#but if there is one title in the entirety of DC that can and should be obsessed with Bruce it's freaking Batman

[nightingale-prompts]

God's TV- DC x DP prompt

Accidentally summoning a god from another dimension can happen, especially when cults are involved. However, no can could predict that the not only was the god a teenage boy but also a very bored teenage boy who didn't want to leave.

So he stayed and moved into Titans tower.

Danny is helpful (when he wants to be) but rarely goes out on missions. He says they are boring and nothing is dangerous enough to exert the effort. Instead, he minds the medical bay. Having a healer more than made up for the lack of help.

It's not like anyone disliked Danny or thought he didn't do anything it was just that he was unpredictable. Danny could be nice, considerate, and even sweet if he was working in the medbay. He could also be a pain in the ass anywhere else. He loved pranks and scaring people with his powers. He was harmless though.

No one really knew what he did all day. He was usually in his room doing something they guested. Said room was an anomaly. It was larger on the inside having been made into a pocket dimension. The appearance and organization of the room changed every time you went in.

It was after one mission that the team learned what was in the room.

A rogue had used their invention to erase Superboy's memories and they didn't know what to do. They took him to Danny who was currently rearranging the medicine by color. They hoped that his powers covered mind-altering afflictions. Unfortunately, Danny couldn't wave a hand and fix this.

Instead, Danny took the group to his room. The decor was neon Tokyo meets space right now. The furniture was currently floating and almost hitting Wonder Girl in the head with an end table. Of course, there was no gravity here.

"Stay here while I grab it," Danny said flying up the vertical corridor.

While he was gone the room rearranged itself into a contemporary format. The furniture grounded itself and shifted into a normal living room.

Danny returned with a cart and a headset. He placed a card he pulled out of the cart into the headset and put it on the dazed Superboy's head.

"Wait what is that?" Tim asked.

"It's his memories. I kept a backup in case this happened." Danny shrugged.

Immediately everyone began asking what the hell does that mean and why does he have that.

"Oh please, this dimension has this happened all the time. Amnesia is so cliché and cheap. I saw a pattern and decided the easiest way to prevent you from losing the entirety of your lives was to make save states of your memories." Danny said matter of fact.

Robin pinched the bridge of his nose.

Impulse studied the rack of cases and looking for the card with his name on it.

Wondergirl sighed, she was used to this from Robin but even he wouldn't go this far.

"What? It's not like just anyone can find these. Only you can access your own memories anyways. I just decided to repurpose my RE:Viewer." Danny pouted.

"What is a reviewer?" Wally asked flipping through the cases. Each one had titles like moves or shows with an arrangement of stickers.

"The RE:Viewer is something I created to catalog things I've seen looking into other dimensions. I don't have an infinite memory you know. But the longer I have my title the more I'll lose touch with my mortality. These things help me stay close to people by giving me the chance to remember how it feels. I also have been using them to get the stories of others. Keeping their experiences like you'd keep a TV show or movie. So many stories could have been lost to time but now they are saved. I use them to teach myself." Danny smiled.

The concept genuinely sounded interesting. Like experiencing a movie in 4d.

It had been 3 minutes before Kon took off the headset and back to his old self.

Danny pulled the input card out and it disappeared into another realm with a flick of the wrist. Danny was completely honest that the copies were inaccessible to everyone but him.

"You feeling alright Superboy? Your memory should be backed up until a week ago." Danny said shining a light in his eye.

"I'm fine. I think. What happened?" Kon asked batting the light out of his eyes.

"Explanation later. Take a nap first. You aren't concussed at least." Danny informed.

"What are the stickers for?" Wally said pointing at the rainbow of colors the card cases had.

"Just the emotions associated with the experiences. Orange is comedy, red is action, pink is romance, and blue is tragedy." Danny listed. "That one with the pink is one of my favorites. I meddled a bit in that world. Two people who had never met fell in love at two points at different times. One of them was doomed to die but I worked my magic on a mirror that allowed them to meet once. They shared notes left in different places for the other months ahead. Makes you believe in true love. A real tear-jerker."

"What about the black stickers?" Wally asked.

"Don't touch the black ones," Danny said darkly, smacking his hand away. "You don't need to know about those. I don't like thinking about them."

"So you just take the memories of others and put them inside your machine to replay later?" Batgirl asked. "Isn't that kind of wrong?"

"No, I asked permission. I usually pull them aside at some point and ask. If it's my memories (that's the green stickers) I don't need to. The rainbow ones are simulations. Like a video games." Danny responded patting her on the back for not being to hard on him about this admittedly weird situation.

"So what's the black one with the rainbow sticker?" Wally asked picking up the case that was obviously stuffed in the back.

"STOP TOUCHING THOSE!" Danny yelled pulling him away.

[zahri-melitor]

Is Zdarksy’s Batman run actually bad, or is it just messy?

I actually like Zdarsky's current Batman run and don't think 'bad' or 'messy' are actually the right words to characterise it at all.

There's a tendency when a writer gets handed one of the Big Name Titles (Batman, Detective Comics, Superman, Action Comics, Tom King's currently attempting it over in Wonder Woman) to want to produce a Genre Defining, Intellectual Run on the the title. I don't entirely blame it on Jeph Loeb and Hush, but it's undoubtedly become a lot more common since Hush sold approximately one squillion copies and has never been out of print since 2003.

Writers want to make their mark on the title and so they get caught up in interrogating Bruce's psyche rather than focusing on writing entertaining stories based in Gotham characters.

(This is also why I suggest if you want a fun Scott Snyder Batman run you read Gates of Gotham or All Star Batman rather than his Batman run, because he's trying less hard to write his Great Batman Graphic Novels and more focused on telling a good story).

At the moment we have both Chip Zdarsky and Ram V focused on writing Great Defining Batman Runs, rather than what is more common to happen, which is one of the writers on Tec or Batman is trying this and the other is focused on writing entertaining Gotham stories. Ram V's is, from all accounts, probably the one of the two that is going to end up entering The Canon.

However I certainly see more people talking about Zdarsky's run, probably because it's the more accessible of the two to pick up casually for for a run.

What ALSO doesn't help is that Ram V. is currently writing a Barbatos-based run and Zdarsky is writing a Zur-En-Arrh-based run (extremely generalised), as they're two overlapping Basic Batman Plots about forces controlling Bruce.

Why I think people are currently complaining about Zdarsky's run:-

It's based around an interrogation of Zur-En-Arrh Batman. ZEA is probably one of the least liked 'Bruce has crossed the line and is trying to be All Batman, All the Time' plots around here, because it revolves around a concept essentially invented by Grant Morrison, and people on tumblr don't like Grant Morrison's Batman.

Zdarsky is writing about Joker. People on tumblr don't like Joker and think he's overused.

Zdarsky's run has leaned quite heavily into multiversal concepts so far, but what he's looking at is different depictions of Batman The Character across different media adaptions, particularly older adaptions, and what they have to say about the central truth of Batman The Character. He's picking blokey and reddit-popular sort of titles to reference, not tumblr-popular ones.

The primary character in the run is Bruce. The secondary character in the run is Tim. Every other Bat character who passes through the run is brought in to serve a purpose to the narrative, using an aspect of their personality, and if you're a fan of another character, the fact that they're appearing as a side character or an obstacle in the story can be annoying, as the story isn't focused on the thing you cherish most about your blorbo.

I think everyone is busy blaming every aspect of the plot of Gotham War they don't like on Zdarsky, despite the fact it was written by a trio: I don't see Tini Howard or Matthew Rosenberg catching nearly as much flack for Gotham War, even as aspects of the event were pretty clearly steered by them (The Selina parts of the plot were obviously Howard. The Jason parts of the plot including the conditioning look pretty clearly to be a Rosenberg requested part of the story, given he had been consistently writing most of the published Jason content for the last 3 years).

Really, I think at its base it's that Zdarsky is digging into an aspect of the Batman mythos that tumblr doesn't particularly like, and that Zdarsky's main focus in terms of characters are Bruce and Tim. It's fashionable to complain that Tim's getting love and support by a writer for a whole lot of fanon rather than canon related reasons, PLUS Zdarsky is using the wider Gotham cast sparingly and only when he specifically wants them to work within the narrative he's telling.

Plus, it's pretty clear to my eye that Zdarsky's favourite Batman eras are about 1995-2009, and that's shaping some of his choices of characterisation using long term aspects of characters. He's a Brubaker-Rucka and a Morrison-Nicieza fan, people. He likes O'Neil era events and Batfamily writing from Gotham Knights and Bruce Wayne: Murderer/Fugitive.

[linkspooky]

Okay okay… so like… I’ve always wanted to try to get into superhero comics. Especially since when I watch Teen Titans when I was a kid.

But like… I don’t know where to even start. Like there’s so many comics, and characters that it gets pretty overwhelming for me to dip my toes in. I’m scared I might slip and hit my head and jump into a comic with no idea what’s going on.

Soooooo… you got any recommendations for a newbie introductions to superhero comics?

Side question, DC or Marvel?

So, one thing I like to say is "every comic is somebody's first comic." 

You can actually just pick up and read a comic and usually start from anywhere within the continuity. My first comic ever was JLA vs Teen Titans Technis Imperative and that was literally such a good story I enjoyed it despite only knowing who the teen titans characters were. 

I think comic book continuity is largely a misconception most comics are written to be self contained. Let's use Teen Titans as an example, there are different runs by different creative teams and you just read those runs in chronological order.

So, for example. I always reccomend starting with New Teen Titans. You don't actually have to start from the original Teen Titans run because literally the only thing you need to know is "Dick Grayson Robin was on a team with Speedy, Wondergirl, Aqualad, and Garth" and then they broke up. You can go into the comics with just general knowledge of the character, b/c the idea is good comics are self contained they draw on what was done before but what makes New Teen Titans such a good series is all the character development happens in the series.

So, like this is just a guide to the Wolfman and Perez Run. The only part that's sort of confusing about this is it was rebranded a couple of times.

Original run is:

New Teen Titans (1980-1984) #1-40, Annuals 1-2.

If a storyline continues in an annual they will literally say "read this in annual one" and then you just have to find it. Otherwise, it's just straight number order. Annuals are just extra issues.

If a comic crosses over into another comic they will specifically tell you which issue of that comic the story continues in. 

Tales of the New Teen Titans (1982) This is a side comic. Occasionally, side comics and minis or even short solos are added, they're not necessary but this gives you Starfire, Cyborg, and Raven's backstory among others.

Tales of the Teen Titans (1985) #45-58, Annual 3 (rebranding they just changed the title) 

CRISIS ON INFINITE EARTHS. 

This is a big event comic that rebooted the DC Universe you don’t need to read, here’s a summary:  Kole dies, Wonderwoman's backstory is retconned so they had to change Donna Troy’s backstory (she was originally just a kid rescued from a fire by Wonder Woman and brought to Themyscra)

You can usually skip event comics by looking up summaries unless you’re really curious. 

New Teen Titans #1-49, Annual 1-4  (rebranded again)

Teen Titans Spotlight (these are just side stories) 

The New Titans (1988) #50 - 130, 0, Annuals 5-11.

There you go that comprises the entirety of the Wolfram run, generally you just read in chronological order it’s not confusing besides a few title changes. It’s #1-58 and then they started from one again and #1-130. Most of the New Teen Titans Run is collected digitally compiled in volumes HERE ON AMAZON.

