence of events unfold and how the reader learns information is laid out extremely well.  What impresses me even further is how Jim is able to take various factions of the group and have them splinter off to do what they do best and still keep it feeling as if we’re watching them simultaneously.  His mastery over storytelling is simply stunning to witness throughout these arcs.  Of course this also leads into the character development we see and while they are well established at this point that doesn’t mean there’s complacency as they continue to grow and evolve as people through the various situations and circumstances they find themselves in.  The pacing here is phenomenal and how it takes us through pages as the story weaves its way around and brings this incredible ebb & flow to light is superbly done.     Whether you are someone who loves tabletop gaming or not this is going to excite people from all walks of interest.  Firstly Jim’s one of today’s most interesting and solid writers whose work never ceases to amaze and secondly he finds a way to become better and better with each outing.  He really does know and understand not just how to structure a book but also how the characters need to be in order for the reader to get their maximum enjoyment.       Max’s interior work is astounding!  The way we see the linework and how the varying weights are being utilised to showcase the attention to detail is masterclass work.  There is this creativity and imagination involved in bringing characters of different races to life whether they be mortal classes or of an Infernal nature that you’d be hard pressed to find fault with.  Backgrounds are the one thing I would like to see utilised more here for when we see them they really add that layer of dimension to the story.  There is some great trickery in filling panels so we don’t consciously notice they aren’t there and I am okay with that.  The utilisation of the page layouts and how we see the angles and perspective in the panels show such a stupendous eye for storytelling.  The colour work we see here really is rather brilliantly rendered.  Whether it’s gradation effects with such vibrant hues, neon style that shows magic and other weaponry or the flaming horse to seeing how weather affects their faces and skin tones, all of this and more demonstrate a perfect eye for utilising colour. ​     By all the Seldarine the way we see this playing out before our eyes is enough to make Peter Jackson envious of how much is happening at once.  I cannot wait for the next issue to see if they all survive not to mention if they end up with a new member of their party.  Forget the Fast & The Furious these folks have them in the dust and for a high octane adventure you need to be reading this!

[popculturebuffet]

Giant Days (Boom) #1 “Like A Sexy Moon”

In honor of Giant Days grand finale one-shot this week, we go all the way back to the beginning of it’s long and storied ongoing where three first year university students consisting of a flighty energetic goth, a hardboiled detective metaphorically in the body of a med student, and a cheerful and naive small town girl whose mostly hair try to make it through lunch without chaos ensuing. Spoilers: Chaos ensues. Class, and a heartfelt mega-paragraph about my love of the series, is under the cut. 

A few years ago, i’d say about 2016, my mom had her annual oscar party. This isn’t all that relevant to the story, and reveals that even at 27 (I kept forgetting to correct my age on my blog), soon to be 28, I still live at home, but it’s important because it’s where I first read giant days. Buying the first volume during a comixology sale that had it for all of three bucks, I lapped up the series almost immediately,  then when I got home got my hands on every issue that had been out at the time and caught up asap, following the series since then to it’s conclusion this week. , only missing the “Where women blow and men plunder” special. For the past few years, in an ever changing comic book landscape where titles come and go, start strong and peter out or are just plain great or foul from the start but leave all the same , i’ts been my rock. My mountain in a sea of ever changing titles... and Wednesday said mountain breaks off and floats off into the either, maybe to become a new campus for the university of north carolina in the sky I dunno. The point is the series means a lot to me and it’s sad to see it go, even if it’s writer John Allison probably won’t leave my life and knowing him our heroes probably will return, or at least one or two of them will, someday, it’s still a sad end to a heartfelt, ungodly hilarious, sometimes rediculous but always intresting journey. My intrest may of waxed and waned, as is expected when a book runs 4 years, but it never left  my heart. So join me won’t you as I go back to where it all began.. not with the whole volume, but with the first monthly issue of giant days. 

