#except kieron. he's new

[marksman-ofthe-mist]

limbus oc dump of sorts ?

[thedrunkenreadersreviews]

A thought on the Loki series finale.

Oh, we are gonna need something strong for this one. Excuse me while I pass on the Scandinavian mead and just reach for my old pal Jack for this one.

*long sip*

One of my biggest regrets in life is not going to the theater to watch the first Thor film upon its release and, instead, waiting to eventually pirate the movie online. The reason for this is that Loki was my favorite Marvel character and I had no idea who the hell Tom Hiddleston was. So afraid was I that he would not portray Loki properly or that the writers would botch his story had me hesitant.

And then I saw it. And I was blown away by Tom's performance, as most people were.

*Sip, sip*

So I stuck around, enjoyed the MCU, watching it expand, following my favorite character around, and adored how the comics were realizing just how much of a tragic, triumphant story Loki could be and putting him through an incredible arc throughout the pages (Kieron Gillen & Al Ewing were exceptional Loki comic book writers!).

*Long sip, sip*

And then ... there was Infinity War.

*Long sip, sip*

I knew it was coming. That's what every writer does when they have a character they can take no further. Just kill them. Marvel was no different. They killed Loki, albeit, giving him a hero's death and that was that.

Like Thor, I mourned. I grieved, I cried, I sat in pain. I returned to the comics to feel comfort, to know that at least there he was still going and his story was getting better and better. It brought me peace.

And then I am informed of the Loki series and I celebrate. I had never been so excited for a TV show my entire life.

There is a chance, I thought, that he could come back! That he will return! After all, Loki is his most powerful in the comics. The God of Stories, can alter realities, step through the multiverse. He is incredible! He is also able to call on variants of himself, they being a part of him, like it is amazing and I was hoping they would give Loki a similar power in the MCU.

*Sip, sip*

And they did!

Loki became the God of Stories ... but at what price?

*Long sip, sip*

You see, for me, it is something much more heartbreaking than what happened in Infinity War. It is something far more tragic than that.

Sacred timeline Loki has the peace of death. He can walk to the gates of Valhalla, be reunited with his mother, his father, and one day even Thor. There is a comfort in that, knowing that yes, he is dead but he is at peace.

Variant Loki ... Variant Loki ...

*Downs the glass, pours another*

There is a finality in forever. There is, as Mobius says, no comfort in it. It is a burden. A glorious purpose, but a burden.

What hurts the most is this:

Since Thor 1, Loki has said that he never wanted a throne.

Only Mobius, B15 (Verity), OB, Casey, and Sylvie know. They know what he gave.

Since season 1, Loki has said that the thing that frightens him the most is him being alone.

Since Infinity War, Loki promised Thor that the sun would shine on them again.

What hurts the most is that Variant Loki, God of Stories Loki, is now burdened with a throne. That he made a sacrifice much larger than death. And only his friends know. That he is now entirely, truly, forever alone and does not even have the promise of death to give him comfort. There is no death for him. There is no peace, there is no end. It is eternity. It is forever and there is such a finality to forever.

And the sun shines down on Thor in every universe, it shines on other Lokis too. It shines on the people of Asgard, on Mobius, on New York, on everyone in every universe.

Loki kept his promise to Thor, and no one will know.

And while I know Mobius is mourning as we all are---feels like the TVA isn't home anymore, wanting to look because of what Loki did just so he could have the choice to look---I hope he takes the chance that Loki gave him and lives. I hope he buys the jet ski, rides it down the Hudson River. I hope that when he feels the wind in his hair, the water splashing his face, and the warmth of the sun shining down on him, when he is at his happiest and living, that in those moments, he thinks of Loki and smiles. Because I know that Loki would not want Mobius to take the chance he gave him to mourn Loki forever. I know that Loki will watch those moments of Mobius smiling and living, and he'll smile too, and in seeing Mobius taking the chance Loki gave him, making it mean something, that is the peace that Loki can receive. That is the comfort.

*Downs glass*

This ending ... it hurt so much more than Infinity War. I have never felt this way about a character's story. Am I happy with it? No.

Would I change it?

No.

This ending, this sense of grief unlike before, this mixture of elation and bereavement is drowning but incredible. It is the ending that Loki does not deserve but accepts, and that is why I wouldn't change it.

Loki finally became what he has been to me and to several fans of the MCU and Marvel as a whole. What he was always meant to be.

Loki finally became the heart of the MCU. And though we may never see him again---which now I find I oddly prefer---we will know that he is there, between the branches, watching, protecting, beating, and making sure that each and every story gets told.

[alfietalksaboutcomics]

The Comics I've Read in March

I've devised a new type of monthly post for this blog, I'm going to keep track of and talk a bit about comics I've read each month that are either some of my favorite reads or ones that I'd find it interesting to ramble about. This is in large part to keep track of what I've read in any given month and to create little time capsules for myself. Without further ado let's get into what I read this month starting with my the single issues.

Single Issues

X-Men Forever #1 by Gillen and Maresca

X-Men Forever #1 by Kieron Gillen and Luca Maresca is a weird issue. It exists in this bizarre liminal space in terms of continuity. It takes place after Immortal X-Men but before the already released first two issues of Rise of The Powers of X. So essentially the issue is playing narrative catch up, it's explaining how we get from Immortal X-Men to Rise of The Powers of X. That being said it's not like you could read this before the first two issues of Rise of The Powers of X, it is very much is built around the expectation that you have already read those first two issues. So like I said, the book finds itself in a bizarre liminal space.

Despite all that weirdness, the book is still fantastic. It was an exhilarating read that just didn't let up. The hits just kept up coming at a breakneck pace. It feels like the book is weaving together two halves into a complete article of clothing, picking up threads from one half and effortlessly weaving it into the other.

On the art front I was happily surprised. I didn't dislike Maresca's art on Children Of The Vault but I didn't love it either. I don't know if it's that he has stepped it up or if it's the fact that this is a different colorist but it's exceptional work. The facial work in particular blew my breath away on several occasions. To return to the coloring for a second, in the past I haven't considered myself a fan of Blee, I had thought of his colors as bland and washed out. But for whatever reason here I absolutely adore his work and I can't exactly say why.

I have two favorite panels from this issue, the first is Sinister Doug's little chest hair, it's absolutely adorable.

The other is actually a set of panels. It's when, upon learning that the mutants who walked through the gates are alive, Charles Xavier falls to his knees and breaks down into tears. It's a perfect payoff to when he broke down in tears when he thought he sent them all into a meat grinder at the Hellfire Gala.

Resurrection of Magneto #3 by Ewing and Vecchio

I haven't really talked about Resurrection Of Magneto by Al Ewing and Luciano Vecchio online in any form so let me rectify that here. Resurrection Of Magneto serves as a coda to Al Ewing's time in the Krakoan era, it only makes sense that in this final stretch the focus shifts to his two primary focus characters in his X-Men work, Magneto and Storm. Resurrection Of Magneto has been a fantastic book all the way through and this issue is no exception.

Despite Ewing's always fantastic writing, the most continually notable thing about this series to me is the work Vecchio is doing in it. I was a fan of his work even before this series, but even I must admit that his work in Resurrection Of Magneto has been a improvement by magnitudes. It's honestly been shocking to see him shine like he has in this series where before his art wasn't nearly at this level.

My favorite panel from this issue is rather silly but it's the panel where we see the array of the Phoenix's opposites. It has to be my favorite because it brings in a deep DEEP pull in the first fallen. A bizarre character from the tail end of Claremont's return to Uncanny X-Men in the late 2000s.

X-Force #50 by Percy and Gill

X-Force #50 by Benjamin Percy and Robert Gill is the final issue of Percy's run on X-Force. I've been a massive fan of this run all the way through. Percy has been doing what seems almost impossible in big two comics nowadays, a slow burn story. Indeed making it to fifty issues is pretty miraculous at this point and time.

X-Force #50 gave me a adrenaline rush while reading it, but not for the reason one might hope. No, all the while reading this comic my brain was racing with one question: "How the hell do they wrap this up in 20 pages?". The answer? They rushed to the conclusion. It's not bad but it does feel uncharacteristically rushed. I have the feeling that Percy thought he may have had more runway then he actually did, that he had to wrap up unexpectedly quickly. Which sounds insane to say considering he already had fifty issues worth of story, but given what we know about the sudden editorial change in the X-office it seems possible that if Jordan White stayed on perhaps Percy would have been on X-Force for even longer.

As is X-Force #50 is fine, it's a utilitarian ending for a story that feels like it needed more room to breathe. That being said overall Percy's run on X-Force is exemplary comics.

Series

All-Star Superman by Morrison and Quitely

Before All-Star Superman by Grant Morrison and Frank Quitely I never read a superman comic before. Hell, the only other DC I read was Spirit World #1. So in a effort to read something other then a marvel comic I decided to pick up one of the most famous and beloved Superman stories of all-time.