So, in general we go by publications and runs, and we go in order from start to finish and generally these are meant to be self contained as in the story should be contained within the run from start to finish and not rely on other comics to tell its story. Spinoffs are just spinoffs, you can pick them up or leave them, and generally they will tell you if a plot important detail happened in a spinoff or you absolutely need to read it to understand what's going on.

Also, DC all the way. Marvel doesn’t care about anything that’s not an Avenger. Dc has gotten the formula down for letting young heroes grow up and eventually replace their old mentors. 

[liquid-luck-00]

Internet Friends

@maribatmarch-2k21 Day 4: Internet Friends

~~~~~~~~~~

You know the internet is a magical place. You can connect with people all over the world in a matter of seconds. You know what isn’t magical, your best friend enrolling you in a ‘coffee seminar’. Like seriously Adrien I love you like a brother so what the hell. I’m busy enough as it is without giving up my Saturday morning on the only day I have free for months.

Sure my school and social life is a flaming pile of garbage thanks to a little liar manipulating almost everyone who was my friend. So why, but if anything this little online seminar may just be the thing I need.

Okay not what I needed. The coffee seminar was apparently a coffee intervention workshop. Big surprise there, what was a welcome surprise was I wasn’t the youngest person there. Through out the entirety of the web seminar they sent private messages back and forth completely ignoring the speaker, only adding in when asked. Buy the end they decided to share emails, and that was how Marinette found herself a, hopefully, friend and at the very least a partner in caffeinated crimes.

She would mainly email Tim rants about school and the akuma. He at first tried to see how open she was to help, from the JLA, to come in and help the Parisian heroes. But she shut that down quickly by explaining how the villains powers work and how many of the heroes tend to be emotional when they fight even if they don’t show it.

He in turn ranted about his brothers and how they tried to hide his coffee and the stress of his work. Which sparked the conversation of what he did. Sure she was surprised when she found out her new friend was Tim Drake-Wayne so she decided to let him into her being MDC after he couldn’t find the designer and that he wanted a commission for a gala in a few months.

They ended up, either video chatting or messaging often to rant or brainstorm for their respective projects. Or just send each other dumb photos or memes to brighten the others’ day.

---

Mari doesn't know how this came to be but it did. She was walking along the second floor railing. She was going to meet Tim face-to-face as he was going to pick her up from school to do a fitting before sending out his suit.

He had messaged her that he was in front of the school. So she said to meet her in the court yard. To her dismay her classmates formed a half circle pinning her back to the railing.

"Seriously Mari, why would you do that?!" Alya screamed at her the eyes of the entire school and of a black haired blue eyed boy, now on their group.

"Do what exactly?" she questioned adjusting the straps of her backpack.

"I can't *sniff* believe you don't *sniff* remember, Mari. It was so mean *sniff*." Lila choked out burrowing her face into Kim's sweater, who looked disgusted with her.

"One, I still don't know what I supposedly did. And two, only my friends call me, Mari, and you aren't on that list." she turned to leave but they closed in on her. Unfortunately, Adrien and Kagami left earlier for a tournament. Luka was out of the country as was Chloe, so she didn't have anyone to break her out.

"You two aren't, but we are!" Alya shouted motioning to herself and the others In the class.

"We haven't been friends for years," she thought, unfortunately she said it out loud.

"What?!?" was chorused by the entire class.

So she took a breath. "There are only two people I consider friends within our class, both of which are not here. Why are you all surprised?" A tilt of her head and a perfect look of innocence crossed her features. "You all claim I'm a bully, why be friends with bullies. I'm just ripping off the band aid you are all to scared to touch."

"You're lying they are still your friends can't you see that!" Lila stopped sniffling and came to the class' defense.

"Really. I want them to think and think hard of the last time any of them sought me out to talk or hangout. Not tell me or accuse me of something, or demand clothes or sweets." They were all silent dead in thought. "The reason you can't is because it hasn't happened since Lycee."

"That's not true Mari, we are your friends," Rose piped in softly.

"DC we've been friends forever, this isn’t like you." Kim pleaded.

"Ya we were friends for a long time, so you should know I hate liars and I never lie." Everyone seemed to register her words.

"Oh get over yourself!" Lila snapped pushing her backwards.

The bad part, she was already on the edge so she was falling from the second floor. Fortunately for her, her time as ladybug along with being a gymnast since she could stand, her body reacted, her mind catching up a moment later. She grabbed a sprinkler pipe and turned a few times, held herself upside down and then swung again. Letting the bar go twisting in the air and shifting her backpack. Everyone on the first floor scattered to the edges of the courtyard to give her space to land without obstacles. As she finishes in a rollout to protect herself and her backpack now clutched to her chest.

"What was that!?" Lila screamed gripping the balcony railing, her facade completely dropped. Everyone else stood shocked silent, frozen in place, until one black haired blue eyed boy stormed up to the bluenette.

"Mari I swear the first time we meet up and you do that. God I am never going to leave you with Dick." Tim stormed up to her. "You are going to give me a heart attack."

"Hey Tim," she chuckled in response.

"That said I am sending this to him."

"Go ahead. Coffee?"

"You know me too well," he grinned as they began to leave the still frozen, still silent school yard. "So what are you going to do about them?" he jabbed a finger behind them.

"Dunno how much did you record?" she pointed to the phone clearly in his hand still.

"Since the first scream, but audio is kinda off from that far."

"I got that part covered," she took out her phone from her jacket pocket. Now her class started to move so both coffee addicted teens started to record again in case of anything.

"Who is this Mari?" Nino genuinely asked.

"He is a friend, and he can use that name unlike any of you."

"Best friend actually."

"You will have to fight Adrien for that title." she teased.

"I got Gami's approval. I can take Sunshine on."

"That was an acknowledgment and we all know it."

"Why haven't we ever seen him before then?" Alya snipped.

"I'm not from Paris, much less from France, if the accent didn't give it away. I'm visiting on a trip with my father and wanted to stop by." The two just walked away after that.

Who would have guessed that being forced into a coffee intervention seminar would result in gaining one friend and loosing a class worth of dead weight. And oh did it feel good to walk away from that toxicity. Unfortunately she still has to finish this last year of school before University. At least she has people she knows will stand beside her. All thanks to the magic of the internet.

~~~~~~~~~~

Permanent Taglist: @itsmeevie01 @miraculouspenta @adrestar @vixen-uchiha

[androxys]

A Catalog of Collections: Reading post-Crisis Batman in Collections

If you’re reading this, you may be a fan of Batman. If you’re like me, you may be occasionally overwhelmed by the way comic books are. I generally like to read comics in collections, rather than single issues, because that tends to be the place where you can get whole stories at once. It’s often more cost efficient too.

There are a few points where one could declare the modern age of Batman comics to have begun, but I want to go back to Crisis on Infinite Earths, which you’ve likely have heard about if you know much of anything about comics. For those not in the know, Crisis was a 1985-1986 series that was DC Comics’ attempt to clean up their continuity. Essentially, they wanted to wipe their slate more or less clean, introduce newer, less contradictory or confusing histories, and spring forward into the modern era. The first Batman story published after the Crisis was Batman #401.

This is not a list of all Batman stories published since 1986. This is a list of all Batman comics, published under the Batman running title. Batman as a character would appear in other titles like Detective Comics or JLA during this time, but for the sake of not going crazy I’m focusing on his solo title only. Perhaps one day I’ll go into the Detective Comics run, but this is not that. I’m also capping this list at Batman #713, the last Batman story before The New 52 kicked off in 2011. The New 52, for those who don’t know, was a publishing initiative where DC once again looked at their stories and said “hey, this has gotten kind of big and expansive, let’s wipe the slate clean again.” You’ll find that DC does this quite often, actually, and usually to mixed results. The New 52 reset titles back to #1 and gave them new histories that drew on the old, but were distinctly different. Should you want to read Batman of the New 52, fortunately, Scott Snyder’s entire run is collected into 10 handy volumes, which makes it quite convenient to a new reader. The Batman run from 1986-2011 is not so cut and dry.

This is mostly just my own research—if others find that something in here is wrong, or they know of more collections, please don’t hesitate to reach out! The goal of this is to create a streamlined, hopefully manageable list of collections and trade paperbacks that cover as much ground as possible on the Batman title. So without further ado, here is my list of collections that house the (near) entirety of the post-Crisis Batman run.

#401: Despite being the first post-Crisis Batman story, I unfortunately have not found a collection that includes #401. It’s a one-shot, and as the DC Fandom wiki notes that while it would make sense for it to have been included in Second Chances, it has been left out—perhaps since Second Chances seems to thematically center around Jason Todd.

#402-#403: Batman: Second Chances It’s worth noting that the post-Crisis continuity starts with Jason Todd as Robin, with the story of how Jason came to live with Bruce coming a few issues later.

#404-#407: Batman: Year One The post-Crisis retelling of Batman’s origins. Regarded by many as some of the finest Batman storytelling ever done.

#408-#416: Batman: Second Chances Here now is the story of how Dick Grayson stopped being Robin, Jason’s post-Crisis origin, and early adventures.

#417-#425: Batman: The Caped Crusader Vol. 1 The Caped Crusader series is specifically intended to collect the post-Crisis Batman stories, so there will be a lot of it on this list. It’s worth mentioning that DC is publishing a companion series, The Dark Knight Detective, collecting the post-Crisis Detective Comics run.

#426-#429: Batman: A Death in the Family (New Edition) One of the big iconic Batman stories, and infamously decided by a telephone pole, this edition of A Death in the Family also collects the storyline A Lonely Place of Dying, which is a sequel story.

#430-#431: Batman: The Caped Crusader Vol. 1

#432-#439: Batman: The Caped Crusader Vol. 2 I know that the website says that this book collects A Lonely Place of Dying. The thing is, it doesn’t. ALPoD was a crossover story between the Batman and the New Titans books, and as you may note, there is no indication that there is any Titans in this collection.

#440-#442: Batman: A Death in the Family (New Edition) Fortunately, A Lonely Place of Dying is collected in the New Edition of A Death in the Family. Behold the introduction of Tim Drake.

#443-#444: Batman: The Caped Crusader Vol. 2

#445-#454: Batman: The Caped Crusader Vol. 3

#455-#465: Batman: The Caped Crusader Vol. 4 This is where I have to remind myself that while the Batman title is ongoing, other stories are also happening. In Detective Comics and the Robin mini-series we see Tim Drake take up the mantle of Robin, leading to his increased presence here.

#466-#473: Batman: The Caped Crusader Vol. 5

#474: This single issues was part of the story The Destroyer that continued with Batman: Legends of the Dark Knight #27 and Detective Comics #641. To my knowledge, the three have not been collected together.

#475-#483: Batman: The Caped Crusader Vol. 6

#484-#491: Prelude to Knightfall Knightfall is the first example of one of the mega-crossovers that would dominate Batman books in the 90s. It incorporated stories from Batman, Detective Comics, series like Shadow of the Bat and Legends of the Dark Knight, as well as other solos like Robin and Catwoman.

#492-#497: Knightfall Vol. 1

#498-#500: Knightfall Vol. 2

#501-#504: Knightquest: The Crusade Vol. 1

#505-#508: Knightquest: The Crusade Vol. 2

#509-#510: Knightsend

#511-#0: Batman: Zero Hour Remember how I said DC likes to try to tidy up their continuity pretty often? Zero Hour was one of those occasions. Most major DC titles got a Zero Hour branded tie-in title, followed by a special #0 issue that all had time shenanigans going on. I actually think these stories are pretty fun, when taken for what they are. The main Zero Hour story itself however… I am less favorable towards.