------------------------- Giant Day is the creation of John Allison, who before creating this and other print works By Night and Steeple, which having not read past issue 1 or read it yet respectively will certainly pop up here eventually, was the creator of a large number of web comics, all of which I discovered thanks to Giant Days, in part because Giant Days itself is a Spin-Off from Allison’s second comic strip, and his most famous work pre-Giant Days: Scary Go Round

Scary Go Round itself was a spinoff/sequel to Allison’s previous comic strip Bobbins, originally following two minor characters from that strip before they were slowly shoved out of the strip in favor of Shelley Winters... and yes the name i intentional, not the actress from Cheers but a bubbly red head with a skewed sense of reality and a can do spirit and her two best friends: local layabout with a heart of gold Ryan, one of shelly’s old friends and Amy, the daughter of Shelley’s ex-boss, a sharp tounged young woman with a healthy libidio who grows from a spoiled princess to a responsible buisness owner. The three deal with relationship issues, wacky shenanigans.. and the supernatural stuff that happens in their town of Tackleford because it’s a hub of spoopy shit Just in case you thought it was just his other print works that were kinda weird in comparison to the mostly grounded Giant Days, nope. While his stuff post the original bobbins is well grounded in character work, it’s all got a tinge of weird to it. If you have the time check it out. While some things may fly over your head unless you read the original bobbins, and I strongly suggest you don’t, it’s otherwise a very good read and very much the blue print for his stronger later stuff. 

And as noted it’s from this weird and wonderful early goop we get the protaganist of this book: Esther DeGroot, a perky goth girl who intitally showed up with her best friend Sarah and their muscle Big Lindsay to have LIndsay beat amy into the ground for chatting up a singer they liked. Thankfully she quickly grew out of having her friends beat up college drop outs and instead became a weird, snarky goth and rival to Shelley’s snarky buttoned up sister Erin for the heart of local shy awkard lab assitant Eustace “The Boy” Boyce, himself introduced as fumbling assitant to local inventor and longtime pal of Shelley’s Tim. And you can now see why I had to get into everyone else as SGR’s characters tend to intersect and that web only widens. 

Esther would eventually win, and Erin would eventually end up in hell then forgotten from everyone’s memories shortly after, with Esther and Eustace staying together for the duration of the strip and through many shenanigans and were actually a rather adorable couple. By this time Esther and Eustace were just as much leads as the main three and Esther was a close friend of Ryan’s to the point he and Sarah went out briefly in their Senior Year.. when Sarah was 18 thankfully. Though Ryan did get punched over it by a drunken awkard teenager so things sorted themself out. Big Lindsay quitely disappeared and was revealed to have gottten pregnant. Both would later show up in Giant Days. The strip ended, after a soft launch for the next strip which we’ll get to in a second, with Esther and freinds graduating, Ryan and Sarah breaking up, Shelley leaving town (She’d later return but story for another time), and Ryan and Amy, who had a whole will they or won’t they thing, getting together. 

Allison did this for a reason: He felt Scary Go Round was collapsing under it’s mound of Continuity and thus decided to switch to a fresh cast. Same continuity but with less ties to the old so new readers wouldn’t be turned off. Thus came Bad Machinery. Set up during the waning days of SGR, it followed Sarah’s weird sister Lottie, her sluthy best friend Shauna and a bunch of other bright young kids i’m only not getting into because i’ve introduced enough characters and most of the ones i’ve introduced are either vital to SGR or show up in Giant Days , but are all fantastic, focusing more on the mystery while also having some coming of age stuff of it’s own as by the series end years later, the characters all grew into their late teens. It’s an excellent read and again worth checking out if you haven’t and unlike SGR is in print with the print versions adding more pages to the story and revising bits. I haven’t read them but I intend to eventually because of the revisal, but if you can’t afford them the entire originals are online free. 

Bad Machinery would later be a hit in it’s own right, as the print collections show, but in it’s first years it was actually a shaky proposition to uproot everything, replace almost the entire cast (Though Ryan and Amy, now married, stayed around as supporting cast, with Ryan being the kids teacher and Amy eventually mentoring Shauna), and change the genre from 20 somethings and teens slice of life to a bunch of 11-12 year olds coming of age and solving mysteries. And at first things dipped a bit apparently and Allison panicked and started working on a backup plan. And that backup plan was where Giant Days comes in: A Spinoff following esther and two new characters as they navigate college. He did three self published issues of it, the first put online, before focusing back on bad machinery as it picked up, and many other projects we’ll cover some day. Esther as a result was kinda left in limbo while Erin and Eustace’s stories moved forward. It seemed Esther and her new pals Daisy and Susan were lost to time...