I find All-Star Superman to be a exceptionally hard series to write about. Even though it's only twelve issues, those issues are dense. I've always thought that Morrison does a great job making a single issue feel like six. All-Star Superman is no different, the issues are dense and feel like they tell their own complete stories.

Based off the iconic cover to the first issue of the series and knowing a little bit about the basic premise I honestly thought that it would be an exploration of the character of Superman and how he deals with his impending death. I was admittedly, very wrong. The series is in fact not an exploration of Superman, but his mythology. The series spotlights the major characters of Superman's mythos like Lois Lane, Jimmy Olsen, Bizzaro, Lex Luther, and more. It feels like a celebration of Superman and the characters history.

On the art front Quitely delivers amazing facial expressions as always. I first encountered Quitely's art in New X-Men, where he really gets to shine by having so many weird freaks to draw. All-Star Superman doesn't nearly have as many bizarre freaks which does make me sad, that being said the work is still incredible.

A complete aside but, my favorite character from All-Star Superman has to be Lex Luthor, the man just has impeccable hater energy.

Lex Luthor is Ahab and Superman is his Moby Dick, I just have to admire the complete and total devotion to hating one man with every fiber of your being.

Moon Knight by Lemire and Smallwood

Back in January I wrote about Moon Knight by Warren Ellis and Declan Shalvey. I would describe that run as sleek and stylish, it largely runs on vibes. Back when I wrote about it I put a lot of attention on the fact that the series really doesn't focus much on Marc Spector's interiority. Moon Knight by Jeff Lemire and Greg Smallwood sits on the opposite end of the spectrum, focusing so much on Marc's interiority that the fourteen issues almost entirely takes place inside Marc's mind.

The series is a deep dive into the fractured mind of Moon Knight. Marc and all of his alters get a focus. The first arc starts off with a lot of inertia but honestly kinda slows down at a certain point, it doesn't feel like it needs to be five issues. In the second arc the focus shifts primarily to the alters and we see the world from their perspective which is conveyed through different art styles, it's a pretty smart way to go about fill in artists. The last arc sees Marc reconcile with his alters and go after Khonshu who is trying to take over their body. The last arc is by far the strongest in the book in my estimation, Smallwood returns as the primary artist and his work is just so above all of the fill in artists.

The art across the series is stellar. Smallwood is the primary artist and he brings a otherworldly feel to the comic. It honestly reminds me a little of Sienkiewicz's work at times, which makes sense given he worked on the original run of Moon Knight. Special mention also has to go to colorist Jordie Bellaire, who brings the same careful use of color and it's absence like she did in the Ellis and Shalvey run. Both Smallwood and Bellaire's combined talent lends the book a almost chalky look? Which sounds odd to say but it's the best word to describe the look of the series.

My favorite sequence from the run has to be a flashback that takes place after the funeral of Marc's father. Marc laments to his mother that his father hated him, when she retorts that his father did indeed loved him, Marc experiences a dissociative episode and Steven takes over. Marc's mother reacts poorly telling him to knock it off.

This sequence deeply resonated with me. While I don't suffer from D.I.D I do suffer from Bipolar and I can recall having similar conversations with my own mother when my episodes would flair up. The tragic thing is that for both Marc's mom and mine it doesn't come from a place of malice but a misunderstanding of their child's condition. It's a wonderful depiction of what it's like for your loved ones to not truly understand your condition and it's the moment that most impacted me.

Silver Surfer Requiem by Straczynski and Ribic

Silver Surfer Requiem by J. Michael Straczynski and Esad Ribic is a beautiful series both visually and narratively. It's kind of funny that I read this so soon after All-Star Superman since they have such similar premises. A being of great cosmic power—in this case the Silver Surfer—is faced with their own approaching death. It's a fairly superficial connection but one I find funny all the same.

The writing is quite lovely but the real draw is Ribic's art. There are ample splash pages which are so amazing and breathtaking I want to frame them. I've always thought that Ribic's art has a mythic quality to it and here is no different.

It's very hard to pick one splash panel to showcase here, there are so many amazing ones in this short four issue mini. The one I ultimitely landed on showcasing is this one:

It's a page of the Silver Surfer before he was the Silver Surfer approaching Galactus with a bargain to save his home planet. It's a pretty simple page but something about it just sings to me. Galactus's machinery is a precursor to Ribic's later celestial technology in Eternals. And something about Galactus's face just feels so omnipotent, so beyond human, so unknowable.

Black Cat by MacKay

Before I go any further I feel the need to give some context, in preparation for the upcoming Marvel event Blood Hunt I decided to read all of Jed MacKay's major marvel works, some of which I go over later in this post. I'm calling it my MacKayathon. Black Cat was the first step in that and my god is it a good first impression.

Before reading MacKay's Black Cat I had no opinion on Felicia Hardy a.k.a the Black Cat. around twenty-eight issues later I find myself utterly obsessed with this character and her world. MacKay's Black Cat run is stretched across two volumes, two annuals, one giant-sized issue, one one shot, and one mini. Even when spread across multiple titles, twenty-eight issues of Black Cat is insane.

Black Cat is all about heists. In fact the first volume is essentially her stealing stuff from everyone in the marvel universe, including, Doctor Strange, the Fantastic Four, Iron Man, Danny Rand, and even fucking Kade Killgore. The highlight for me has to be the last two issues where in the process of stealing from Tony Stark, Felicia creates the Iron Cat suit of armor, which is really an amazing design.

The supporting cast is also great, from Black Cat's crew Bruno and Dr. Korpse, to her aging mentor the Black Fox, to her rival and leader of the Thieves Guild of New York Odessa Drake. It's a great cast and MacKay made me care deeply about all of them. Generally Mackay has that effect, of taking characters I either didn't give a damn about before or didn't even know and elevating them to become some of my favorites.

On the art front for the first volume, Travel Foreman does a great job but his pencils is occasionally hampered by colorist Brian Reber, who's colors are fantastic with all the other artists on the series but don't gel with Foreman's pencils for whatever reason. The future lead designer on Spider-Man: Across the Spider-Verse, Kris Anka does two issues and brings his trademarked stylistic flair to the book. In my opinion though, the artist who best fits the series is the one who comes in for the last two issues, MacKay's future collaborator on Avengers, Carlos Villa. Villa just feels like a star who is waiting for the right book, something about his expressive faces and style just feel perfectly suited to big two comics and especially the expressive Black Cat.

One complaint I have about the art is the way Black Cat is sometimes sexualized for the male gaze. For the most part outside of the first annual this isn't really a big issue in the interiors, but the covers for the first volume it's a entirely different matter. J. Scott Campbell's covers for the first volume most resemble pin up posters, it's a little gratuitous and just feels gross.

Sadly due to covid related reasons the initial run of Black Cat was cancelled prematurely. Fortunately the second volume came out only a few months later, however it starts somewhat oddly. Black Cat volume two begins with three event tie-in issues. They are by no means bad, they are quite fun in fact, but they do interrupt the flow of the book somewhat. However after those first three issues the new volume picks back up the threads of the old volume and starts to continue the story.

Issues five through seven of the series comprise The Gilded City arc which is essentially the pay off to everything that has come before it. It's a wonderful end to the story of MacKay's Black Cat. However that's not quite the end, there are still three more issues that comprise the Infinity Score arc of the series. The Infinity Score arc is a weird one, It's building off of the Infinite Destinies series of annuals that introduce hosts to the infinity stones. Some of the annuals are good but others are pretty bland if I'm being frank. In Infinity Score Felicia must assemble the infinity stone hosts to pull off a heist. Unfortunately the series was cancelled again, with only three of the infinity stone hosts gathered. The silver lining to this is that MacKay gets to finish up the story in Giant-Size Black Cat: Infinity Score, even if seemingly the original plans had to be changed as no more infinity stone hosts join Felicia's team and she has to make do (much like MacKay) with what she has to complete the job.

For the second volume the bulk of the issues are penciled by the returning Carlos Villia. However the Gilded City arc has Michael Dowling, a fill in artist for the first volume, return. Dowling's style is much more reminiscent of Foreman's then anything done by Villia. But honestly he works wonders none the less. Luckily the cover artist has changed from Campbell to comics superstar artist Pepe Larraz. Larraz's covers much like all of his work are breathtaking, and unlike Campbell's work it manages not to sexualize Felicia for the sake of the male gaze!

The last bit of MacKay's run on Black Cat is a five issue mini, Iron Cat. This series sees the return of that exceptional Iron Cat suit of armor as Felicia's ex, Tamara Blake steals the armor and makes a attempt on Felicia's life. Black Cat must team up with Iron Man to take her down and get back his armor.

The art team on Iron Cat is Pere Pérez on pencils and Frank D'Armata on colors. Pérez does a great job, his work is very detailed but still has a lot of life to it. D'Armata is someone I have complicated feelings about, his color work often gives comics this weird glossy look, as if everything and everyone was covered in Vaseline and shoe polish. His colors often are very cold to me, especially building interiors. However here his work doesn't bother me so much, sure I still would have preferred Reber but D'Armata gets the job done.