#512-#514: Batman: Prodigal Dick Grayson, the Robin-cum-Nightwing, takes a brief stint as Batman in the aftermath of Knightfall. Surely a once in a lifetime event.

#515: Batman: Troika

#516-#519: Batman by Doug Moench and Kelley Jones Vol. 1

#520: DC Comics and the DC wiki disagree on whether or not this issue is collected in Batman by Moench and Jones Vol. 1. DC says it is, the fandom wiki says it isn’t. I don’t have personal access to this volume, so I can’t verify for myself, but given the DC website’s earlier mistakes with such cases as A Lonely Place of Dying, I defer to the wiki. I trust fans.

#521-#525: Batman by Doug Moench and Kelley Jones Vol. 1

#526: The official website and the fan wiki do agree that #526 is not collected with the other of Moench and Jones’ run. It is collected elsewhere in Tales of the Batman: J.H. Williams III, but this seems to be a collection of stories with Williams’ art, taking stories from all different time periods.

#527-#528: Batman by Doug Moench and Kelley Jones Vol. 1

#529-#532: Batman: Contagion Another one of the big multi-title crossovers, and one of the large scale stories that will lead into the mega-story No Man’s Land. I have no idea why it’s so expensive on DC’s website. These are also collected in Batman by Moench and Kelley, but without the other crossover titles that make up the complete story.

#533: Batman: Legacy Vol. 1 The followup to the Contagion storyline, which I find horrifically unsettling to read in our time of pandemic. But if you’re into Batman for the horror, there’s no better time I suppose.

#534: Batman: Legacy Vol. 2

#535: Batman by Doug Moench and Kelley Jones Vol. 1

#536-#552: Batman by Doug Moench and Kelley Jones Vol. 2

#553-#554: Batman: Cataclysm An earthquake rocks Gotham City in a story so iconic that every instance of the word “cataclysm” afterwards feels like a reference or homage.

#555-#559: Batman: The Road to No Man’s Land Vol. 1

#560-#562: Batman: The Road to No Man’s Land Vol. 2

#563-#566: Batman: No Man’s Land Vol. 1 Gotham City is no longer part of the USA, left to rot after its especially turbulent recent history. 

#567-#568: Batman: No Man’s Land Vol. 2 I do think the tagline is one of the rawest little sentences ever published in a Batman story: “...and after the Earth shattered and the buildings crumbled, the nation abandoned Gotham City. Then only the valiant, the venal and the insane remained in the place they called No Man's Land”

#569-#571: Batman: No Man’s Land Vol. 3

#572-#574: Batman: No Man’s Land Vol. 4

#575-#581: So far as I can tell, this is one of the larger swathes of comics that have not yet been collected.

#582-#586: Batman by Ed Brubaker Vol. 1

#587: Batman: Officer Down

#588-#590: Batman by Brian K. Vaughan

#591-594: Batman by Ed Brubaker Vol. 1

#595-#597: Again, despite being by Brubaker, these don’t seem to be collected in with the other stories. I don’t know why.

#598-#607: Batman by Ed Brubaker Vol. 2 This is the Bruce Wayne: Murderer? and Bruce Wayne: Fugitive storylines. Because this is a Batman list, I offered Batman by Brubaker Vol. 2 first, but the Murderer  and Fugitive stories had tie ins from pretty much every Batfamily book. If you want the whole story, Batman #599-#602 is collected in Bruce Wayne: Murderer? while #603-#607 is collected in Bruce Wayne: Fugitive. You’ll notice that this does mean you’re missing #598. Why DC couldn’t collect that one in is beyond me, but make your own choices as you like.

#608-#619: Batman: Hush This delicious little run is one of my personal favorite Batman stories of all time.

#620-#625: Batman: Broken City

#626-630: Batman: As the Crow Flies

#631: Batman: War Games Book One Batman has a plan to get rid of all organized crime in Gotham City. It goes wrong. 

#632-#634: Batman: War Games Book Two Asking a Batman fan about War Games–and especially the later parts of the story– can be fraught. I personally only recently got it and have yet to read it, but it cemented its place as a controversial story.

#635-#641: Batman: Under the Red Hood Hey, remember that Jason Todd kid from the beginning of that list, when you started reading this post a million years ago? Yeah.

#642-#644: Batman: War Games Book Two These are the War Crimes story, which is the followup to War Games. Mileage may vary with this one.

#645-#650: Batman: Under the Red Hood

#651-654: Batman/Two-Face: Face the Face

#655-#658: Batman and Son See here the introduction of the child we all loved to hate, and who has grown on most of us since then, Damian Wayne! The New Edition here, like that for A Death in the Family, is prioritized due to its larger collection of stories.

#659-#662: This is the “Grotesk” story arc, which I do not believe has been collected.

#663-#669: Batman and Son

#670-#671: Batman: The Resurrection of Ra’s al Ghul

#672-#675: Batman and Son

#676-#683: Batman RIP

#684: This is a two part crossover with Detective Comics, following Detective Comics #851. I am unsure if this has been collected, despite being around the Batman RIP and Batman Reborn event and era.

#685: Again uncollected, this Batman issue is actually all about Catwoman, given that there isn’t a Batman at the time.

#686: Batman: Whatever Happened to the Caped Crusader? You know how I just said there isn’t a Batman in that last issue? What happened to that guy? Well, what really happened to him was Final Crisis, but why kill him in his own series?

#687-#691: Batman: Long Shadows Disregard what I said up above for Prodigal. There’s a new Batman in town, and his name is Dick Grayson.

#692-#699: Batman: Life after Death

#700-#703: Time and the Batman Dick Grayson has done an excellent job as Batman, but really, there’s only one man for the job. Behold the return of Bruce Wayne (but not The Return of Bruce Wayne– that’s a different story).

#704-#707: Batman: Eye of the Beholder

#708-#709: Batman: Gotham Shall Be Judged

#710-#712: Batman: Eye of the Beholder

#713: Here at last, the final comic of the post-Crisis Batman run… is uncollected, as far as I know. I’m somehow not surprised. Stay classy, DC Comics.

And there we have it! 312 some comics over 25 years, with only 20 issues having slipped through the cracks. I am now delirious from staring at this for two hours, and am going to go eat something before I edit and post this. Goodnight, Gotham City.

(Edit 3/9/22: I was off by one issue that was collected in Contagion. The Contagion collection includes #529, rather than starting at #530 like I previously thought.)

[ordinaryschmuck]

Top 20 BEST Animated Series of the 2010s-Honorable Mentions

And now. 

What is hands down.

The Best.

Animated series.

In the 2010s.

Is…

Going to be revealed tomorrow because I'm a piece of s**t (I’ll change the title when enough people fall for it). For now, here are some quick honorable mentions that aren't bad, but just not as good as the shows I picked...in my opinion, at least.

Craig of the Creek (2018-)-From what I've seen from season one, this show is pretty charming. It understands the pure imagination that comes from being a kid and has moments when these characters are more human than cartoons. But it also has the same energy as a Beach City episode in Steven Universe, and as we discussed, not everybody is going to be into that. Plus, I haven't caught up past season one (due to just not having the time), so it wouldn't be fair to claim it's one of the best when I haven't seen how seasons two and three hold. I've heard from other people that it's good, so I'll be willing to take their word for it. And maybe you should too.

Milo Murphy's Law (2016-2019)-I've seen a handful of episodes of this show, but from what I saw, I'd say it's worth watching further. The idea of this kid, who's cursed to literally have the worst life ever, deciding to have an optimistic outlook of the hand he's been dealt is pretty admirable. Plus, Weird Al Yankovic voices the main character. I can't physically hate it. Although the ginormous issue that Milo Murphy's Law has is that it relies too much on Phineas and Ferb's recognizability. I get that both shows were created by the same people, and I'd be more than fine if there were just a few shout outs and references. But the creators decided to force one of the characters in Phineas and Ferb into Milo's Murphy's Law, making it sort of a spin-off series on top of being its own separate thing. Meaning that you don't have to watch Phineas and Ferb beforehand, but you do need to know who these characters are going in. And if you're wondering how that paradoxical concept works...I couldn't tell you. I haven't seen the show in its entirety, and from what I have seen, it's at least good enough for an honorable mention.

The Avengers: Earth Mightiest Heroes (2010-2013)-There's nothing wrong with this series. The designs are great, the representation of these iconic characters is even better, and the level of quality is on par with the Marvel Cinematic Universe...I just always forget that this show exists. No offense to the series, but I just prefer shows that I'll remember instead of shows that I'll forget in another ten years.

Young Justice (2010-)-And before you start making the audacious claim that I'm a DC fanboy, let it be clear that Young Justice is an honorable mention for similar reasons. I love the character designs, and I think the representation is on point. Plus, while it does not have MCU levels of quality, Young Justice matches up with the good DC movies. It's just forgettable...and also because I never got the chance to watch the third season yet. Instead, I wasted my limited time with an HBOmax subscription on watching Doom Patrol, Harley Quinn, and my favorite Doctor Who episodes. Don't judge me!

Harley Quinn (2019-)-And seeing how I mentioned it, Harley Quinn is a fantastic show with perfect satire. And like some of the best satirical writings, this show has a deep understanding of the source material that it's making fun of while still providing an excellent story at the same time. However, most jokes die quick, and the animation is just flat out garbage at times. I recommend it, but keep in mind that there's a reason why it's just an honorable mention.

Rise of the Teenage Mutant Ninja Turtles (2018-2020)-I know I kind of trashed it with my Teenage Mutant Ninja Turtles (2012) review, but the truth is that I really love this show. Or, at least, I want to love this show. Because there is something amazing and worthwhile that’s hidden under a gigantic pile of poor planning and network meddling. I plan to make a full review for it in the future, so I'll save my thoughts for when that comes. For now, just know that it's something worthwhile if you're the right person.

Amphibia (2019-)-Aaaaaaand it's the same thing here. There's a lot that I like about it, but the stuff I don't makes it hard to enjoy. I'll also do a full review on this one in the future, so you're just going to have to wait...again.

Tangled: The Animated Series (2017-2020)-Another show that I really liked and even considered putting on the list. Even wrote a review and everything. But looking back, the parts that it did wrong highly outweighed what it does right, and honestly, it was a toss-up between this and Star V.S. the Forces of Evil for what took twentieth place. I ultimately went with Star V.S. because at least it had villains that were actually intriguing and terrifying characters. Unlike a specific antagonist with blue hair who was so idiotic and insane that I honestly would have felt nothing if they died in the end...I know that I just made a ton of enemies with that statement, but I don't give a s**t. And if you're nice, I might rewrite my review so I can accurately explain why this series is a tad bit overrated.

The Looney Tunes Show (2011-2014)-... I liked it...other people didn't, but I liked it.

Hilda (2018-)-Because I haven't seen season two yet. That's why. And from what I've seen in season one, this show is incredibly charming, beautifully imaginative, and is absolutely something I would show to my children if I ever have any. Maybe it forces in drama when it doesn't need to, but overall, you can better believe that this would have made the list if I saw season two before I started ranking shows.

And those are my honorable mentions. I’ll see you tomorrow for the actual unveiling of the number one spot. And for the fandoms that I ticked off...be patient.

(Also, let this be a lesson to read the tags before clicking 'Keep Reading.' Unless that's what you did, in which case, BOY, do I have egg on my face.

[davidmann95]

Thoughts on Scott's Justice League?