Until 2015 when Allison agreed to do a mini-series for Boom! Studios that picked up where the original series left off, eventually getting picked up as an ongoing that lasted all the way to last month, with 2 winter specials, a one shot trip to Australia, and a final one shot finishing the series Wednesday.  As for said series I do own it, Boom has since republished it, and we will get to it.. but I felt given this is where I and probably most other fans of the series came in, it was the best place to start and issue #1 of the boom series recaps what’s come so far and re-introduces the cast well. Kinda like the second episode of a series after the pilot: some things have changed, including the series now having Artist Lisa Tremain on board to draw instead of Allison himself, some new characters have been added, but it’s still the same show and still a good point to start. And with ALLL that exposition out of the way, including exposition to set up characters for ISSUES down the line, and a little more to go, let’s dig in.  As seen at the top, the first cover is great. The yellow and red works well, as does the simple image of a morose Esther fiddling with her phone, boxing gloves on the back for reasons we’ll see shortly. A good genre setter and an excellent cover, something the series always delivers with. 

We open on our three Heroines, on their third week of college,  with a helpful narration that does a good job summing each up, so I don’t have to and you know how I like to jabber, the giant barrage of paragraphs before should be proof: Naive cheerful Daisy, dramatic and funloving esther, and serious and sardonic Susan. There will be, and already is, more to each as they grow and we learn more, and Esther of course has a few years of comics behind her to start, Giant Days even being named after a Esther and Eustace centric arc from Scary Go Round, but not something I could fit into the exposition wall. 

As you can see the ladies are having a nice talk about if they would be friends without living in the same hall, with Susan bursting Daisy and Esther’s bubble.. but it fits her personality. Susan is a realist, she sees the world how it is. Daisy is an optimist seeing the world how it SHOULD be and Esther navigates the space between, as she can be realistic once in a while but mostly tries to avoid reality like the plauge in this series. She had a tad of this in Scary Go Round but it’s really dialed up here, but there’s a good reason for why i’ll get to after Susan helpfully outlines the indie issues for me and new readers.

See this is why I went here first: while I will cover these issues, themselves covering their first three weeks of college, eventually, it covers most of what happened pretty well and makes it easy to fill in the blanks that it glossed over. The first issue did indeed turn into a scott pilgrim style brawl where Esther boxed her way to victory, Susan set someone on fire and Daisy tried to use meditation to fight but Paul Mcartney’s ghost said no. It’s not a bad issue but tone wise the series would be something much more diffrent. 

Issue 2 is where I need to go into more detail: Esther cheated on Eustace with the douchebag you rightfully see in a heap above, who then spread their night around and got his commupance. Esther told Eustace.. who dumped her over it and drove her into a depressive state, a weird heavy metal society, and booze, which she can drink because you can drink at 18 in England. She was saved from it by her new galpals.. and Erin, who was supposed to likely be a recurring character, possibly on the same level as two we’ll get to soon, and definitely figured into a major plot with Daisy, as Allison admitted. But with the gap between issues and having other plans for Erin, he decided to write her out.  Susan pegs Esther as a drama queen soon after, a “sodding drama magnet”, attracting attention like I attract X-Men comics and Kirk Cameron attracts terrible Christian movies designed to stroke his own ego. She proves this by handing her a piece of paper and well....

Well look on the bright side Esther, you have a good career as the bride of dr.doom with those skills. I mean he’s single, has a spooky castle, does magic.. he’s basically a goth’s wet dream he just needs to black up his uniform a bit. Or put on that awful leather made out of a human armor he had. Yes that was a thing. Comics are weird. 

The rest of the group chase after an angry Esther who after this immortal line, challenges Susan to a bet: if Susan wins she gets a nice massage, if Esther wins she gets to dress Susan up however she likes to torment her.