Iron Cat is a good bit disconnected from the rest of the run. For instance Bruno and Dr. Korpse, two central characters in both volumes of Black Cat, barely appear at all. But it's still a great comic and one that compliments the rest of the run.

Taskmaster by MacKay and Vitti

Taskmaster by MacKay and Alessandro Vitti is a fun and short series, it's only five issues and it's plot is pretty straight forward. The basic gist of the plot is this: someone has killed Maria Hill and framed Taskmaster, Black Widow is after him to avenge Hill but Nick Fury Jr saves Taskmaster's life and recruits him to finish Hill's mission, which involved securing a old H.A.M.M.E.R a doomsday device, the only wrinkle is that to get access to the doomsday device Taskmaster must get close enough to three super spies to copy their biometric signatures or whatever. And that's essentially the plot of the book, sure there are a few twists towards the end but now you largely understand the structure of Taskmaster. Each issue focuses on Taskmaster getting the biometric whatever of one of the super spies, rinse and repeat till it all comes to ahead in issue five.

The thing that makes the series worth the read though is Mackay's voice for Taskmaster. Mackay's Taskmaster is just a lovable goofball.

Taskmaster is just a real joy in this series, he is just such a silly little guy. That being said MacKay doesn't pretend that Taskmaster is all jokes, he's a competent mercenary who knows when to put his straight face on. He's simultaneously lovable and pretty scary, it's a great balance.

There are really only two notable things about Vitti's art in this series to me. firstly his men are big and bulky, which doesn't really speak to anything deeper but is the main thing I remember about his art here. The second thing is that he gets a lot of range of emotion out of a skull mask, Taskmaster is constantly expressive in pretty extreme ways, that alone deserves some props.

I'll just present my favorite panel from this series without comment.

The Death of Doctor Strange by MacKay and Garbett

I wouldn't regularly pick up The Death of Doctor Strange by MacKay and Lee Garbett. I'm just not a huge Doctor Strange guy. That being said, it's the precursor to MacKay's run on Strange and Doctor Strange and by the rules of the MacKayathon I am compelled to read it. With that being said I quite liked The Death of Doctor Strange.

The titles really gives the central premise of the book away, Doctor Strange is murdered, the twist however is that he is going to solve his own murder! This is possible because a unspecified amount of years ago, Doctor Strange took a week off his life expectancy to create a version of himself to avenge his death, the wrinkle though? He only has that one week to solve the case! This is a pretty fun and clever concept and by far the most compelling thing about the book. Seeing this past Strange reckon not only with his future and the choices of his future self makes for good drama.

Upon Strange dying a magical protective seal around the world fails, thus enters the Three Mothers, a trio of beings who capture magic users to feed their eldritch and fetile master, the Peregrine Child.

Besides being creepy and serving as antagonists these villains start a funny trend across MacKay's work at Marvel, the elaborately designed weirdo villain team. Two examples of this from his later work would be the Twilight Court and the Bloodcoven.

It's just a funny recurring beat I've seen in his work.

I honestly don't have strong opinions on Garbett's art generally, his work somewhat reminds me of Joshua Cassara's, especially in the faces. Both artists employ pretty blocky anatomy. Antonio Fabela's colors are quite nice, they especially pop when it comes to the more magical moments.

Earlier on in this post I talked about how I admired Lex Luthor's raw hater energy. Well Doctor Strange has his very own hater, Baron Mordo. I know just about nothing about Mordo except for the fact that he hates strange and hates the idea of Strange dying by anyone's hands but his.

Closing Thoughts

So that concludes the "My Favorite Comics I've Read in March", this post honestly turned out a lot longer then I expected clocking in around 3,500 words. But overall I think this has been a worth while exercise. See you next month, the MacKayathon will continue!

[maxwell-grant]

Asking because apparently he has a crossover with the Shadow and the Spider : do you have any thought on Peter Cannon, Thunderbolt ?

(Spoilers for, all of the Peter Cannon stories basically)

While there’s been a lot of discussion around the Gillen/Wijngaard 2019 mini and it is, easily, the best comic made with the character and one I’d heartily recommend to everyone, I’m instead gonna be talking more here about Peter Cannon the character, who turned out to be a much more fascinating rabbit hole of information to dive into than I’d expected. Much like his stolen costume implies, Cannon is a character of dualities and contradictions.

Peter Cannon is actually owned by the estates of Pete Morisi, his original creator. In other words, it's a creator-owned superhero from an era which tended to have the rights consumed by the corporate bodies. When you compare and contrast to Watchmen's eventual fate, that's a fun one for me to think about - Kieron Gillen

He is not just another Charlton survivor drastically altered and fragmented by the Watchmen cataclysm: he is this epistolary composite of several different characters and ideas in conversation with each other, characters whose legal rights and defining traits are all over the place and still kind of building up on each other even now. He is, simultaneously, more fragmented than his Charlton brothers, and yet the only one who’s been able to remain consistent over the decades. Peter’s roots go back further than theirs, even though he is currently exiled from the universe they’ve been relocated to, a state of affairs that in some ways makes it so that he is, at once, more trapped under Watchmen’s shadow, as well as more free from it.

He's like a weird game of telephone that started in the crudest beginnings of the Golden Age superheroics, and with at least one touchstone every couple of decades all the way until today (he got a new series announced this year even), with different characters all inspired by each other and ripping off each other to various degrees existing separately across 80+ years, each belonging to different rights holders and universes, oscilating wildly in popularity, influence, and just how much they have in common with each othe, but still telling a long-running story as if they were one and the same, which they are and aren’t.

We have the original sources (and ensuing riffs or public-domain usages of said sources), the creation of knock-off created due to licensing issues who’d become an established character in his own right, different attempts at remixing the source ingredients ultimately creating knock-off of a knock-off, the badboy knock-off of the original knock-off who’d catch on with the times and go on to be massively popular, and then things would break down as said knock-offs start to congeal together in fragmented mirror freakshows of each other that have to exist together and who knows what’ll happen from there.

Or, I guess to try and put it more simply,

-cough-

Cannon’s even had more than a couple of separate “universes” and superhero casts built around him, by virtue of the fact that his comics cannot have access to the actual Charlton supporting cast, so they have to fill in for stand-ins, and because he’s under that pulp/public domain zone, his comic runs don’t really have any continuity with each other, except they kind of do, because they are all building up on each other even if just thematically. The Cannon Canon is rather limited, and every writer who tackles the character has had to go back and dig into the prior runs to find.

Peter Cannon being several entities in one isn’t even just a facet of their turbulent publishing history, it’s an aspect that’s actually made it’s way into their stories proper. The 90s DC run established that Peter is the reincarnation of the monastery’s greatest hero Varja (a misspelling of vajra, a divine weapon/tool which symbolizes the properties of a thunderbolt). The 2012 run took a plot point from the classic run that was Peter’s manifesting a life-like dragon illusion to scare a villain into retreating (and how that ended up foretelling Ozymandias’ whole “world peace through giant squid attack” plan), and made the storyline about how Peter Cannon-Thunderbolt and The Dragon, the world-conquering threat he called upon to defeat and enact a benign version of Veidt’s plan, were one and the same. And the 2019 run had Peter’s development born from encounters with two separate versions of himself: Thunderbolt, the Ozymandias stand-in who’s been repeating alien genocides across worlds for 30 years in the hopes of it eventually working, and Pete Cannon, a professor who lives a fulfilling human life in a world without superheroes.

Peter Cannon is Bill Everett’s Amazing-Man using Daredevil’s costume and setting (said Daredevil would go on to appear again and again Death-Defying Devil and any number of different names the character’s appeared under because his original name is taken and his characterization can be anything). Peter Cannon is Thunderbolt. He is The Dragon. He is Iron Fist, who is another rich white blonde masked adventurer/vigilante/martial artist rework of Everett’s Amazing-Man. He is Adrian Veidt, who is Ozymandias. He is Thunderbolt from another world, who is Peter Cannon as well as Ozymandias and Dr Manhattan. He is Pete Cannon. He will probably be something else in the near future as well, as a response to the world around him.

His original 60s stories capitalized on the increasing interest in martial arts and martial arts philosophies, the perpetual Western fascination with buddhism and Tibet and love of orientalist tropes that had taken on, shall we say more benign forms, compared to the early 1910s or 1930s, with Peter Cannon being both the ultimate White Savior, as well as someone who wants nothing whatsoever to do with said “whiteness” and the world outside of the monastery, and that being such an inescapable aspect of his entire backstory and make-up, that it forces writers into a dilemma as to how they deal with it, and thus, find ways to make it workable. His 90s run was heavily focused on post-Cold War politics, Peter’s PTSD as well as reworking him into a better, more compassionate hero as a response to Ozymandias as well as working with the idea that Peter would eventually go on to join the DCU, which didn’t happen. The 2012 series takes a broader focus on disarmament and recontextualizing the character, and the 2019 series is pointedly about a lot of things and many of them have to do with Watchmen and the broader superhero genre, but also where Peter stands in said genre and world, what is it that this character speaks to or about.