So I don’t think we can discuss the current Justice League without bringing up Metal. Not just because it’s essentially the first arc, but because Justice League as a followup to that recontextualizes what it is. Metal, dearly as I love it, does very similar things to plenty of event comics over the last decade: things suddenly go completely to hell in a way that illustrates moral and philosophical failings on the part of our heroes coming to a grotesque head, and it might truly be the end this time until the champions pull through at the last, heralding a bold new age of heroism…and then everything keeps being miserable as shit and we repeat it all next year because the problem persists, still crying out for a symbolic slaying. Metal is that to a T.

Except Snyder along with Tynion actually stuck around to assure the follow-through. And while he’s moved past the sort of overt riffs that defined most of his collaborations with Capullo, what he’s done here fulfills the same promise as their Batman run: lulling a franchise into something noticeably closer to how Grant Morrison’s vision for how it should work, with Snyder’s slicker, more bombastic, action-movie commercial sensibilities succeeding at selling those ideas where Morrison didn’t. Except in this case it isn’t just that Batman’s cool and aspirational. It’s the model for the entirety of DC Comics.

I don’t know that this is the best Justice League thing. It isn’t as perfectly poppy and clever as Morrison’s own JLA or as funny and character-driven as the animated series (the two obvious influences), Orlando’s ersatz effort at handling a side book as if it were made up of A-listers yielded likely more profound results in isolation, and Priest and Woods’ immediately pre-Snyder run was pretty inarguably better put together on a nuts-and-bolts craftsmanship level while also succeeding at making it the ‘serious’ title people had been trying and failing to for years beforehand, making it the perfect final word on that era. But it’s absolutely the story that most potently synthesizes all the stuff that makes the Justice League work in the massive, iconic sense. It’s big threats, it’s inter-team bonding and drama, it’s grand spectacle and mythology and iconography, it’s puzzles the size of the world met with impossible come-from-behind victories, it’s cosmic and moral horror and shining inspiration, it’s Superman punching a fool so hard time explodes.

Let’s hover on the spirit of that last bit for a second. This is the lead book for DC as a lineup in a way Geoff Johns’ Justice League tried and failed to be (in so many ways this feels like what we would have expected a Geoff Johns Justice League run to look like once upon a time - this big loony generative fanboy thing building on the structure of existing mythology and relationships to construct a megaphone to scream the theme through), dictating the direction and tone of the entire line. And the first arc ends with a Flash-powered car driving around the Earth so fast it turns into a White Lantern; later Space Krakens get involved. When Metal came out I said it was impressive that it managed to feel like it had changed everything even though surely it couldn’t have, but now I’m not so certain; we’ve got astro-gorillas in the first issue of Bendis Superman, Morrison’s got Green Lantern, Tom King’s Very Serious Batman involves his parallel universe dad and Kite Man. The rock star spirit Snyder was heralding with Batman and trying to spread to the rest of the line with Metal has at last broken loose, and we’re back into superheroism as the world of the casual ineffable bizarre, the core of the shared DCU headspace huffing nitrous and slamming on the pedal until its heel breaks through the floor as Superman uses his X-ray vision to block an invisible evil galaxy from firing waves of pure self-loathing at Earth until Flash can stand still enough to unlock the true nature of the multiverse as he learned to do from a mean baby wielded against him by a gorilla. Justice Incarnate, this decades’ most perfect encapsulation of everything strange and wonderful about DC that was clearly NEVER going to show up again is now a semi-regular presence, and Justice Legion Alpha apparently aren’t far behind. It’s all odd and beautiful and exciting again, just like we all knew deep down it was always supposed to be.

Outside the context of the DCU as a whole, it’s still a perfect capstone to Snyder’s career. The final transfer from his initial haunted house horrors to roller coaster thrills, and the upscaling of his themes of the aspirations of our best selves vs the primal lure of our worst into the moral axis on which the entire hero/villain dichotomy of DC rests, and literally having who wins the argument determine the death or evolution of all of reality. For me, this is the best incarnation of his old saw, because when it’s framed as being directly placed in the hands of Folks Like Us which kind of world this is going to be, it asks both the moral question AND the interrogation of what kind of power fantasy we actually want the cape-and-tights crowd to represent.

It’s also a capstone in terms of seeing how many artistic prisms his sensibilities can be filtered through, utterly changing the vibe while maintaining the impact, and resulting in easily the best the main Justice League title has ever looked. Jim Cheung’s shining blockbuster theatrics; Francis Manapul’s classical statuesque bombast; Howard Porter sticking his head in as a tip of the hat to the JLA roots; Javier Fernandez’s grungy, inky, yet springy cartoon action fitting the decline of a vibrant superhero universe perfectly; the likes of Doug Mahnke, Mikel Janin, Frazier Irving, and Guillem March doing one-offs and fill-in work; Steven Segovia and Daniel Sampere’s clean, traditional superheroic lines; and the main artist and MVP, Jorge Jimenez, whose energy and acting and velocity and overtly manga-inspired flourish makes it the most purely enjoyable, exciting book about the slow agonizing end of everything that’s ever been put to paper. All fit the tone, all make it their own.

Do I have issues? Certainly. Snyder’s writerly tics are still present (though offloading a lot of the monologuing to third-person narration has I think helped enormously), giving Tynion and his more character-centric work a foothold on the villainous issues - and for that matter giving them far more standalone character pieces than the heroes - makes it unintentionally feel like their argument hold primacy, a handful of members are characterized somewhat generically (particularly Wonder Woman, which is a surprising shame given she’s who Snyder has mostly talked about writing next), and likely a few other quibbles I could think of. But by and large, this remains one of the best titles on the stands: the collective scope of the DCU, all the sprawling universe-shaking structures and dopey detritus, smashing its biggest most meaningful toys up against one another for the fate of everything but EVERYTHING, where the soul of any given schlub on the street is going to determine the destiny of the multiverse. It’s not the singular best DC (though it’s proudly part of the best-of-DC crowd), but by god, it’s going to be the singular MOST DC or it is going to burn the world down trying.

[unknownunseenunheard]

I want to get more into Superboy/Kon-El's character. Do you have a top ten issue/story list to help me get started? Likewise, since you seem to actually like (or at the very least tolerate) comic Miss Martian, could you tell me which run she appeared in? My Google searches aren't really helping much in that regard :(

Sure! Okay, sooo with comic characters, I... May or may not get a bit extra when reading issues on them. With Kon, for example, I read most of his main comic run, which was a 100 issues long. I skipped around a few that felt like filler, but there’s lots of material. Sooo, lets see...

1. The first comic arc you should read doesn’t actually include Kon at all until the end. I mean, I suppose you could skip ahead and start at Reign of the Supermen, but the Death of Superman builds the backbone to that arc. This is how Conner gets introduced initially. (Both arcs also include the glorioiusness of Lex Luthor building himself a clone body with thick luxurious hair and I laughed so hard)

2. Adventures of Superman 506 isn’t required, but it does establish Kon leaving Metropolis (With Superman’s blessing) to make a name for himself

Now, this one’s not an issue, but a warning in general. After this point, we got Superboy Vol 4, which is the bulk of Conner’s comics. There is large term child sex abuse that occurs through the entire thing that is NEVER addressed properly. The only time it is addressed is to justify it. Conner is in two long term relationships with woman far older than he is. Conner is established to be physically, and mentally, 15/16 while his lovers are 24 and 30+ respectively, and this is treated as okay and good and it very much is not okay and good and whoever approved it is sick. Okay, moving on

3. The first two Superboy Issues basically introduce the cast. Kon himself, his friends, and his... Frenemy/mentor/lover Knockout

4. Losin’ It is the next important arc, it’s issues 25-30

5. At this point, I’d recommend reading Superboy/Robin: World’s Greatest Three, which shows Kon and Tim meeting

6. JLA: World Without Grownups. The name is a misnomer, because Kon, Tim, and Bart are the main characters, and its the foundation to Young Justice

7. Superboy 59 is notable because... Kon FINALLY gets a name. 

8. Superboy: Hypertension is optional, but it was a good arc and I’d recommend it. It’s Issues 60-65

9. Sins of Youth is important all around, but it’s important for Kon’s arc. The Wiki has all the tie in issues, but you can ignore the ones that aren’t either labeled as Young Justice or have Superboy in the title (It’s four Issues if you only go off the Kon one’s, but the Batman/Robin one was GOLD)

10. Ah! I... Ran out of space. Huh. Okay, this is officially a 90′s Kon list now (as opposed to 2000′s, when his character arc randomly changed) The last arc I’d recommend for 90′s Kon is the DNAngel Arc. It starts at the end of Superboy 87-88, then YJ: Our World’s At War, Superboy Issue 89-90

Annnd that list is longer than I expected. And I didn’t even fit most of the YJ stuff in there lol. Okay, so I know I ran out of space, but I also recommend the entirety of Young Justice Vol 1, which honestly if you start reading that you’ll probably just keep reading it because the entire comic is a goldmine of awesomeness

Comic!M’gann shows up in Teen Titans Vol 3 after Infinite Crisis.

M’gann first shows up in Titans Around the World arc, issues 38-41. She’s a regular from this point on

The arc that really made me like her is The Titans of Tomorrow... Today. That’s issues 51-54

After that, they start approaching Final Crisis annnd I honestly haven’t read past that point, but M’gann was awesome during the Dark Side Club tie in issues (which is Teen Titans 59 and Terror Titans, which also officially introduced Static to the DC Comic universe)

[re-readingcomics]

Vertigo Comics Series I’ve read in the entirety and some thoughts Part 4

Punk Rock Jesus - I didn’t connect to this. It’s premise involves a boy who is supposedly cloned from Jesus’s DNA as found in the Shroud of Turin, being created for and reared on camera for reality tv. There is also a traumatized by the Troubles Irish bodyguard. If you read the title and premise and decided you want that treated as reverently as possible, you will probably like this more than I did. Though, given how much 2016 changed how I feel about things under the punk aesthetic, maybe I’d feel differently about it now too.

Red Thorn - ancient Scottish Gods re-emerging in modern times. Mostly liked it. Made me wish I knew more about Celtic mythology.

Survivors Club - while several series here have been optioned for television, for some reason this is the one I’ve set on filling the iZombie sized hole in my viewing schedule. It is about survivors of 1980s style horror franchises and a woman s adults facing an evil that sort of always has been there. I needs to read some of co-writer Lauren Beukes’s prose books.

Trillium - I should stop everything and reread this. It’s that good, and made me a Jeff Lemire fan for the foreseeable future. See also Underwater Welder and Roughneck. I should get around to Sweet Tooth.

The Twilight Children - I remember the circumstances I read it better than the book. Still, it was good, tense, filled with sunshine and sadness. One of if not the last thing Darwyn Cooke worked on. Worth checking out.

Unfollow - social media satire with a conspiratorial survivalist drive. Sometimes clever, mostly mean. I don’t recommend it.

The Unwritten - one of my favorite takes on pop culture in recent years. The choose your own adventure issue was seriously heartbreaking. I like it so much I even forgive it for having a cross over with Fables, the comic I hate with the passion that can only come from really wanting to like it. It makes good on the promise of Lucifer and I’m going to follow the creative team of Mike Carey and Peter Gross anywhere. The fact that one of the first replacements for Vertigo DC has announced is the Joe Hill curated pop up imprint with a Carey/Gross miniseries makes me feel like DC is personally soliciting my business.

Vamps - There is a new edition of this coming out soon. I was pretty underwhelmed by it, and don’t remember much of the plot. I’m glad there is a new edition.

The Wake - very scary disaster plot followed by a funky post apocalypse. I was much more into the first part, though the second had an interesting take on censoring expletives from the future. I should reread this to see if the two halves work better for me as a whole this time.