 And somehow DAISY is the one who has a coming out story in a few issues. Jokes aside I do like the friendship here: They’ll razz each other, give Daisy time, and poke at their flaws gently, or be brutally honest, but their truly and honestly friends and it shows. It feels real and it’s one of the series big draws.  The girls run into Esther’s friend Ed. Ed has a huge crush on Esther, even when she had a boyfriend something to the series credit he was called out on, but not the nerves or charisma to actually try and ask her out. Shockingly, I liked, and still liked, Ed a lot as he reminded me of well.. myself in college. Pining after girls or starring without actually going anywhere and the series will deconstruct this as we go. He’s also basically the fourth main character, getting issues focusing entirely on him and arcs of his own, but the girls are still the main focus. Susan freezes however upon seeing his friend...

This is our fifth lead, McGraw. Basically a more emotive and british Ron Swanson who as you can see clearly has a history with Susan and Susan splits before they can say more. While McGraw falls back on the old men streotype of “We don’t have to talk about it”, though unlike say Tim Taylor it’s less “I genuinely believe this nonsense, as well as that men are  incapable of commuincating unless my neighbor tells me otherwise and all loves sports. I unsuprsingly got divorced once the kids all left the house, aug aug aug”  and more “I don’t want to talk about this nor do I want to force my new friend to talk about a touchy subject yet. “ Susan is likewise closed off but in her own special Susan way and Esther reveling in Susan having drama after accusing her of being a drama queen. This ends about as well as you’d expect. 

Daisy has had best friends for all of three weeks and she’s already figured out lies are a key part of friendship. Good for her. Esther heads off for the Gym, and while Daisy declines due to, and i’m not making this up this is a genuinely good joke of john’s, worrying she’ll become a killing machine. Esther however needs it to work out her feelings over Eustace because punching shit is better than wallowing in her misery over loosing the love of her, at this point, short life. 

That panel on the right... that’s a blessed image. And really this image showcases the true heart of the series: as I said the girls are there for each other but it dosen’t feels schmaltzy or forced, it feels real and has plenty of great lines to add to that. Daisy goes back to try talking to Susan, but Susan takes a bit and when she finally works up the energy to visit daisy. 

I I understand that feeling. It’s like the realization Mr. Rogers had sex at least once. You don’t WANT to know something that pure and innocent is capable of fucking, but you do now and it will haunt you like that ghost that won’t stop stealing my soap. BUY YOUR OWN SOAP JEREMY I’M BROKE SON. Of course this wasn’t actually sex stuff as Susan soon relays to Esther as she fears she upset the poor humanoid afro lesbian. 

Side note I love the phrase having a fiddle and will save it for future use. But yeah with Susan somehow spooked, she suggests Esther change the subject as soon as they get in there. 

Susan.. ya brought this on yourself. Naturally she tries to avoid getting into the subject until eventually this happens. 

I’ll be saving this for future reference of course. And Susan gives us a LITTLE to go on... about two panels worth of ominus foreshadowing to the eventual reveal without any actual info about what in the bloody hell actually happened. 

Of course Susan calls for dinner time and says they’ll have to earn the rest later. Naturaly McGraw is also going in for dinner and Susan once again tries to deflect as her friends bascially call him a snack. I mean he is ron swanson crossbred with berkely brethead. who wouldn’t?

I love the line above.. especially since really the comic DOES pass. While there is boy drama, and girl drama for Daisy, this issue has plenty else going on besides wanting to bang someone, though given Esther won’t shut up about McGraw while talking to the human equilveant of an active volcano.. 

She’s lucky she didn’t instead bash her face in with a tray, but she’s a friend after all. Susan saves the savage beatings for her enemies and McGraw is wise enough to not let his tray anywhere near her and to duck if she tried her own. Natrually given her Drama Magnet powers Esther somehow finds the one cowboy in all of England. 

His chivlary, genuine or dudebro wise unfortunately causes a chain reaction. 

Naturally Susan was hoping for something like this, loudly gloating at activating the drama field and at having won the bet and tries to use the high that being right gives a person to run McGraw out of town. 