What fascinates me is how utterly reluctant Peter Cannon is to get involved. He mostly wants to chill with his best mate, Tabu. Stories are often about the push and pull between Peter Cannon (who wants to just study the ancient scrolls and be left alone) and Tabu (who wants him to go and be the Superhero Thunderbolt.) This happens again and again through the run, almost to the point of comedy. It's rare that you see a superhero who needs as much pushing to do something.

He’s like a more responsible early Peter Parker. Actually, he’s like if Peter Parker had better ethics and morals. And with Tabu it’s like Uncle Ben never died.

The push and pull between Peter Cannon the man and Thunderbolt the hero is the interesting weird part of it. We're led to someone who's Sherlock-Holmes smart, with a similar distance, but has nothing but contempt for the world's mainstream civilizations. Why be a superhero when this is the world he's protecting? At the same time he doesn't - as Ozymandias did in Watchmen - fall into the trick of believing just because he knows more he gets to tear it all down.

It’s to some degree close to the trope of the white savior, but rather than someone like, say, Iron Fist, the interesting thing is Peter Cannon literally has not earned it. He’s not the best or anything else. He didn’t choose his path. He knows he’s not worthy. He’s an apex human, but he’s an apex human because of this other civilization that is better than we are.

If you ask 99 out of 100 superhero comic fans to tell you something about Peter Cannon, they’ll say inspiration for Ozymandias. You can’t avoid that. As a device to talk about influence and how comics change, with Peter Cannon you cannot avoid the ghost of Ozymandias.

But it has to be bigger than that - Kieron Gillen on Thunderbolt

I find it interesting also how Peter’s personality contrasts with what he is, what makes him more interesting than the typical white savior. He didn’t find a magical monastery amidst general globetrotting, he wasn’t rescued and taught magic martial arts and decided to use them to go and fight crime, he quite literally had no choice in the matter. He was born in the monastery (or taken there as a 6-month old baby), his parents died due to a plague he just barely survived, and he was raised by monks for 20 years and decreed to be The Chosen One (whether by the sheer improbability of his arrival and survival there, or as a gesture of honor toward his parents), and then instructed to return home and help others in his native land, a land he had no memory or fondness or any attachment for.

He grew up in a fantasy land of great knowledge and compassion and magic that was constantly targeted by a rotten and corrupt outside world trying to destroy and plunder it it, and then he was ordered as an adult to go live in that rotten and corrupt world and fix it because it’s where he comes from, having superheroism thrust upon him by no choice of his own. The rest of the world looks at him with awe and wonder and fear because he’s a Great Man capable of impossible things, things that to him are basic and banal and things he hasn’t really mastered as much as he could or should. At the same time he complains about the world outside home, he’s also driven to prove himself, to live up to his calling as The Chosen One, and it sucks. Being The Chosen One sucks for him, sucks in general, and it’s what he is. I think there’s a lot of potential to a superhero take on The Chosen One that fully explores just how awful that trope is and how disastrous it could be to said hero (Griffith from Berserk is one example of that)

It’s an interesting position he’s coming from as to why he’s a reluctant hero, why he’s so removed from his call. Even before Ozymandias, there's an aspect of Peter Cannon's core concept that makes him feel indeed like he's being more forced into heroism than anything and that, under different circumstances, it wouldn’t take much to push him into villain territory to begin with. Which is why his runs are so preoccupied with Cannon’s humanity, Cannon’s connections to the people around him, and Tabu specifically, that make him human. It’s where this impossible superhuman genius Great Man with the world on his shoulders, trying to navigate an impossible position with catastrophic room for error, with such proven potential for darkness, gets to breathe easy and find help, remember that saving the world is never a one-person job and that he is not alone.

I love how this is consistently where all three of his last major runs have ended on, in the 90s with his growing humanity and friendship with Tabu, in the 2012 mini where Tabu and the Charlton stand-ins come to save him at the end, and in the 2019 mini where he is forced to acknowledge his own failings, his own self-described lack of personhood and the consequences of a genius far removed from humanity making decisions for it, so that he might overcome them and grow into a better man and friend, and that’s how we end with this,

some 60 or 80+ years of storytelling for this character, and the other characters he’s been, somehow forming a remarkably coherent character arc through it all and a promising future, or at least, the potential for one. Not that this was necessary for reading said run or getting to this moment, but going through the entirety of the Peter Cannon Canon before rereading the 2019 mini definitely gave me much needed context for the character, and also reaffirmed that this kiss, this development of Peter and Tabu’s dynamic? This was a long time coming. Come what may, I’m terribly interested in what else will come out of this strange and fascinating amalgam of comics history (so long as it doesn’t have a certain raccoon man’s name attached to it) and what the future holds for Peter Cannon and whatever else he may be next.

[books]

Writer Spotlight: Daniel Kibblesmith

Daniel Kibblesmith is an Emmy-nominated writer for The Late Show With Stephen Colbert and has written comics for Marvel and D.C., including Marvel’s Loki (2019) and Black Panther Vs. Deadpool (2018). He co-wrote the humorous How To Win At Everything (2013), and is also the author of the picture books Santa’s Husband (2017) and Princess Dinosaur (2020). He was one of the founding editors of ClickHole.com, and his comedic writing can be seen in places like The New Yorker, McSweeney’s, and APM’s Marketplace. He works and lives in New York with his favorite author, Jennifer Wright.

What are your inspirations for Loki?

Loki is ever inspired by himself (or herself, or themselves), and that was how it worked for me, too. I was a big fan of Loki as a villain in the MCU, but I hadn’t read a ton of Thor-related comics until I got the gig. The exception was the Journey Into Mystery series by Kieron Gillen and a whole roster of great artists who—alongside Tom Hiddleston's MCU appearances—really set the mold for the modern take on the character. So I re-read that, and from there I expanded outward into past and future, and read the tremendous Agent Of Asgard comics written by Al Ewing, Lee Garbett (and other artists), as well as going back to early 60's Loki appearances orchestrated by his own creator gods: Jack Kirby, Stan Lee, and Larry Lieber. 

Aside from comic-related research, one of my editors, Wil Moss, recommended Neil Gaiman’s Norse Mythology, which was incredibly fun, concise, and helpful in giving me a more rounded view of Loki’s history and personality. I’m a big Sandman fan as well, so it was inspiring to stand at the nexus of Kirby’s influence on Gaiman, and mythology’s impact on both of them, and to see their impact on me, first as a reader, and then as a writer, as I set out to place these mythological figures in an approximation of our actual world.

What aspects of yourself do you see or put into the characters you write?

Loki’s defining trait, especially in the original myths, is that he is both the creator and the solver of the problem. Because no one else is clever enough to get him out of the mess he started, he’s barely ever fully exiled from their society. As a former “problem” student, whatever that means, the aspect of Loki I relate to the most—and I think a lot of people do—is the idea that you can mean well, try your best, and still get punished for it.

Authority figures love to reward cleverness if it comes with obedience. I tell a story in the introduction letter to Loki #1 about getting detention for pointing out, during an assembly, that two teachers were inexplicably wearing the same clothing. I obviously didn't break any rules but the people who make the rules found me to be inconvenient and disruptive, so I got punished.

When I hear the phrase, “too smart for your own good,” I think of kids like that who don’t even know they’re about to be labelled as “bad”, which can alter their entire future and identity—for something that, in any adult circumstance, would be seen as attentiveness, or creativity, or intelligence, or just relatively harmless humor. Loki is a kid who got treated this way for a thousand years, so, of course, he became a villain. 

The story we’re telling now is about coming back from that—healing, forgiveness, and the responsibility that comes with an ever-racing, ever-curious brain, the default setting of which is casual mayhem. Loki’s superpower is one that real people actually have to live with and manage: “I just noticed a vulnerability in our world. What would happen if I acted on it?”

You’ve written for television, the internet, for magazines, and have authored books and comic books — how does the writing process vary for these different forms? Is there one you prefer?

I often compare it to playing different video games because the needs and reflexes are different. Writing satire about the news is faster-paced, and comes with its own formulas, just like character-based narrative. Writing a monologue script based on a news event is very reactive, like Mario Kart: foot on the gas, hit the important stuff, miss the stuff that will slow you down. Writing fiction can be a lot more exploratory, like Zelda: I walked around for two hours today but I found a really important acorn, that I really needed for the stuff I'll do next. Writing comics can be very nose-to-the-grindstone, but for me, breaking story is often incidental and happens at the gym, or before sleep, or in the shower. The major architecture of my narrative writing exists as fragments on my phone and in pocket notebooks, born out of little sparks of inspiration. The heavy lifting happens in fleshing them out and editing them together into something cohesive.

If you could live in the universe of any book or comic book, which one would you pick and why?

I’m not the biggest Harry Potter fan—I've read five of them, I think. But I would choose to live in the Harry Potter universe because as near as I can tell, it’s just our current universe but with far superior candy.

If you could have a conversation with anyone, real or fictional, who would it be and what would you talk about?

Probably Gumby. He seems chill.

What advice would you offer to your fourteen-year-old self?