Y: The Last Man - I hated the premise. Then I became a fan of Brian K. Vaughan because of Saga and I decided to check out the comic that really put him on the map. It’s so much more thoughtful and silly than I could have imagined. The art is fantastic, co-creator Pia Guerra is currently one of the most important political cartoonist of our age (see her book, Me the People). In Y: The Last Man she created a beautiful collection of distinct characters and a crazy panoramic view of a post apocalyptic world. Must read, and I’m excited for the tv show that is finally happening.

[inshortsupply]

glitches ive had the pleasure (or not so pleasure) of coming into contact with on PS4

not being able to heal someone - makes for some very angry survivors who wont quit teabagging you.

when you first load into a match, the map title stays on the screen - prevents you from seeing skillchecks and prompts from popping up. might as well DC, yer essentially useless that match besides being bait for the killer.

killer getting stuck in a pallet - can be fixed via pallet grab.

invisible generators - hope you know the general location of gennys/hear one being worked on/run into one, otherwise yer fucked. skillchecks still pop up normally. when the genny is done it'll still give off a luminescent light above.

T-posing. honestly the only glitch out there that should never be taken out.

getting the wiggle bar option during the entirety of a match - doesn't work, it's just present - it'll stall your character, like lag.

not being able to get on one side of a generator - prompt won't pop up- i've seen it mostly on the middle front of generators.

[ink-logging]

Detective Comics #1000, Chris Conroy & Dave Wielgosz, eds.: I bought this on impulse because it was on the new releases shelf and people were talking about Batman online. It’s a 100-page anthology tribute for the Batman character’s 80th year and the one thousandth issue of “Detective Comics”. I don’t think anyone is ever at their best in a tribute anthology, but that makes them kind of interesting to look at, you know? There are eleven stories, which I will now spoil in their entirety.

1. “Batman’s Longest Case”, Scott Snyder, Greg Capullo, Jonathan Glapion, FCO Plascencia, Tom Napolitano: The first of two stories in which Batman is doing something that looks grim, but is actually happy and anniversary-ish - both with similar titles, and both from major Batman writers. This is the better one, because I think Capullo is an interesting artist. He’s comparable to Jae Lee, in that he’s someone who had some work in comics under his belt prior to being ushered into the second ‘generation’ of popular Image artists, and has continued to evolve quite vividly over the years. The Capullo of today dials up the use of shadows and silhouette that used to sort of decorate the folds of Spawn’s flowing cape and such - here, they’re used more to focus attention on storytelling fundamentals: geography; gesture; etc. I also generally like the colorist, FCO Plascencia, who’s done some Varleyesque color-as-mood work on earlier comics with this team, though the story here is subdued... very classy, dressed for the gala.   

Hints of ‘90s grotesquerie only pop up once Batman has solved a large number of flamboyantly abstruse riddles and discovered that the titular Longest Case is really an initiation test fronted by wrinkly old Slam Bradley, the original Siegel & Shuster-created star of “Detective Comics” back in 1937, who welcomes Batman to a Guild of Detection. This is clever of the writer, Scott Snyder, because Batman as a basic concept is hugely derivative of earlier pulp, detective and strip hero characters - and, if you’re being honest about paying homage to the character’s origins, you might as well play up lineage as your metaphor.

2. “Manufacture for Use”, Kevin Smith, Jim Lee, Scott Williams, Alex Sinclair, Todd Klein: In contrast, this story shoots for the quintessential. Smith, of course, is the filmmaker and longtime geek culture celebrity who’s written comics off and on, so maybe it’s his distance from the continuum of superhero writing that has inspired a short story that could have run as a backup in any Batman comic since the 1970s, give or take few cultural references. Matches Malone (Batman, when he is being an undercover cop) descends into the secretive world of true crime memorabilia to buy the gun that killed Bruce Wayne’s parents, which he then melts down to form the metal bat-symbol plate Batman wears on his chest, verily steeling his heart with the memory of this tragedy to fortify him in his neverending battle against crime! NANANANANANANANA BATMAAAAAN! Jim Lee and his usual crew makes everything look like it’s ‘supposed’ to, provided you see this type of statuesque posing as the best sort of superhero art, which many DC comics readers presumably do, given how a lot of these things look.

3. “The Legend of Knute Brody”, Paul Dini, Dustin Nguyen, Derek Fridolfs, John Kalisz, Steve Wands: Dini has written tons of comics, with not a few of those drawn by Nguyen, but this feels mostly like DC1k (acronym’s resemblance to “DICK” a purely innocuous reference to Nightwing, I assure you) acknowledging the extensive legacy of “Batman: The Animated Series”, on which Dini was a writer and producer. The story takes the form of a biography of an infamously clumsy hired thug for supervillains, whom even the most novice reader will have figured out is a Batman Family asset about halfway down page 4 of 8, leaving a whole lot of laborious and narration-heavy slapstick to wade through. Admittedly, this might work better as an animated cartoon, with voice acting leavening the pace of the gags, but I’m also not sure ‘this would be better in a different art form’ is the impression superhero comics should be giving right now.

4. “The Batman’s Design”, Warren Ellis, Becky Cloonan, Jordie Bellaire, Simon Bowland: 

Most of the drawing in DC1k is the kind of stuff you can easily trace to a few popular and fairly narrow traditions of ‘realistic’ superhero art. Becky Cloonan is the only woman to draw an entire comic in here -- Joëlle Jones co-pencils a story with Tony Daniel later on, and Amanda Conner does a pinup, mind -- and her work is the only place in this book where you catch glimpses of a global popular comics beyond the superhero provinces in the Hewlettian wild eyes of the hapless human opponents of her Batman, lunging through velvet layers of cape and smoke, lipless mouth parted on a shōnen ai jaw. It is really very impressive. 

The writer, Warren Ellis, does a pathos-of-the-hard-man story, in which Batman explains his combat strategies via narration while carrying them out, occasionally making reference to the medical bills his prey will incur and their timely motivations as terroristic white men who feel ignored by the world, and at the end Batman asks the last guy U WANT TO LIVE IN MY NIGHTMARE, LITTLE BOY and the guy is like n- no dr. batman sir, and gives up because Batman’s is too dangerous and scary a life model. It is made clear from the text that Batman has programmed himself into a system of reactionary violence that he inevitably reinforces, but this message is so heavily sugared with cool action and tough talk that the reader can easily disregard such commentary, if so inclined, which has been a trait of Ellis’ genre comics writing since at least as far back as “The Authority” in the late 1990s. It fits Batman as naturally as the goddamned cowl.  

 5. “Return to Crime Alley”, Dennis O’Neil, Steve Epting, Elizabeth Breitweiser, ‘Andworld Design’: I was surprised that there weren’t other writers from across the Atlantic in DC1k, given the extensive contributions of Alan Grant and Grant Morrison to the character. I was maybe not as surprised to see Dennis O’Neil as the lone credited writer to pre-date the blood and thunder revolution of Frank Miller et al. in the mid-1980s, as that commercial shadow is far too long to escape. Of course, O’Neil was one of the architects of superhero comics as a socially relevant proposition and Batman as a once-again ‘serious’ character in the 1970s, and it may be a reflection of his standing as a patriarch that this story contains no sugar whatsoever: on the anniversary of his parents’ death, Batman is confronted by a childhood caregiver who has figured out his dumb secret identity, and castigates him for doing stupid shit like dressing up as an animal and punching the underclass when he could actually do something as a wealthy man to improve the world. Then Batman starts beating the shit out of young masked teens who have stolen a gun, after which Batman, who is also a masked thug, is told that he is, at best, a figure of pity. The end! 

What emerges from this story, to my eye, is that Batman is a terrible fucking idea if examined with any sort of serious realism - and Steve Epting draws the story as close to photorealism as anything in this book gets. I also think it is not insignificant that O’Neil, the writer here most unplugged from superhero comics as a commercial vocation, is the one to make these observations; to believe in superhero comics is to understand that there is play at the heart of these paper dolls, and to make your living from these things is to contemplate new avenues for play. Maybe Batman is dark, obsessive! Should he... kill? Sure, Bill Finger made him kill. The Shadow killed lots of dudes. So did Dick Tracy. Ramp up the verisimilitude too much, though, and you’ve got a guy wearing a hood going out by the cover of night to scare the shit out of superstitious cowards who’ve been taking from the good people of society, which, in terms of motivational narratives, is the same origin as the Ku Klux Klan. To play nonetheless, is the craftsman’s burden.

6. “Heretic”, Christopher Priest, Neal Adams, Dave Stewart, Willie Schubert: Meanwhile, on the other side of the coin, is veteran Batman artist and frequent Dennis O’Neil collaborator Neal Adams. And while Adams is not credited as the writer on this story, it bears all the hallmarks of his 21st century work at DC: whiplash pacing; uneasy expository dialogue; and eager callbacks to Adams’ earlier work. This is the Batman comic as a continuity-driven adventure, and I found it largely incomprehensible as a story, not unlike Adams’ recent “Deadman” miniseries. I still like his husky Batman, though. 

7. “I Know”, Brian Michael Bendis, Alex Maleev, Josh Reed: Hey, did you know Brian Michael Bendis, writer of approximately ten and one half zillion Marvel comics, is writing comics at DC these days? Here he teams with longtime collaborator Maleev for a story that brings to mind the old line from Grant Morrison’s & Dave McKean’s “Arkham Asylum” about Batman being the real person and the guy under the mask being the mask. The Penguin, of all villains, figures out Batman’s secret identity, but elects not to pursue Bruce Wayne in his private life, because destroying Bruce Wayne would create a pure Batman far too dark and twiztid for anyone to handle. Or, maybe that is all just an image the perfectly sane Batman has deliberately encouraged as part of his umpteenth contingency plan. I would argue that this is a gentle spoof of people taking Batman too seriously, which clicks with what I’ve read of Bendis’ idea of the character in those 100-page comics they sell at Walmart: a globetrotting detective-adventurer, appropriate for all ages. Bear in mind, I’ve read maybe 0.2% of all Brian Bendis comics.  

8. “The Last Crime in Gotham”, Geoff Johns, Kelley Jones, Michelle Madsen, Rob Leigh: Whoa, now we’re talking! Kelley Jones! Just look at this: 

Such totally weird stuff, coming from the artist who drew all those classic ‘90s covers with the huge bat-ears and wildly distorted musculature, the cape this absurd, unreal shroud. It looks like he’s working from photo reference with some of this comic, but also just tearing out these drawings of huge jawlines and shit, this total what-the-fuck-is-going-on haze, which perfectly matches Geoff Johns’ furiously ridiculous story about an elderly Batman and his wife, Catwoman, and their daughter, and Damian, and a dog, who all investigate a mass murder that turns out to be the Joker’s son committing suicide, and then Batman unplugs the Bat-Signal because crime is over in Gotham forever, and then we find out it’s all the birthday wish of Batman, who is blowing out the candles on his birthday cake, in costume, in the Batcave. Is “Doomsday Clock” like this? Should I pirate it??

9. “The Precedent”, James Tynion IV, Alvaro Martinez-Bueno, Raul Fernandez, Brad Anderson, Sal Cipriano: Inevitably, we come to the story that argues that Batman is actually a great guy, and his pressing of children into action as vigilantes under the cover of night is an amazingly positive thing. This is what I mean by “play” - it doesn’t literally make sense, we all know that, but if you buy into the superhero idea, you can buy into this universe of metaphor where the Batman Family is a vivification of finding your company of people, and belonging, and being loved. Lots of talk in here about snatching young people out of the darkness and forging them in light, and helping them find a better path - it sounds like Batman is signing these kids up for the Marine Corps, which is one of several organizations that recognizes the power of these arch-romantic impulses.