Unfortunatley for her, while her speech is awesome i’ll admit, it’s also entirely unfair: She expects him to change schools, and given his focus on architecture and general no nonsense nature he choose this one for a reason. Just because you two have a history dosen’t mean you can just make him leave and McGraw, as seen above, isn’t taking it. And he responds just as badassly. 

Gross? A little. But worth it to basically win the argument without even invoking the fact you have the moral highground. Yeah he had to know she was going here too, but again he came her for a reason and has no reason to leave. She can be an adult about this and work past it or just avoid him, also like an adult. Esther, not wanting to deal with Susan’s smug or her rage both of which are probably ping ponging back and forth, sits with Ed and talks about her dramatic nature. She really dosen’t intend to call it on herself, but does like not knowing what will happen every day. 

This really sums up Esther’s character to start: She enjoys life, loves the hell out of it, but often fails to see the consequences of her actions. The drama field sometimes is just shit happening to her because she happens to be young, attractive and entergetic, but other times it happens, like with the blow up of her relationship, because she does something impulsive and it blows up in her face. Speaking of character insight we get a character defening inner monologue from ed. 

And that’s Ed’s pain:  To Esther she sees it genuinely as him just being her friend. And I do think even with his massive crush he genuinely cares about her more than just wanting to be with her, but worried she’ll reject him, as I can again relate. And even worse is the worry of not wanting to make their friendship weird. And i’ve had crushes on female friends that have gone both ways: it’s made things toow eird to continue, but i’ve also had plenty where I was gently turned down and we’re still on good terms to this day. One of my best friends was a result of this. What makes it work, when we’ve seen this plot a thousand times before, is that both the narrative and Ed don’t think he’s ENTITLED to Esther. Yes the above has him asking god to make her love him.. but it’s not in a forceful sense.. it comes off more as a desperate want for them to end up together or for him to be able to move on. It’s what seperates ed from a “nice guy”: Sure he’s into Esther, but he dosen’t think he deserves her, or that because their friends he’s earned her or any such nonsensical bullshit. He’s just hopelesly infatuated with the first girl he met in college and wants to either see where it goes, or have the feelings end so he can move on with someone he does have a future with. I”ve been there. Shit sucks and Allison handles it well without falling into entitlement territory, and given just HOW many geek gets the girl storylines have been written, having it treated realistically with it being treated with him having to get over her instead of her just being oblvious is refreshing and I wish i’d had a narrative like this when I was Ed’s age to smack me in the face and tell me “No it dosen’t work that way, say something or move on man. “ With that monster of a pargraph done let’s check back with the girls. 

Again, I love the character interactions and how that’s the focus here over anything else, even my word sandwitch up there. But speaking of things, Esther just up and asks Daisy what she was watching. Turns out...

Yup, Daisy just likes ASMR, which I now know just what it is, just a static reflex people get. Susan tests it to prove Daisy is normal and it’s just good clean fun. Esther tries to put nosepicking under the same, Elbow’s susan over it and we get this to close out our main trio for the issue. 

I am glad he showed off more lady friendships, but they would’ve been a hell of a couple had Allison went that way. Could be an intresting AU, especailly if you keep Daisy gay and have their being bi or pan, dealers choice, affect things. HOw would that effect their relationshpis, how long would it last, would the McGraw thing impact stuff.. it’s some food for thought is all i[’m saying. We close however on Ed and McGraw as Ron Jr. unpacks his stuff and helps ed with his key sticking by rubbing a pencil on it because Graphite is a lubricant. Huh. Neat. And then we end on this. 

And on that note, we end issue 1. No write in contests though i’m damn sure given he’s mentioned he’d want a ROM/Giant Days crossover for the absurdity John Allison would love that. 