Fourteen is honestly too young for most actionable advice from successful adults, and you’re not really in charge of what you’re going to do that day, anyhow. I usually tell college-aged writers to finish entire writing samples, that ideas and potential are far less attractive to people who can hire you than finished scripts or stories are. But I can’t imagine my career taking off based on the screenplay I would've finished at fourteen. So my advice would be to start drinking coffee and working out because both of those things are going to make you feel better in a world of things that are trying to make you feel terrible—including, in some cases, young adults roughly your age and twice your size with whom you are trapped, by the hundreds, in a massive brick building, in which they are often inexplicably literally trying to maim you. In case anyone was wondering where comic and comedy writers—and trickster gods—come from.

Thanks so much, Daniel! Follow @kibblesmith! If you’re lucky enough to be attending New York Comic Con in October, Daniel will be signing in Artist Alley at Booth A-28.

Photo: Nick (IG: @goldenparachutephotography) for Midtown Comics. 

[rasoir-national]

5 male characters I love

So I got tagged by @antirococoreaction​​ to name 5 male characters I love, and as always I asked myself the immortal question : do I pick characters I love as characters, as in, characters I love for how interesting they are, or do I pick characters I love as people ? And for once, I decided to go with the narrowest of the two, the second one, for two reasons.

First, because there’s this latent belief in media that bad is more interesting than good, leading to the pernicious trope that characters who are “good people” are boring. That’s patently false : just as it’s difficult to be a good person, and I think we should highlight characters who demonstrate that.

Second, because there’s this tendency, in tumblr culture, from which I am not at all exempt, to avoid giving focus to masculinity in a positive manner, because mainstream media would do that already. But you could argue that mainstream media is much more focused on toxic masculinity and masculinity as a “default” than on exploring masculinity in its richness and uniqueness. So I want to do that too : to highlight characters whose masculinity is a inherent and essential part of who they are and why I love them. Let’s roll.

Dionysus/Umar from The Wicked+The Divine (Kieron Gillen & Jamie McKelvie)

He is such a good person. That’s what you think the first time you meet him, and that’s what you’ll continue to think, even as the comic goes on and adds nuance upon nuance on every character. The god of wine and parties reincarnated as a young man with rave/hivemind and ecstasy-like powers. And also a kind friend, a sensitive listener, someone who is keenly aware of the limits of what you can do for other people yet will give all he has so people can have at least that, be it one good night amidst sorrow and depression, or a shoulder to cry on. Dio is good to a fault, as in, his goodness is arguably his flaw. He gives himself so completely, to everyone, that it endangers his own sanity, and make other people’s selfishness and entitlement come out. He is a perfect illustration of why putting yourself first is not just a flaw when done in excess, it is at its core a survival skill : if you do not put barriers between you and the others, you will crumble. Dio is a study in true altruism that not many stories have the courage to make. He is also canonically asexual, and strongly implied to be biromantic, although that’s almost incidental in Wicdiv, in which almost every single character is lgbtqia+ and treated with respect. Seriously, read Wicdiv guys.

Kurama from Yu Yu Hakusho (Yoshihiro Togashi)

YYH is one of the most insidious yet brilliant deconstructions of the shoûnen tropes out there. While some of its material, while groundbreaking at the time (starting with a fleshed-out, sympathetic gay character coming with a critique of japanese homophobia), has aged with the strides made in matters of representation, its commentary on masculinity and especially how it’s usually handled in the typical shoûnen holds up extremely well in my opinion. And one of its centers is Kurama. Created to be a riff on the classic “bishounen” character (to the point that one of the running gags of the manga is Kurama getting increasingly annoyed with the attitude of female side characters around him), Kurama is my favourite kind of good person, the one who is deeply aware that he is capable of horrible things. He is the rare character who begins the story at the tail end of his redemption arc, having already decided to change ; his arc in the manga is about trying to figure out what that means. And the manga does not pull punches with him : he has to reckon with what he’s done, to try and navigate his new moral compass in a world that’s just waiting to use it against him. And it gets... cruel. Kurama is a perfect example of how quickly and often certain traits can toe the line between making you a terrible person or a good one. Everytime he fights, Kurama has to make the choice to do good, over and over. And it’s not easy. It’s not supposed to be easy. And if YYH has one message, it’s that everyone who tells you otherwise is lying.

Father Marcus Keane (Ben Daniels) from The Exorcist series

Memory functions best by association, so reading @antirococoreaction​‘s list immediately got me thinking about The Exorcist and Father Marcus. Just like Cardinal Gutierrez, he is both a man of faith and a mlm. And while his orientation is not the focus of the show, it’s present, layered and realistic in all of it - credit to openly gay actor Ben Daniels who portrays him. It’s especially present in his relationship with the other lead, portrayed by Alfonso Herrera as a young, charismatic priest whom the Church sees as a political pawn, whom I could also have chosen for this list. Just like I could have chosen John Cho as the single foster father of adopted “problem” children who has to cope with the death of his wife. See, what’s extraordinary about The Exorcist series is exactly what I was talking about in the intro : whatever masculinity means, it doesn’t take it for granted. Which is why the second season manages to have three male leads that are all incredible characters, incredibly good people, while vastly different from one another. Marcus is probably the most “morally grey” of the three, but in what that term sholuld mean rather than what mainstream media tends to make of it. Marcus in an unquestionably good person in a world where doing good often means making excrutiating choices. Marcus is someone devastated by these choices, who has to try and find hope again, guided in part by the young Father Tomas. While Marcus roughly fits the “jadded brooding lead” archetype, but in every detail of his character and portrayal he is imbued by a depth that’s rare in the horror genre. I will never forgive Fox for cancelling this gem of a series right as both the plot and the main characters were coming at a turning point. My advice if you want to watch it : don’t read anything, just go in blind.

Jean-Baptiste Adamsberg from the Adamsberg novels (Fred Vargas)

Adamsberg is a cop. I know that’s a dealbreaker for some people, and I respect that. But his profession seems almost incidental to the character. Adamsberg shouldn’t be a cop, Adamsberg is that guy you see in the street who stops all of the sudden, fascinated by something, and it drives you crazy that you don’t see what. Adamsberg is a dreamer, he feels things rather that he knows them, and yet somehow is always right in the end. He’s like a magician. He’s not always kind. He can be violent. He’s not always clever. In fact, sometimes he acts downright stupid. Yet there is always this kindness, this intelligence around him, about the way people are and the way people should be. When I was a kid, the Adamsberg series was the first I read in which, hearing another man using a degrading language to talk about women, the main character immediately shut him down. As I grew up, I came to think of Adamsberg as the way women wished men were, though they weren’t. In reality, there is a lot in Adamsberg that’s exactly how men are, both good and bad. He’s a character who shouldn’t feel real yet does in the strange, poetic world created by Fred Vargas for what is one of the strangest crime series I’ve ever read. If the Doctor was the protagonist of a crime series, they would be Adamsberg. Growing up afab, Adamsberg was one of the few male protagonists I didn’t feel actively disrespected by as I was reading. The first four books of the series, The Chalk Circle Man, Seeking whom he may devour, Have mercy on us all and Wash this blood clean from my hand, are absolute classics I heartily recommend. It’s some of the smartest, weirdest crime novels out there.

Zeno Ligre from The Abyss (Marguerite Yourcenar)

I... God, what do you even say about what may well be your favourite character in all of literature, in what may well be your favourite book ? I fell in love in Zeno when I was fifteen, fell as hard as you could for someone who didn’t exist. Zeno starts the story as a young adult and ends it as an old man. You follow his entire life, from his childhood as the bastard child in a rich belgian family in the 16th Century, to becoming a respected yet feared and misunderstood alchemist, all through the turmoil of religious and political wars and plagues. Zeno is the best representation of what it was truly like to be a man ahead of his time in a time of intolerance and obscurantism. As an isolated high schooler who felt like I had nothing in common with my peers, you can imagine how I could relate. The Abyss is a strange, dense book which I probably read too soon, but which absolutely enthralled me to the point that I refused to even open another book weeks after finishing it because I simply couldn’t bear the thought not to be still reading The Abyss. It made History and Philosophy realer than any of my classes. And front and center of it is Zeno, Zeno you see grow and age, with whom you discover and fear, who utterly captures you with how grand a man can truly be, how extraordinary life itself, from beginning to end, is. Zeno is a man trying to shine a light on the world, trying to live by the precepts of philosophers, and once again is faced by what being a good man means, and whether it even matters to be one in a world such as the Middle Ages. I don’t know what to say except read it, and you’ll see why I’m at such a loss for words. Oh, and you might cry a lot. I know I did, not necessarily because it was sad, but simply because it was over, and I couldn’t read it for the first time again.

Here you have it. Wow, that was way too long.

And of course there’s almost no one left for me to tag, because we’re like 15 people talking in a circle.

[thehonestreader]

The Wicked + The Divine, Volume Eight: Old is the New New by Kieron Gillen, Jamie McKelvie, Matthew Wilson, Clayton Cowles

Rating: D+

Every ninety years twelve gods of the Pantheon return. They’re loved. They’re hated. In two years, they’re dead. This volume takes us back to the times of four different Pantheons and shows how Ananke has played this same game for millennia.