10. “Batman’s Greatest Case.”, Tom King, Tony S. Daniel, Joëlle Jones, Tomeu Morey, Clayton Cowles: This is just unbearable. Oh god, what absolute treacle. It’s the second story in this book about Batman being serious and mysterious, but it turns out something nice is going on - he really just wants a photo of the whole Batman Family, because he lost his family when his parents got shot, but then he cracked his greatest case by finding a new family, which is the Batman Family!

All of this is communicated via clipped dialogue in which various Batman Family superheroes trade faux-awkward quips and cutesy ‘moments’ that are supposed to embody the endearing traits of the characters, but read as the blunt machinations of art that is absolutely desperate to be liked. This is art that is weeping on my shoulder and insisting I am its friend, and I want to get away from it, immediately. Tom King is the most acclaimed superhero writer of this generation, and I can only presume his better work is elsewhere.

11. “Medieval”, Peter J. Tomasi, Doug Mahnke, Jaime Mendoza, David Baron, Rob Leigh:

Finally, we have the obligatory story-that-leads-into-next-issue’s-serial, thereby demonstrating that Batman endures. It’s done as a series of 12 splash pages, depicting Batman in battle with his greatest foes, and it benefits immeasurably from the presence of artist Doug Mahnke (some inks by Jaime Mendoza), whose been a favorite of mine since those early, blood-splattered issues of “The Mask” at Dark Horse decades ago. Broadly speaking, Mahnke is working in a similarly muscular vein as many contributors to DC1k, but his sense of composition, of spectacle -- that boot-in-the-face energy the British call thrill-power -- adds an important extra crackle, and an element of humor; his Batman looks like a hulking maniac dressed in garbage bags, beating the shit out of monster after leering monster. What we are seeing is the fevered imagining of a new villain, the Arkham Knight (a variant of a character introduced in a video game), whom writer Peter J. Tomasi characterizes via the old trick of having the villain narrate to us a bunch of familiar criticisms of the hero, which the hero will presumably react to and overcome, or acknowledge in an interesting way, or something, in future installments. This probably would have worked better if other stories in this book hadn’t already made a lot of the same points in a manner that is not an advertisement for the rebuttal of those points... or if I were even capable of reading a story like this without imagining a final dialogue bubble coming in from off-panel going “SIR, THIS IS A BURGER KING DRIVE-THRU.” But something’s gotta go in issue #1001.

-Jog

[930club]

GET FAMILIAR: Week of April 8, 2019

COMING SOON: Bloc Party

Release Title: Silent Alarm Live (LP)

Release Date: Friday, April 12, 2019

What To Expect: You read that right; legendary UK art punk group Bloc Party is releasing a live version of their groundbreaking debut album, Silent Alarm, this Friday. Silent Alarm is arguably one of the most influential and innovative UK albums of the 2000s, incorporating elements of punk rock and electronic music. Featuring massive hits like “Banquet,” “Helicopter,” and “Like Eating Glass,” it’s a record that experienced success on a scale that can still be somewhat hard to truly wrap one’s head around.

The album was originally recorded in 2005 with the group’s first iteration of cast members: lead singer/guitarist Kele Okereke, guitarist Russell Lissack, bassist Gordon Moakes, and drummer Matt Tong. The live version was recorded over the dates of their late 2018 European Silent Alarm Tour and sees Okereke and Lissack joined by new members Justin Harris and Louise Bartle on the bass and drums, respectively, and the recordings are sure to be bursting with the energy of the ravenous crowds in attendance. The new lineup also announced a North American run of the show for later this year that will see them playing Silent Alarm in its entirety for the hordes of Bloc Party fans on this side of the pond.

Don’t miss your chance to see one of the more revolutionary musical acts of our generation as they come to The Anthem on September 16th. Get your tickets now!

WEBSITE ● TWITTER ● FACEBOOK ● MUSIC

LOCAL LEGENDS: WiFiGawd

Release Title: WiFi Season Vol. 2 (LP)

Release Date: Monday, April 8, 2019

What To Expect: DC rapper WiFiGawd has accomplished more in his last two weeks than most young MCs do in their entire career. He and his partner-in-crime, The Khan, co-headlined a packed-out show that helped earn them a feature in a Washington Post article. They then popped out and performed at both of Earl Sweatshirt’s recent DMV tour stops, and to top it all off, his bass-heavy banger, “You Can’t Stop Me,” was used in the series finale of Comedy Central fan-favorite show Broad City. Still, though, he wasn’t satisfied, and he announced last week that he’d be putting out even more new music today, and I can only hope that it is currently blasting through your headphones or speakers of choice as we speak.

His projects tend to stick with a consistent style and theme throughout, but that doesn’t mean that WiFi can be categorized by any particular genre or even mood as an artist. Like how he can glide on the mellowed-out beats of Tony Seltzer on their joint-mixtape, Heat Check, while still being able to flow on the trapped-out tracks of his WiFi Season tape from 2016. His new project, WiFi Season Vol. 2, will most likely follow the lead of its predecessor, but you never know what you’re going to get when it comes to WiFi. He doesn’t appear to have an off switch, putting out SEVEN full-length albums in 2018 alone, and he most definitely hasn’t shown any sign of taking his foot off the gas so far in 2019. If you don’t want to fall behind in the DMV rap game, you best plug yourself in to WiFi ASAP.

TWITTER ● FACEBOOK ● MUSIC

WILD CARD: Anderson .Paak

Release Title: Ventura (LP)

Release Date: Friday, April 12, 2019

What To Expect: Anderson .Paak has always proudly claimed his California roots. His upbeat, soulful songs perfectly personify the vibrant vibes of the The Golden State, so it’s more than fitting that his first three studio albums were all named after classic Cali beach towns (2014’s Venice, 2016’s Malibu and Oxnard which dropped late last year.) The latter of the three was executive-produced by Dr. Dre and showed a more refined, classic approach to his sound, with the legendary producer’s west coast influence making itself quite apparent throughout. 

While Cheeky Andy fans everywhere have become accustomed to his cyclical album-release schedule, he surprised many when he took to social media in mid-March to announce a new album titled Ventura that would be dropping this Friday. The announcement was quickly followed by the release of the project’s lead single, “King James,” a track that sees .Paak speaking his mind on some touchy subjects while challenging society to address these topics head-on, doing all of it over an insanely funky bassline that mesmerizes listeners from the start. The uber-talented singer-drummer-everyman has added a new, insightful aspect to his songwriting that should make Ventura as potent and purposeful an album as any of the records he’s blessed us with up to this point. Get hip to .Paak’s wavy style and check out Ventura when it hits the shelves this Friday.

WEBSITE ● TWITTER ● FACEBOOK ● MUSIC

- Matt Singer

[bpoole500]

Delayed

Are comic book release delays inevitable?

With a steady flow of delay announcements in the industry in recent months, especially from the Big Two, it certainly can feel that way. Over at Marvel, in addition to the frequent problem of the concluding issues of its event series coming out late, several high profile ongoings have experienced delays, some more than once. Titles such as Iron Man, Captain America, Ms. Marvel, Black Panther and Fantastic Four have all fallen victim recently.

Over at DC, a few much-publicized series launches had to be pushed back at least a couple months, including Justice League Odyssey, Batman and the Outsiders and Shazam. The first two were due to editorial issues that mandated scrapping already produced material and starting over, while Shazam has already seen multiple additional issue release delays in its short lifespan. An even bigger problem for DC are delays for its limited and event series. The capper to Dark Nights: Metal was pushed back several weeks and Heroes in Crisis saw one issue be a couple weeks tardy (though quickly got back on track), while the concluding issue of the much-discussed Batman: Damned is facing setbacks that keep piling up.

And then there’s Doomsday Clock. The 12-part series, part Watchmen homage/sequel and part capper to the mega-story begun with Rebirth, has become the poster child for release delays. Launching in November 2017, it was supposed to roll out over the course of 14 months, with two scheduled “skip” months, before concluding in December 2018. But only a couple of issues in, the creative team was already falling behind and DC announced the book would release on a revised bi-monthly schedule. Except that even that proved unworkable. Nine issues have made it out to date, with the tenth notoriously pushed back multiple times. Previously slated to hit stores in March 2019, per the revised bi-monthly release plan, issue #10 is now tentatively penciled in for early July, with the 11th issue (once expected in May 2019), now solicited for the end of August, with the series capper not on the calendar at the moment. DC has announced two collections for the book. Volume 1, covering the first six issues, should hit its October 2019 release date. As for the January 2020 date for Volume 2? That very much depends on issue #12 seeing the light of day before year’s end, a scenario that’s by no means guaranteed.

Release delays seem to be a vicious circle for the industry, especially for the big two. There will be a phase, like now, where delays seem to run rampant, causing unrest for fans and retailers that risks alienating them. So eventually the companies will crack down and commit to getting their books out on time. Often that requires the use of substitute or supplemental creators to produce pages that allow an issue to make deadline. But if that happens often enough, while a book may release on time, fans then grow restless that anticipated creative teams aren’t around for an entire arc. And then publishers over-correct back the other way, starting the whole cycle again.

Ask fans if they’d rather have issues come out late but with the preferred creative team or come out on time, but with additional/different writers and/or artists and you’d probably get a different answer every time. But do delays have to happen at all? Can’t companies remedy the issue?

To an extent they can. Look at Image. After its splashy early ‘90s debut, the company became ground zero for egregious release delays, especially outside the books published by the founding partners. Image would strike a deal with whomever the hot talent of the moment was and make a big announcement about their creator-owned project. But as happened frequently, those series were lucky to produce an issue or two before lengthy delays set in. Many never produced more installments.

Whereas Image had previously prided itself on not being like a traditional comic book company, within a decade, the publisher put more structure in place to help mitigate many of the issues that had plagued it. Especially when it came to books not produced by one of the owner/partner studios, Image would expect a certain percentage of a series or arc to be completed before announcing it and soliciting orders.

In part, that desire to announce projects from high profile creators is a big part of the eventual delay problem. Publishers want the headlines that come from trumpeting that a blue chip creative team is doing a project for them, but often those announcements are unworkably premature, as sometimes not a single page has actually been produced. That’s a big risk, especially with creators who are either heavily scheduled or not known for their speed.

Both of those issues seem to be part of DC’s recent problems. Geoff Johns, writer of both Doomsday Clock and Shazam, has a lot of demands on his time, especially given his involvement with various movie and television productions. Both series also feature fan-favorite artists who are particular “go to” collaborators for Johns (Gary Frank for Clock, Dale Eaglesham for Shazam), but who aren’t noted for their speed. For a series like Doomsday Clock, which is packed with characters and also uses a throwback nine-panel grid outline for most of its pages (as part of the Watchmen homage), that can further bog down the process.

The question then is, can DC really find allowing a series to come in nearly a year late to be preferable to tagging in additional help to finish it sooner? After all, Doomsday Clock is expected to have a significant impact on DC’s entire line. The longer the finale is delayed, the further DC has to punt that down the line, affecting any number of other books in the process.