Final Thoughts;  An excellent start to the BOOM! series and a good second pilot. It’s clear stuff happened but the series helps you get the gist well enough to not have to buy the collection of the first three issues, and the characters are all dynamic with plenty of laughs as well as genuine moments. Susan and Esther’s banter is hilarious and both Esther and Susan are given plenty of layers: Esther’s grappling with her sorrow over her nuking her first romance and Susan being sharp witted, quick to be smug with Esther, but still gentle with Daisy and trying to careful with her given her sheltered life before College. Daisy isn’t given much layers in this issue, but is sitll shown to be incredibly sweet and realstically naive. McGraw is a welcome addition, his past with susan providing an intresting mystery for what was intended to be just 6 issues and solved by the end, while also having some intresting swagger to him enough to not make him JUST her love intrest or Ed’s best friend. Tremain’s art is also great, diffrent than what most of the series would end up being, a bit sketchier with more dot eye, but still nice and stylish. I’ll also confess the cafeteria scene is what let me know the book existed as I read it in the back of another boom title, I can’t remember which honestly, wher eit was featured as a preview and was intstantly intrigued. Overall a strong start. There’s a reason the series both caught on and lasted as long as it did and i’ll miss it terribly. I won’t be reviewing as time goes by this week, though I may post some quick thoughts on it, but I intend to review the full series, including the 3 indie issues and specials, so i’ll probably get to it at some point. An excellent series that I can’t recommend enough. 

If you liked this review, feel free to reblog it, follow me for more, or comisson one for a comic of your choice for just 5 bucks. Until then, have some giant days of your own. 

[hellyeahheroes]

Bendis is moving to DC y’all

DC has Marvel’s highest seller writer, Brian Michael Bendis, the mind behind Marvel hits like Modern day Spider-man and Peter Parker, Jessica Jones, and the revival of Luke Cage. Miles Morales, and Riri Williams.The man that weave interpersonal and intense storylines such as Peter’s first and failed attempt at tacking the Kingpin and Avengers spending most of their time playing poker.Love him, hate him, or wish he would stop dragging on arcs, this is undoubtedly big news in comic circles.

Now, I have been a big follower of Bendis. I have read all 160 issues of Ultimate Spider-man and the 40 plus issues of Miles Morales: Ultimate Spider-man. I read Daredevil, Moon Knight,Guardians of the Galaxy and stopped reading Guardians of the Galaxy, regrettably Civil War II, Age of Ultron, Alias, and so much more. So I know Bendis’s strengths and weaknesses as a writer. I know his quirks and tendencies.Like how random characters who have up to a point have been depicted as protestant or non-religious just randomly start using Yiddish slang(Peter Parker and fucking Mary Jane randomly say tuchas a lot). 

With that said, the question on everyone’s mind is what is he going to write?  As a connoisseur of Bendis’s bullshit, I can say that Bendis specializes in grounded characters. “A super hero that is grounded? What sense does that make?” I know right, but he has been kicking DC’s ass for nearly two decades so it is something of a speciality of his that people are willing to consume in bunches. And quite frankly, it is a good hire because DC, in general, when it comes to heroes, they write heroes as symbols and not heroes as ordinary people. Marvel writes heroes as people and because they are people, they become symbolic if that makes sense. 

What I mean by grounded, I mean characters with daily middle to low class lives. People on their grind trying to work a 9-5 in the day and put on costumes and beat up thugs during the night. He is also great a noir and crime fiction, gritty or not so gritty. So the type of Superheroes that fight crime on a relatively low level. Street crime fighters.

We did some discussion and agreed Jaime Reyes would thrive under Bendis’s pen because he is pretty much Peter Parker except instead of Spider-bite, dude gets a hostile alien implant. It has been said that the character has been struggling and sales so Bendis’s name recognition would work.

Batman? Sure. Bendis did make a great Daredevil run, some would say it was his magnum opus, and Batman is Daredevil without the idealism and riches. Honestly, the only Batman I accept is DCAU and has nothing to do with Kevin Conroy as it does have to do with people writing the character as this infallible borderline sociopath that just does not kill. The problem with this is that Bruce Wayne is rich and you can just glance at Bendis’s Invincible Iron Man run and see how quickly he ditched the character in favor of a more down to Earth Riri Williams.