--

Ugggggggggh. I’m over these books. But I’ve devoted years to them and at this point I feel like I have to finish.

This penultimate volume collects all the specials and, like Commercial Suicide, features a lot of guest artists, but unlike volume three, I liked all these different styles. I especially liked that I got to see more of Stephanie Hans’ art again. I remember liking her style back in volume three and it’s nice that this is the opposite of that. Her issue then was about Amaterasu, so the colors were very bright, and I remember liking how they all seemed to bleed into each other. It was beautiful. This one is darker, but I still like the effect.

1373 is my favorite story out of this. The time period, the art, the characters involved, they all worked together to charm me. My next liked is 455, I guess. It doesn’t do anything big picture except set up this animosity Ananke and Lucifer seem to have over the millennia, which explains why Luci was the first to die in the current Pantheon. I didn’t really get anything out of 1831. That’s the only issue I read when it first came out. 1923 is when things start going downhill, and they don’t stop after that. Gillen attempts to write the entire thing like a short story with a few panels of art here and there. I get why he did it, but that doesn’t make it any less terrible. The Christmas Annual feels like a waste. The funnies somehow manage to be extremely unfunny, and manage to be even more of a waste. I didn’t have very high expectations and this volume lived up to them.

There’s only one more volume left. I’m going to read it, I’m probably going to hate it, and then I can go on with my life and every once in a while think about the magnificence this series could have been if placed in better hands. There is always that small chance that the last volume will satisfy all my needs and blow me out of the water, but at this point it’s a slim chance. Let’s say, oh, fifteen percent.

-Review by C.M.

[rebelsofshield]

Panels Far, Far Away: A Week in Star Wars Comics (10/30/19 and 11/6/19)

Wow. It’s been a wild two weeks. Yes, two weeks. Life has been a thing and Panels Far, Far Away has fallen a tad behind as of late. So now, for your reading pleasure we have two solid weeks of Star Wars comics. So happy belated Halloween, say hi to your good Doctor, and prepare to rescue some Wookiees.

Star Wars Adventures #27 written by John Barber and Michael Moreci and art by Derek Charm and Tony Fleecs

It’s not just Marvel that has joined the journey to The Rise of Skywalker. IDW Publishing is launching its own story of the struggle between the First Order and the galactic resistance these coming weeks. Whereas many other stories have concerned themselves with just how the Resistance restructures itself in the wake of the disastrous events of The Last Jedi, Adventures instead follows a lone Wookiee’s attempt to save his homeworld from tyrannical occupation. That’s right, it’s Chewbacca and a Porg vs the First Order.

Despite the prevalence of cute sidekicks and slapstick humor, there is a genuine sense of stakes and tension in John Barber’s Chewbacca tale. Sure he may be lugging around a pet Porg with him, but this is his home and Chewie could not be more invested in its safety. Derek Charm draws Chewie with an unexpected ferocity and determination and uses some of his trademark creative layouts to have our Wookiee hero springing across the page and breaking panels with strides and jumps. It makes for an investing little story that I can’t wait to dive further into.

This week’s back up story proves to be less impressive, but still entertaining. Our three droid heroes, C-3PO, R2-D2, and BB-8, find themselves alone on Garel having been overlooked once again by both the First Order and their friends on the Resistance. However, when a young orphan needs help, they decide to take matters into their own hands. There isn’t anything quite as engaging as the Chewbacca segment, but it’s nice to finally see our robotic friends taking matters into their own hands and proving their worth. Tony Fleec’s pencils can’t help but bring to mind the shortlived Droids animated series from the 80s, but it works well here and gives this new story a pseudo-retro vibe.

Score: B+

Star Wars Adventures: Return to Vader’s Castle #5 written by Cavan Scott and art by Francesco Francavilla and Charles Paul Wilson III

Yes, yes, I know. Halloween was over a week ago, so this, hopefully annual, celebration of all things creepy in Star Wars is a little delayed. Luckily, this final issue of Return to Vader’s Castle proves to be the strongest of the bunch, even if it comes nowhere close to reliving the heights of its predecessor.

The biggest struggle with this year’s Vader’s Castle series has been the mismatch of artists with source material. While Cavan Scott took us to even more twisted and dark little Star Wars horror stories, the artists tasked with bringing these to life, while often talented, felt out of place with the decidedly more sinister narratives. While frame artist, Francesco Francavilla turned in impressive work on a regular basis, the tales themselves struggled. It is disappointing that Francavilla doesn’t get the opportunity to do a full issue on his own like Derek Charm did last year, but Charles Paul Wilson III lives up to the task and delivers the most visually cohesive installment of this miniseries.

While Colonel Hudd tries his best to escape from Mustafar with the help of an unexpected ally, his captor, Vanee, recounts a creepy rebellion at Vader’s Castle by the planet’s natives. Writer Charles Soule had hinted at the mystical relationship that the Mustafarans had with their planets lava in his Darth Vader ongoing and Cavan Scott dives further into that here. The result pits Darth Vader up against a local mystic and a horde of lava zombies. Yes, lava zombies, and yes, it is as cool as it sounds.

Charles Paul Wilson III crafts some delightfully creepy and bizarre character designs for the lava zombies and their Mustafar masters, and colorist David Garcia Cruz brings it to life with an effective mix of striking reds, purples, and oranges. The end result is the first installment of this miniseries that feels visually consistent throughout and lives up to its goals as an all ages horror book.

Score: B+

Star Wars Allegiance #4 written by Ethan Sacks and art by Luke Ross

The conspiracy on Mon Cala comes to light in the final issue of Star Wars Allegiance. Just who has been setting the citizens of the watery planet and the Resistance is revealed even as the First Order arrives in orbit. Also, Finn and Poe fight some bounty hunters.

Star Wars Allegiance is a very fine little comic. That’s it really. It’s fine. The strongest point of this comic since its start has been its story of a war-weary Princess Leia and her relationship with a planet she helped plunge into hardship almost forty years prior. It is a dramatic backdrop for a narrative and helps solve a logistical question for the Resistance as we head into December’s big final showdown. However, as an actual prequel to the final installment of this latest trilogy, the result feels decidedly lackluster. The central cast of new generation heroes are mostly given little of consequence to do and more often than not, particularly in the case of Rose and Rey, feel written out of character or reduced to their most basic form. The Finn and Poe section proves more fun than the material granted to our heroines but the end result still feels decidedly inconsequential.

Fans looking for a piece of connective tissue linking the time between the Battle of Crait and the start of The Rise of Skywalker are best served by checking out Rebecca Roanhorses’ novel Resistance Reborn, which covers similar ground as Allegiance but with greater depth and fidelity. As it stands, Allegiance is a fun appetizer for a larger meal. Decent art, decent story, decent characters.

Score: B-

Star Wars Doctor Aphra Annual #3 written by Simon Spurrier and art by Elsa Charretier

When they first appeared in last year’s Doctor Aphra annual comic, Nokk and Winloss, a bi-species monster hunting couple, quickly endeared themselves as two of Star Wars’ most creative and lovable additions in sometime. It is both a treat and a worry that the fate of these two seems so inextricably linked to galactic chaos ball, Doctor Chelli Aphra.

Writer Simon Spurrier and artist Elsa Charretier look to change that up here by giving Aphra her latest opportunity at redemption, and maybe a little revenge too. In a complicated scheme, Aphra uses her new found access to Imperial files to help Nokk track down a man who deeply wronged her and also give her husband and Wookiee bounty hunter, Black Krrsantan, some closure on the way.

Spurrier gets to play with his trademark layered storytelling even more than usual here. The added page length and relatively self-contained nature of this story allows him to play with perspective, plotting, and pacing to an even more controlled degree than usual and the result is a narrative that is filled with twists, turns, and betrayals. It may not be the most memorable tale that Spurrier has crafted on Aphra, and is nowhere near the delightful heights of last year’s annual, but the result is still a very solid and fulfilling little chapter that provides some closure to this comic’s supporting cast.

Elsa Charretier has been a regular feature of IDW’s Star Wars comics for some time, and it’s nice to finally see her make the jump to Marvel’s line of adventures. Her exaggerated and stylized characters work well for a tonally varied comic such as this and it’s nice to see the Star Wars line branching out a bit in visual representation. Colorists Edgar Delgado and Jim Campbell  don’t always do the best at bringing her complicated pencils to life and the result sometimes feels too heavily inked, but the comic still maintains a unique visual aesthetic that succeeds more often than it stumbles.

Score: B+

Star Wars Doctor Aphra #38 written by Simon Spurrier and art by Caspar Wijngaard

Even with the announcement that renowned speculative fiction writer Alyssa Wong will be taking over Doctor Aphra early next year, there still hangs an air of finality around “A Rogue’s End.” Many of the major players among the last thirty eight issues of this series have come back to play and Aphra’s future feels more in flux than ever. With her wayward father now in the clutches of Darth Vader and her former droid sidekicks/torturers back in her orbit, Aphra has more to lose than any other point in her twisted history.