The dirty little secret of the industry these days is that no matter how often senior execs talk about the importance of the monthly periodical business, that segment has become a low priority for most companies. Collected editions have become a bigger driver of profits, especially in the age of multimedia content deals. DC would rather Gary Frank draw the entirety of Doomsday Clock, however long it takes, because they have every reason to expect the collected edition to be a perennial strong seller. The kind of series that remains in print, in one format or another, indefinitely and moves units reliably each year. Whatever short term losses the company may experience from disaffected fans drifting away from the release of individual issues they expect to make up with long-term trade sales. And long-term trade sales benefit from having a single, superstar artist on the book.

Publishers can and should do more to address delays. Whether that’s being realistic about whether star talent can deliver on the schedule they hope or holding back on announcing/soliciting projects until they’re done, or nearly so, or dealing with the disappointment of a certain fan favorite creator not working on the entirety of an arc, there are options. But for series or arcs that a publisher expects to be long-term players in the collected edition arena, don’t be shocked if delays remain an unavoidable part of the industry.

[aion-rsa]

The Suicide Squad: John Cena and the Secrets of Peacemaker

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John Cena is everywhere. He’s a seasoned television host, currently co-hosting TBS’ absurdly fun Wipeout, a #1 New York Times bestselling author with two new books on shelves, and one of the most in-demand, silver screen actors appearing in comedies, family films, and unsurprisingly, action movies alike. For someone whose catchphrase is “You can’t see me!” we sure have been seeing a lot of Cena.

Over Cena’s 18 years in the WWE, the charismatic sports entertainer has collected 16 World Titles and served as the face of the company and moralistic brand ambassador. Cena reigned at the top of the WWE pecking order longer than past favorites like Hulk Hogan, Stone Cold Steve Austin, and Dwayne “The Rock” Johnson and did so with a smile, whether the WWE Universe was behind him or not. Like most of the company’s top stars, Cena inevitably found his way to Hollywood and, after some half-hearted initial forays, has found himself to be an adept and engaging screen presence. You don’t log that many hours on weekly live television without learning how to be a skilled performer.

This summer, Cena’s star looks like it will be shining brighter than ever. Not only will he serve as the main antagonist in the latest Fast & Furious film, F9, but he’s set to make his debut in the DCEU as Peacemaker in James Gunn’s highly anticipated The Suicide Squad. He told us all about it and more in this exclusive interview…

Den of Geek: How did you get the role of Peacemaker?

John Cena: I had tried my hand at trying to crack the DC code for a long time with multiple failures. It was brought to my attention that James had an interest in me playing Peacemaker in The Suicide Squad, and he just wanted to meet with me in person to solidify his instincts. His reputation is one thing, but to see him in action…I got to actually go to the production offices and just see all of their preparation. It’s like nothing I’d ever seen before. 

He really just prepares as good as, or better than, anyone and adds to that his passion for filmmaking and his passion for storytelling. I think he sees his story and then he puts together a list of suspects that could be possible fits, and I was one of those and we hit it off. 

Based on your physique and your background in sports entertainment, many people expected you to book more of these macho action hero roles, but you’ve sort of subverted that expectation with movies like Trainwreck and Blockers. Is Peacemaker meant to continue that subversion of audiences’ preconceived notions about you or does it sort of play into them?

Well, I don’t think there’s anything wrong with diving into preconceived notions, if that’s who you are. I mean, if you can remember, that’s exactly what I did at first. I did macho action movies that were complete failures. So I did that and it wasn’t really who I was at the time.

I compare the experience by saying I got to be put in these action sequences with these tremendous stunts, but yet I was doing that every night in front of 20,000 people and the electric passion you feel and certainly the love and excitement I have had and will have for WWE is unwavering. So given the choice between doing stunts surrounded by 36 cameras and no one else watching or doing stuff in a live arena, I wanted to be in the ring. Especially at that point in my life when I began doing these movies, that would be 2004. I was literally just getting comfortable on the WWE canvas and deciding that that was really where I wanted to be.

Fast forward to now, a decade and a half later, and I don’t think anything’s out of reach, with Fast Nine coming up, that certainly is a blockbuster action installment. The Suicide Squad has a lot of gore and a lot of action involved in it, but it’s me realizing who I am and who I’m not.

I think that’s why you see me all over the map from family movies that Playing With Fire to R-rated comedies like Trainwreck to PG-13’s like Daddy’s Home, to a DC movie like The Suicide Squad, to a straight-up blockbuster action like F9. I have an R-rated comedy coming out on Hulu called Vacation Friends, to a straight-up action two-hander with Jackie Chan called Project X that was filmed in China. Everyone always asks, “Well, what’s the next movie you’re looking for?” And my answer is always the same. I say, “I’ll know it when I read it.” I just like to read stuff and see myself in the story. Because that’s the one thing that’s really helped me with WWE, me being able to absorb the story with whoever I stand across the ring from.

Based on what we’ve seen in the trailers, it almost seems like Peacemaker could be a warped version of your character in WWE. Did you draw any inspiration specifically from the “John Cena,” boy scout-esque character?

I remember meeting with James and asking if I should dive into the comics history of Peacemaker, and he specifically told me not to. I think that’s because James likes to navigate his story. He just was like, “you have what I’m looking for. Just be yourself, and if you’re willing to take direction, I think we can do something special.” 

I originally had approached this character as much more of an angular, drill sergeant, Full Metal Jacket-esque personality, and about 20 minutes into filming our first scene, James came over to me and was like, “This is not what I’m looking for. I’m looking for a douchey, bro-y Captain America.” We do draw from the do-gooder side of John Cena, who has a strong set of values and doesn’t waver from those values. So the answer is yes, but not in my eyes. Whenever I play a role in a movie, it really is never myself. Whereas WWE is the odd thing that a lot of times you have to create an extension of yourself because the narrative is just so damn long. 

The Suicide Squad are a bunch of super-villains and every villain has to believe what they’re doing is right and just, and it’s just their warped perspective of society that makes them evil. I think that’s a great way to describe Peacemaker. He thinks what he is doing is right and just. He just has a really abstract perspective.

What’s it been like to work with James Gunn and develop this character together? 

It’s amazing. He provides you the freedom to take chances, very much like Judd Apatow and Amy Schumer did in Trainwreck, but man, his preparedness and his commitment to narratives in their entirety, from things as simple as the score— it can’t just be a song, it needs to be this particular song at this particular point. He is passionately immersed in the totality of the experience. I just let go and realize that I am far from the smartest person in the room. I’m going to be my nice little piece, pun intended, on the chessboard and let the master figure out what the opening is and what the next move is.

Peacemaker is also getting an HBO Max series. How does it feel to be entrusted with what is essentially the first television series in the DCEU?

I’m very excited. DC has been trying to create excitement and buzz and it has had tremendous success and it has had its share of setbacks, but at the same time they know what their fans want and they know the satisfaction that their fans are looking for. I really think they’re stepping up to give fans what they’ve been waiting for. They’re taking bold and brave chances with completely new characters like you see in The Suicide Squad or completely new takes on all the properties that they have in their bank. I think both of these projects, The Suicide Squad and Peacemaker, are steps in the right direction.

Did it help to have such a strong grasp on the character from working on the movie first? Or do you think there are aspects of your performance that you found while filming the series that you thought, “Man, I wish I would’ve had this light bulb go off while I was filming the movie.” 

Man, hindsight’s a dirty rabbit hole to go down. If I could tell my former self a bunch of stuff it would be like Hot Tub Time Machine. So it’s just… That’s not the way I operate. I’m absolutely grateful for what’s put in front of me. I just try my best every day to do my best every day. I don’t look back on any experience saying “I wish I would have” I look back on experiences and say “What did I learn?”

Dwayne Johnson is also coming into the DCEU. I think anybody that knows the history you share would love to see you guys square off on the big screen. Do you have any hopes for your respective characters crossing paths someday?

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Well, like I said before, I think the DCU is making steps in the right direction, and certainly, there’s a lot of buzz behind Black Adam as well. We’re all kind of under the same umbrella. So do I have hope? I always have hope. I know audiences really enjoyed what we were able to do [in WWE] and if we’re able to transfer that excitement and passion from live entertainment to the big screen, I think it seems like a pretty logical jump, but I don’t make those choices. So all I can do is just keep doing me, man.

The Suicide Squad opens on Aug. 6 in theaters and HBO Max. 

Check out more on The Suicide Squad in the latest issue of Den of Geek!

The post The Suicide Squad: John Cena and the Secrets of Peacemaker appeared first on Den of Geek.

from Den of Geek https://ift.tt/3aNmJui

[davidmann95]

This week's comics? Specifically, new Tom King Batman/Green Lantern?

Hoo boy, this week was a hefty one. Tackling your requests at the top, and no spoilers this week:

The Green Lantern #2: It’s surprising how non-action-driven this has been for the first couple issues - it really is space cop stuff first and foremost, in this case an interrogation. I see what Morrison meant in interviews when he said people would take Hal’s voice as odd in this, and I hope he’ll follow though when he said the core of his take’ll be a little clearer soon, but even so I’m liking him well enough as the traditional straight-take superhero anchor to the 2000ADness of it all. The Oa spread on page 7 is absolutely jaw-dropping, and the guest villain of the issue explaining his name is the best thing in superhero comics this week, and possibly this year.

Batman #60: I’ll admit the last 5-6 issues or so haven’t been tremendously doing it for me, but it certainly looks like it’s about to pick back up. And good lord, Jorge Fornes had better be getting any assignments he pleases.

Justice League #13: Grisly at it gets, the best word I can think of for this issue is a romp. It’s total old-school superhero adventure and villainous monologuing, just minus the hero part of that. Honestly, I’m almost worried about these Legion of Doom one-shots’ role in terms of the integrity of the run as a whole *as a Justice League run*, because it’s this side that feels so much more vibrant and fleshed-out. Granted Snyder and Tynion get full ownership of the villains involved so there’s more room to play, but I almost feel like this team would rather just be doing a Legion of Doom book period, because this is where the whole thing sings, great as the regular League stuff in here always is too.

Adventures of the Super Sons #5: I rag on Tomasi, but he’s not a bad writer, he’s a writer with specialties. And Super Sons is hitting all of those specialties, and I love it.

Shazam! #1: I checked this VERY tentatively on a recommendation and from how great the premise sounded, and unbelievably, it’s good. Not the next big thing by any means, but great superhero stuff that takes a modern bent on the material but maintains the warmth and wonder that defines Marvel at his best. It reads for all the world like a writer doing a very deliberate course-correction from how horrifically Geoff Johns fucked up the character top to bottom…except it’s actually Geoff Johns, essentially pulling a 180 on his own reboot? Whatever, Johns somehow rules (though there’s one or two lines in the backup that feel like notable Johnsisms), Dale Eaglesham rules, Mayo Naito rules on the backup, and this book, on the whole, rules.

Archie Meets Batman ‘66 #5: Feel like it’s lost some steam, but on the whole it remains a delight regardless.

Border Town #4: Everyone should still be reading this.

DIE #1: Kieron Gillen is a writer whose craft I can always respect, but usually it isn’t until reread that I truly get a kick out of his work. Don’t know what the difference is here - Stephanie Hans, the premise, the tone, the small core cast - but this seems to be the one that’s gonna grab me right off the bat.

The Wicked + The Divine #40: On the other end of the Gillen spectrum, I’ve been lost here for awhile, so I appreciate this issue essentially reestablishing the fundamentals of what’s up as we head into the finale.

West Coast Avengers #5: Digging this! Quietly one of Marvel’s upper-tier titles at the moment. Still wanna grab Thompson’s Hawkeye run someday.

Marvel Knights #3: Fine. Exactly good enough for me to stick around for 3 more issues, knowing Cates is coming back for the end.