Now honestly, I think Superman is a bad idea. Bendis likes personable characters and Superman is a symbolic character. A symbol whose significance worn thin because he was supposed to be emblematic of American immigration in that even with his homeworld destroyed and essentially being an alien, he is still American as anyone. Yes, Bendis being Jewish and Superman being derived from Hebrew mythology would make you think it’s a match made for heaven, but the issue is that in spite of Clark’s mundane life, Clark Kent’s life is modeled after trying to be Clark Kent, a normal person, and less like Superman. If Superman gets pissed and has a bad day, we got Injustice like totalitarian rule. Superman’s entire struggle is that he has so much power that in everything he does, he has to walk around eggshells. It’s a world of cardboard for him. And that is okay. I am not knacking him, but in terms of superheroes, Bendis is out of his element. or would be.

Bendis is not great with narratively busy comics. I know this because if there are too many plots going on at once, he starts making characters talk in his voice, and so they are out of character. He does not explain things and just wants to get to the next moment. Read Civil War II and Age of Ultron for examples of this. These events are emblematic to why you should not give this man very complicated and heavy stories. Do not give him Justice League. It is a bad idea. 

So we have narratively condensed, everyman characters with an aspect of crime noir. These are what brought Bendis to the dance.

@ubernegro

While I’m not as much a Bendis connoisseur, he’s been always around at Marvel, shaping it whenever he went, around the same time I came back to comics as a teenager. In fact, he’s been such a stable of Marvel for so long the sudden news he is jumping ships sounds so bizarre to me I’m half expecting to find out somebody spiced my coffee with drugs and this is all a hallucination. This is not the first time a writer unexpectedly jumped ships but might be the largest one since Grant Morrison had enough of being treated like shit by X-Men editorial and that one even Joe Quesada didn’t see coming before they announced it. It makes me worried how bad exactly are things at Marvel that even a company powerhouse like Bendis is leaving. 

I’ve been checking out other sites and aside 4chan tearing itself over like they always do, it’s also trending on Twitter, with people like Tom King openly welcoming him with warm arms while others, like Gail Simone, are making their own guesses what he will get. In fact, here is hers:

Which is as far away from everything said above as possible. I mean, nothing speaks “grounded” like a team of aliens in far future.... buuuut apparently Bendis once admitted he would want to write a Legion book one day. I’m almost hoping DC really got Hickman, with whom they were apparently in talks, to do a Legion book instead and I’m not a fan of Hickman.

Back to the predictions, I agree that Batman might not be the best fit for Bendis. But I also think that one of his strengths is how rich the setting and supporting cast he provides. I could totally see him on a book about one of more grounded Batfamily members, like Red Hood and the Outlaws or maybe someone who don’t have a book right now (Azrael or Batwing?) or maybe even one of the villains. I could actually see him try Nightwing at some point, if given good editor it could be a midpoint between his Spider-Man and Daredevil books.

Gotham also proved it can be a solid backdrop for a series about normal humans in an absolutely batshit, no pun intended, setting. Gotham Central and Gotham Academy, with solid, beloved runs, really prove it. And while I wouldn’t trust Bendis with Renee Montoya or Maggie Sawyer, I could see him taking over Rebirth of Gotham Central, especially as he always got along with Ed Brubaker, one of its original co-creators. On the other hand, they might try to give him some street-level character like the Question, whom they messed up in New 52, to Rebirth.

Jaime is also a possible choice, as his book has been struggling to have good sales and seems to be sadly heading the way of Superwoman, with a writer change that in the latter’s case was followed by cancellation announcement. Bendis is the kind of writer who could bring to Jaime numbers Dan DiDio would want right now.

Which brings me to I think an important question - who managed to catch him? If Dan DiDio, then Bendis might join crew working on his pet project, Dark Matter imprint. And considering how much people compare Teriffics to Fantastic Four, Damage to Hulk and Sideways to Spider-Man already, this would be a whole new level of sticking it to Marvel. ESPECIALLY if he gets on Sideways, whom DiDio is co-writing with different writer every arc - first being Justin Jordan, second the abovementioned Morrison.

On the other hand, Bendis is friends with Geoff Johns, who, according to rumors I heard, is apparently in a bit of a power struggle with DiDio and had gotten an upper hand thanks to Rebirth. And when you consider what project Johns is working on right now. And what characters will it likely introduce to DC Universe. And who in comics inevitably come to mind when you think of terms like “grounded”, “narratively condensed”, “flawed”, “everyman” and “crime noir”.

- Admin