It’s the father daughter relationship between both Doctors Aphra that really takes up most of the meat of the story here and it helps the comic feel like it is approaching a full circle conclusion to the first issue penned by Kieron Gillen over three years go. Spurrier finds expansive creative real estate here, charting the reunion, frustration, and possible reconciliation of these two in the span of twenty some pages. It feels organic and emotional and ups the stakes considerably for the next two issues.

Spurrier also gets the chance to write Darth Vader more than he has in previous issues here. The result is pitch perfect and delightfully sinister and unstable in a way that feels right in line with some of the great comics for this character over the last four years, even if it ends up covering some familiar ground.

Caspar Wijngaard’s pencils are dependably striking here and helps the comic look better than it has in quite sometime. Colorist Lee Loughride feels more at home now than in last issue and characters and environments feel more lively and defined. Aphra herself still feels a little awkwardly rendered, but she is the exception, not the rule, to an otherwise visually impressive issue.

Score: A-

[wellhalesbells]

I see you reblogging some comic stuff an I was wondering if you have a favorite comic or favorite character or ship?

this ask is from so long ago but [DEEP BREATH IN] i’m finally going to answer it, nonny.  finally.  i kept wanting to read a little bit farther in my comics stack because.... maybe i’ll like that and will regret not having recced it, i just hafta--get--to it, see?  and, honestly, i’m still there BUT, come on, i’ll never be caught up because that would mean comics would just have to stop coming out and i would be sad forever if that happened, SO

i’m not even going to pretend like i can narrow this down to one comic.  (one ship?  sure, that’s spideypool.  one character?  sure, that’s the merc with a mouth, the regenerating degenerate, wade motherfucking wilson.  but one comic?!)  there is just straight-up too much out there to make a definitive ‘yes, this is it, this is THE ONE ™ ’ statement.  instead, uh, let’s break this shit down, yeah?  (super special secret bonus round, will note all lgbt+ rep and standalone comics.)  in no particular order, here the frig it goes!

HORROR

infidel, by pornsak pichetshote and aaron campbell.  in case you haven’t seen this on every 2018 best list ever, here it is.  and, yeah, it was good.  a muslim-american main character living in a haunted apartment building where the entities feed off the xenophobia of its occupants.  if that’s not a fucking modern horror story i don’t know what is.

spread, by justin jordan and kyle strahm.  THIS IS ONE OF MY NEW AND ALREADY ALL-TIME FAVORITES.  what an awesomely weird and epic story.  the spread is an uncontrollable, unstoppable monster-making force that humanity accidentally unleashed by digging too deep.  it infects everything it touches and basically all of humanity is running from quarantine to quarantine just hoping for the best.  and speaking of hope.... she’s a baby, rescued by no, and the only thing that’s ever been able to stop the spread.  also, no’s gay?  and i just DID NOT see that coming.  it seems like it’s going to be such a formulaic, bro-y story about the action hero who kisses the face off his girl (her name’s molly and she’s batshit insane and amazing) and instead, nope, it is not that at all.  lgbt+ main characters.

the black monday murders, by jonathan hickman and tomm coker.  hate capitalism?  think all the rich and powerful are evil, soul-sucking monsters?  [obnoxious, low-budget commercial sound effects] MAN, HAVE I GOT THE SERIES FOR YOU.

the beauty, by jeremy haun and jason a. hurley.  i just started this recently but so far, oh my good golly gosh, i looove it.  a sexually transmitted disease that makes you conventionally gorgeous.... at least before it explodies you.  [wide, creepy smile]  the art is gorgeous, the characters are aces and i am very, very pleased so far.  lgbt+ minor characters.

the great divide, by ben fisher and adam markiewicz.  this?  was a COOL idea.  the execution stumbled a bit but, gosh, was it neat.  it’s post-apocalyptic where touching another person will literally kill.... one of you.  the survivor then absorbs the memories of the person who dies, taking on a ‘rider.’  some people collect them, some people go mad, some form a bond, all have the side effect of dyslexia.  like i said, neat as all get out.  lgbt+ minor-ish/main-ish character.  standalone.

revival, by tim seely and mike norton.  a rural town in wisconsin experiences ‘miracle day,’ where the dead rise again.... except, they were kinda already mourned and buried and this is really just fucking up the status quo.

the woods, by james tynion iv and michael dialynas.  a high school gets picked up and plopped down in an entirely new, and wickedly hostile universe.  it’s all survival and alliances and seeing what you’re really made of when it comes down to it.  lgbt+ main characters. 

clean room, by gail simone and jon davis-hunt.  a cult, a journalist and a clean room walk into a bar...

anya’s ghost, by vera brosgol.  you think it’ll be a cute story of a girl and her ghost.  HA HA THAT IS NOT WHAT HAPPENS AT ALL, OKAY.

FANTASY

rumble, by john arcudi and james harren.  SCARECROW WARRIOR GOD, SCARECROW WARRIOR GOD, SCARECROW WARRIOR GOD!!!  okay, first off, the art in this?  pushes every friggin’ button i’ve got, and many i did not know i had.  second, this book is so fucking fun.  it’s mythology that’s balls to the wall ridiculous, funny, and features a main character whose life motto is basically: ‘do i have to?’  infinitely relatable and then some.

heathen, by natasha alterici and rachel deering.  UGH, ONE OF MY FAVORITES.  the art is just horribly, horrendously gorgeous and it’s LESBIAN VIKING MYTHOLOGY, OKAY.  OKAYYYY???   lgbt+ main characters.

the wicked + the divine, by kieron gillen and jamie mckelvie.  one of my favorite ever series right here.  it’s a hella cool concept (gods reincarnating as humans every twelve years, and burning up their hosts in two), whip-smart and if you’ve ever met a human being who likes a pun more than kieron gillen i defy you to produce them.  lgbt+ main and minor characters.

batgirl, by gail simone and adrian sayaf and vicente cifuentes.  you know how people rave about gail simone?  there’s a reason people rave about gail simone.  honestly, i’ve never had much interest in babs.  i don’t tend to go for superheroes who don’t kill and i have even less interest in ‘the killing joke’ story line and i am convinced only gail simone could’ve done the recovery on that and she did a GLORIOUS job of it.

red hood and the outlaws, by scott lobdell and dexter soy.  (ignoring recent - and annoying - developments), this is my favorite of all the rebirths dc did.  scott lobdell is the only writer to have gotten the idea down of: okay, we’re starting over, i assume you don’t know anything but i also assume there are a bajillion people reading who know everything, and hit the perfect medium between those two things.  so if you want to start a jason todd run, you legitimately can here, and get all the found family, badassery, batman-teasing enjoyment there is to be had.

iceman, by sina grace and robert gill (covers by kevin wada).  classic super-heroing here and bobby’s first solo title.  he’s figuring out coming out while fighting (and flirting) with baddies.  sina really gets his humor and how truly wonder-awful it is!  lgbt+ main character.

spider-man/deadpool, by joe kelly and ed mcguinness.  watch those names there, those are your guys right there, period.  they looked at the void of a spider-man/deadpool series and filled it with absolutely everything you could possibly want for the pair (sans a hardcore make-out sesh, though they did get a few variant covers with some puckered up lips in there!)

limbo, by dan watters and caspar wijngaard.  a fusion of 80s aesthetics, voodoo elements and a noir tone.  just some remarkably cool shit in this.  the ending, for me, left something to be desired but it was more than worth it to see worship via mixtapes.  standalone.

hawkeye: kate bishop, by kelly thompson and leonardo romero.  kate bishop is, apparently???, a super impossible character for a lot of writers.  kelly thompson is not one of them.  kelly thompson is my favorite kate bishop writer, actually, and the fact that she is ever not writing her is a gd travesty.

the unbeatable squirrel girl, by ryan north and erica henderson.  honestly, i’m so tempted to just stick this under ‘contemporary,’ because it really does just feel very... normal.  doreen’s navigating college, new friendships, and y’know... the squirrely-ness.  this had every opportunity to suck and instead it’s funny as heck, never takes itself too seriously, and is just pure good-hearted entertainment through and through.

wolf, by ales kot and matt taylor.  a paranormal detective and the-possible-antichrist go on a road trip.  people hated this comic and i don’t know how you can hate a comic that has a character called freddy chtonic who has tentacles for a mouth??? 

ms. marvel, by g. willow wilson and adrian alphona.  hi, you read ms. marvel because the world is a garbage fire and people are terrible and your cynicism is at an all time high and then kamala khan waltzes in and reminds you people generally want to help each other and the world improves when we work together and that thing optimists feel?  you’ll feel that for as long as you’ve got the pages open and that’s a magical thing.  lgbt+ minor character.

monstress, by marjorie m. liu and sana takeda.  psychic links with monsters, matriarchal societies, magic and witchery, half-human/half-animal (and other ratios) characters, all through a steampunk lens.  what’s not to like about that??

inhuman, by charles soule.  i love this series, i love the idea of being a total average joe/joanne, getting smacked in the face by a cloud of mist and suddenly having to figure out how to live basically a whole new life.  also, if you don’t fall madly in love with dante pertuz, i don’t even know what to tell you, my dude.

heart in a box, by kelly thompson and meredith mcclaren.  break-ups suck, but only because of that whole pesky broken heart thing, right?  so emma gives hers away.  problem solved, no?  standalone.

i kill giants, by joe kelly and j.m. ken niimura.  i didn’t cry my eyes out or anything.  did not.  standalone.

sex criminals, by matt fraction and chip zdarsky.  having sex = stopping time, which leads suzie and jon to the only logical conclusion: let’s rob some banks!

hawkeye, by matt fraction and david aja.  honestly there are a lot of other artist combos in this run but the only ones that are worthwhile are the ones that have fraction and aja’s names on them - sorry not sorry.