Shatterstar #3: I’m not convinced this shouldn’t have just been a one-shot about him as a landlord, but it’s still fun and it’s easily got me for the two remaining issues.

Killmonger #1: Top-tier shit by two creators I already loved but still underestimated. Hill has a remarkable talent for switching up his style with each project, and Ferreyra is going to be The Next Big Thing.

The Merry X-Men Holiday Special: Initially more miss than hit for me, but the ratio improves over the course of the book. However, while I was glad to see Hanukkah represented a fair deal, I can’t help but wish they called it the X-Men X-Mas Special.

Venom #9: Issa ittle-bittle Venom pupper! Otherwise solid but mainly left me more looking forward to the immediate future than getting much from what we had here (even if it laid the foundation here for what makes said future worth looking forward to).

The Best Defense: The Immortal Hulk #1: Rules. It’s Ewing Hulk (or really in this case Ewing Banner, the first story where he���s truly taken center stage other than kind of #2, making it in my opinion fairly indispensable to Immortal Hulk thematically if not plotwise), of course it rules.

The Best Defense: Namor #1: Also rules! I knew Zdarsky more than had the chops for heavier material, but this still came as a surprise that excites me for his Invaders, and Carlos Magno was a name I don’t believe I’ve seen before but quite liked. Kind of dislike though that each of these is a #1 when the recurring sequence and checklist in the back really does give this an implicit reading order; it’d definitely confuse readers who didn’t go in already knowing how this was gonna be structured.

The Immortal Hulk #10: Still the best comic on the stands, though there’s an ad placement at the end I really feel detracts from the big moment. And someone asked about the title, and I’m pretty sure it’s the mythic reference rather than an SCP one, even if I could imagine Ewing having seen that at some point.

Martian Manhunter #1: Absolutely brilliant on every level, more than carrying me through a startling premise I’m not at all geared to accept by default. Keep an eye on this one, I can’t imagine it not being one of DC’s most acclaimed books for the entirety of its run, and J’onn’s definitive story pretty much by default.

The Unexpected #7: Sharply picks up as it screams into the finale, but it’s still in every way a pale shadow of what it should have been.

Doomsday Clock #8: Well, it’s certainly still fascinating. At the 2/3rds mark Superman finally takes his place as the advertised co-lead, and while it’s probably the least technically ambitious issue so far (on that note, for a series as meticulous as this tries to be, it’s very noticeable and distracting that Superman switches between the plain red cape and having the yellow s-shield on the back), it’s probably the most thematically interesting and true to the described premise of the whole thing, showing Superman at his best trying and failing to function in a DCU that’s had its narrative underpinnings usurped by Watchmen. This is definitely on the better end of Johns’ treatment of him, with the whole issue anchored by a genuinely wonderful scene between him and the other major hero taking point for this specific installment,* and that’s what makes it work when everything goes to hell.

* It took me an embarrassingly long time to figure out why Johns picked the character he did here, even if ‘long time’ in this case means ‘actively thought about it for literally seconds’: (rot13.com) ur'f gur Ahpyrne Zna. Trqqvg? Nyfb, juvyr fbzr crbcyr unir ernq vg gung jnl, V qba'g guvax gur vqrn ng gur raq vf fhccbfrq gb or gung Sverfgbez vf Znaunggna, whfg gung gur raretl fcvxr orsber gur gryrcbegngvba ng gur raq orybatrq gb uvz engure guna Ebaavr. Nyfb, Puevfg V ubcr gurl qba'g ernyyl chg gur WFN onpx nf choyvp urebrf cerqngvat Fhcrezna naq gur erfg ol qrpnqrf. Jbefg ynetr-fpnyr ergpba QP rire chyyrq, yrffravat yvgrenyyl rirel punenpgre vaibyirq.

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Games Like World of WarCraft

Sports may be getting back to TV, yet it doesn't create the impression that life in the U.S. will be completely back to typical any time soon. With less choices springing up for socialization in everyday life, huge multiplayer online pretending games (MMORPG) are turning into a go-to strategy for investing some protected energy interfacing with individuals. In case you're worn out on having no place to go with your homies, simply boot up World of Warcraft, call a few companions, and begin attacking Azeroth.

With regards to MMORPGs, no title can rival World of Warcraft. Initially delivered in 2004, Blizzard has delivered various extension packs and even delivered an exemplary worker that permitted long haul fans to re-visitation of a form of Azeroth unimpacted by years worth of resulting stories. In the event that picking between the Alliance or the Horde doesn't sound excessively engaging, consider investing some energy with one of these 25 games like World of Warcraft.

1. 'DC Universe Online'

Probably the most ideal approaches to easily fall into a huge pretending game is to discover one set in a universe you are now alright with. Fanatics of orcs and dream can go to World of Warcraft, however enthusiasts of caped crusaders and superheroes have DC Universe Online. Regardless of whether you make a personality that is firmly connected with characters like the Joker or Wonder Woman is up to you and players get the opportunity to spread cheer or tumult close by a portion of DC's best characters. The game's extension is really monstrous, taking gamers over the universe with the Green Lanterns to the lower part of the sea with Aquaman.

2. 'Time of Conan'

No, Age of Conan won't let you control a virtual Arnold Schwarzenegger, yet it permits players to contend and attempt to positively influence Hyboria. With various classes, races, and models to look over, players have a ton of control with regards to fashioning a definitive fighter fit for helping Conan shield his recently held onto seat from antiquated abhorrent powers. The game has a charming hack/slice battle framework that permits players to act continuously more than numerous customary pretending games.

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3. 'Crossout'

In case you're an aficionado of Mad Max however think the genuine individuals are incidental to what in particular makes it so engaging, Crossout is the computer game for you. The allowed to-play game changes out people and beast characters for adaptable beast trucks prepared for outrageous battle in unforgiving conditions. Set in a dystopian world, players join various groups and attempt to discover special things that will assist them with adjusting their vehicles and dominate in the unforgiving climate.

4. 'Fracture'

Like World of Warcraft, Rift sorts players into two groups the Guardians and the Defiant-as they battle for strength and endurance in the voracious universe of Telara. Instead of simply fight one another, players additionally need to stress over the destructive animals that rise up out of the basically voracious cracks across Telara. Follow your class calling to turn into a definitive hero or mage, among different groupings, and collaborate in gatherings to take on strikes in the hazardous prisons to open probably the best things accessible in the huge world.

5. 'Tera'

Delivered in 2012, The Exiled Realm of Arborea (TERA) set the activity battle's part in MMORPGs. Without precedent for a MMO, player aptitudes were friendly and dodgeable, giving gamer's more power over their fantastical ongoing interaction than any time in recent memory. Like World of Warcraft, players make exceptional characters and run off into the world to create things, complete journeys, and takedown online adversaries. With a special karma style that boosts honorable ongoing interaction, the game will really confine certain gamers for a while on the off chance that they knock off an excessive number of players essentially more vulnerable than them.

6. 'Senior Scrolls Online'

In the event that games like Morrowind and Skyrim just started to expose your enthusiasm for the undertakings of Tamriel, Bethesda's Elder Scrolls Online is the game for you. Rather than making your own character, step up, and fashioning things in a single world, players get the chance to encounter Tamriel as an online climate unexpectedly. A fantastical setting loaded up with heroes and mages continuing on ahead, players join different organizations and set out on missions as they battle to recoup their spirit from the Daedric Prince Molag Bal.

Note:Also read here more about World of warcraft.

7. 'Ruler of the Rings Online'

On the off chance that everything about Elder Scrolls Online sounds fun yet you wish it was set inside creator J.R.R. Tolkien's fantastical arrangement, Lord of the Rings Online is the ideal game for you. Investigate Middle-earth as either a diminutive person, mythical being, hobbit, or human, players are allowed to make their own cooperations of up to six characters to finish bunch journeys with. Exemplary characters like Aragorn and Gandalf seem to help acquaint characters with the bigger undertakings of the unmistakable settings, however players rapidly assume responsibility for the activity and pick their own way as they set out to finish different missions to help keep the domain protected and stable.

Also read here universe of warcraft cinematic quest guide

8. 'Ocean of Thieves'

A Microsoft select, Sea of Thieves is an undertaking game that permits players to extend their ocean legs and hone their bold aptitudes. With a deck underneath your legs and wind at your sails, players investigate an open-world by means of their privateer transport in Sea of Thieves and complete different missions en route to turning into an unbelievable privateer. The huge world is additionally shared, which means there are incalculable privateers and groups dashing over the open seas hustling to locate the greatest and best goods.

9. 'Last Fantasy XIV'

Last Fantasy XIV might be the fourteenth title in the apparently endless establishment, yet it's really the main MMORPG of the pack. Delivered in 2013, gamers make their own character and become either an understudy of war or enchantment in the realm of Hydaelyn. Notwithstanding which street you pick, gamers eventually become a globe-trotter, join a Free Company organization and begin constructing a notoriety for themselves. With a thick story that addresses the establishment's long history, this game is unquestionably simpler to prescribe to long haul fanatics of Final Fantasy than individuals who are totally new to it, yet any devotees of World of Warcraft searching for a likewise fun encounter ought to consider looking at it.

10. 'Skyforge'

Skyforge is an engaging blend of folklore, sci-fi, and dream all folded into one. Players control a godlike being who, through your activities all through the game, is continually working to turn into a divine being. As opposed to being secured in your group for the entirety of forever, players can pick between any of the 17 alternatives anytime, permitting them to pick up renown in different various habits to at last assist them with opening more rigging and devotees along their long excursion. Collaborate with companions to take on missions or remain as a monotheistic being as you take on the world without anyone else.

11. 'City of Heroes'

Rather than occurring in a pre-set up superhuman universe like DC Universe Online, engineer Cryptic Studios' City of Heroes we should players partake in a spic and span caped universe. Make a superhuman or supervillain as you would prefer, with the ideal forces and extreme codename, and begin performing missions as you either spare or threaten arbitrary residents across Paragon City. Actually, the game is not, at this point accessible from distributer NCSOFT, however in 2019, a publicly released worker of the game sprung up online that has been drawing in players is as yet online today.

12. 'Predetermination 2'

Bungie changed the gaming scene when they delivered the first Halo and they keep on kicking off something new with the uber-effective Destiny 2. Make your own Guardian and specialty his shield and weapons as you would prefer as you set-out to protect Earth's Last City from an assortment of dangerous outsiders. Set in an immense world brimming with different players running-and-gunning their way through missions, Destiny 2 is a profoundly intuitive title with a ton of ability movement and thing customization to keep major parts in charge of their own insight.

13. 'Planetside 2'

In the event that facing a daily reality such that two groups are battling it out for control sounds excessively recognizable and depleting, possibly Planetside 2, a game where there are three groups duking it out for control of the planet Auraxis sounds additionally engaging. The genuine attract to this game is the monstrous size of the player matches. While World of Warcraft may pack endless players onto a solitary worker, Planetside 2's open-world framework, joined with its ability to deal with fights with in excess of 1,000 players, makes it one of the biggest and most riotous multiplayer encounters available.

14. "Star Wars: The Old Republic'

A considerably longer time back, in a system far away, the Jedi and Sith struggled it out in Star Wars: The Old Republic. As great and malicious fight over the universe, players browse eight classes and begin having their effect on the world. It's dependent upon players to pick whether they need to align themselves with Sith or Jedi and screen their activities to ensure they aren't tricked to the contrary side of the power. With many players hurdling around and doing their part to help either the radicals or the domain, The Old Republic is a definitive.