SCIENCE FICTION

black bolt, by saladin ahmed and christian ward.  saladin revived this character one hundred million percent.  there is absolutely a reason this was parading around all over ‘best’ lists when it was released.  it really, really did the damn thing.

saga, by brian k. vaughan and fiona staples.  this is the comic you recommend to people who don’t even like comics because it is that good.  like, my dad - who hadn’t read a comic since he was a pre-teen, eagerly awaits each new trade.  the world-building, the characters, the care put into every single solitary bit of all the things?  unparalleled.  lgbt+ minor characters.

frostbite, by joshua williamson and jason shawn alexander.  a post-apocalyptic story that has humanity dying from a plague that literally freezes you from the inside out.  very neat, very cold, very readable.  standalone.

descender, by jeff lemire and dustin nguyen.  this had a rough start, for me, with the main character of the first trade being tim-21, an android who is literally incapable of having the depth to be a lead BUT that does not last through to the next trade, thank god.  lots of space and found family and world-building in this to be had!  but you know how people rave about jeff lemire?  there’s a reason people rave about jeff lemire.

paper girls, by brian k. vaughan and cliff chiang.  the 80s and time travel and lifelong friendships.  it’s brian k. vaughan, you know it’s good, okay?  why do i even have to sell you here, man?  lgbt+ main characters.

injection, by warren ellis and declan shalvey.  this is another one on my list that started out a little rough but really appealed to me later on.  there was just a lot to absorb in that first trade but, once you’ve got it, the ride gets way, way smoother.   lgbt+ main and minor characters.

black science, by rick remender and matteo scalera.  this was a rocky start, because the main character is such an asshole but in a way where he can’t see he’s an asshole, he’s just a tortured genius who’s superior to all of you, don’t you know? but i am so glad i persevered because if that’s the set up?  the rest of the series is knocking him back down.  super scientist grant mckay finds a way to access the eververse, every possible reality the universe has on offer, and that’s really what causes every single problem that follows.  hard to cause the apocalypse and be an arrogant prick, ya know?

CONTEMPORARY

giant days, by john allison and lissa treiman.  this series is so funny and smart and warm.  these girls are so kind to each other and relatable and failing at adulting regularly and often and i love reading about them.  lgbt+ main character.

lumberjanes, by noelle stevenson and grace ellis and brooke a. allen.  this is funny and ridiculous and kind and cool and all other awesome adjectives and you should read it, fact.  lgbt+ main characters.

my brother’s husband, by gengoroh tagame and anne ishii (translator).  this is such a sweet story about acceptance and family tbh.   lgbt+ main character.

fence, by c. s. pacat and johanna the mad.  i mean... i need to see nicholas and seiji hook-up, i need that, stat.  stat means now!   lgbt+ main characters.

WEB/INDEPENDENT COMICS

long exposure, by kam heyward.  so mitch and jonas are my absolute faves and i love them to death and the author is so kind in that they actually put this up in print on indyplanet so i can read it the way i, personally, love to read comics (and - bonus! - support them with the monies).  lgbt+ main characters.

modern dread, by pat shand and ryan fassett (editors).  i’ve been trying to find more better horror comics lately so i’ve been kind of half-heartedly stumbling through kickstarter on the hunt and this was SUCH a great find.  it’s an anthology but more cleverly done than any other kickstarter anthology i’ve read, with a main story line that seamlessly strings together the would-be-disjointed ones.  this was really thoughtfully put together and really well done!  standalone.

heartstopper, by alice oseman.  a very sweet story about two high school-aged boys becoming fast friends, playing rugby and falling in love.  the two characters are mentioned as an aside in the author’s book, solitaire, and she became so invested in them that she wrote their backstory as a free webcomic.   lgbt+ main characters.

the pale, by jay fabares.  JUST started this (like, just a day or so ago) but i’m enjoying it so far!

hotblood!, by toril orlesky.  i mean... is it a webcomic about a centaur falling in love with his boss?  it just might be.  did i get a bound edition through a kickstarter campaign?  maybe.  maybe i did that.  who’s to say?   lgbt+ main characters.

the bay, by bbz.  life on mars through the lens of three young professionals who form an odd but lasting friendship.  lgbt+ main characters.

hard drive, by artroan.  is it a nsfw comic about a dude and a robot?  .... it might be a nsfw comic about a dude and a robot.  [coughs]   lgbt+ main characters.

seen nothing yet, by tess stone.  a nsfw comic about two amateur ghost hunters.  can’t imagine why i might be interested in that [coughs]   lgbt+ main characters.

captain imani and the cosmic chase, by lin darrow and alex assan.  i mean did i want a starship captain who can’t help but lust after the smuggler he’s chasing.  i mean, maybe i did.  maybe.   lgbt+ main characters.

taproot, by keezy young.  ghost falls in love with boy, boy falls in love with ghost, AND THEY LIVE HAPPILY EVER AFTER.  lgbt+ main characters.

always raining here, by bell and hazel.  just two boys falling in lurve.  lgbt+ main characters.

[veliseraptor]

Hello there! I’ve read Agent of Asgard and I just wanted to ask you what to read after that: are there other comics with teen Loki? Hope you can help me :)

unfortunately, you’ve kind of hit the end of what I think of as the “Golden Loki Age” of comics - unless, wait, have you read Young Avengers (the second run, the one by Kieron Gillen and Jamie McKelvie)? because if not - go read that. 

and then…it’s a sad, sad, world for us Loki fans out there, with…I can think of one major exception and that’s the Sorcerer Supreme arc in Doctor Strange (#381-385, in trade here). He appears here and there in The Mighty Thor series with Jane Foster, but I wouldn’t recommend reading that series for him specifically; he also features in the first arc of the new Thor comic (written by Jason Aaron) more prominently, but then has disappeared. 

for the sake of thoroughness I should probably mention that he is playing a fairly large role in Infinity Wars, the current big crossover event that I am ignoring, but a) it’s a crossover event so there’s a lot of other stuff going on and b) I can’t get over Mike Deodato Jr.’s art. (also can we please. lose the stubble, get this boy a razor stat)

but yeah, the sad truth is basically that…while Loki continues to make appearances in later comics in roughly the same incarnation, it hasn’t been great and characterization has been wildly inconsistent, and honestly I don’t expect him to remain on the “not a supervillain” side for much longer. womp womp.

ETA: I should add that if you’re looking for kid!Loki you can read Asgardians of the Galaxy, which is currently coming out and is, so far, a delight.

[popculturespiritwow]

THE WICKED + THE DIVINE: 1923 AD AKA A WORK OF ART(IFICE)

This issue is the Peakiest of Peak Gillen -- Gillen to the Power of Peak to the Power of Peak, if you will, #MathisCool. It’s a comic book masterpiece of research, reference and storytelling and I’ve been so daunted at attempting to comment on that it’s taken me months to make the attempt. You only climb Everest once, people!  (Shut your mouth, Nat Geo.)

WAGNER VERSUS WARHOL, FIGHT!

In format the issue involves a back and forth conversation/rap battle between high and low art. On the one hand, we have novelistic chapters rich with description. “The island looked like a threat, a fist of rock that had forced its way through the waves.” The island and Ananke both...

Then we cut to what at first glance seems like your standard comic book, but in fact is actually a riff on the early days of film, complete with title cards (which themselves get so silly the font might as well be comic sans #IllBeHereAllWeek) and everything shot in a wash of black, white and brown, except for the splashes of red at the scenes of death—victims’ blood, Lucifer’s apple, and my favorite, the red seaweed around Neptune.

Love that red seaweed.

The heart of the plot follows a similar back and forth, as the elitist “classic” artists, the TS Eliot/Ezra Pounds and Ginny Woolf-ish-types of the Pantheon, want to kill the more popular art types, the Shirley Temples and Buster Keatons and Robert Johnstons, to initiate a nightmare scenario that will supposedly give them control over the zeitgeist of the future. It’s an incredibly disturbing take on some of the giants of the early 20th century -- and one Gillen found based in fact.

It’s fascinating, too, for as much as the real object of venom is the truly popular artists, the movie star types with their simplistic narratives and opium for the masses, the elitists focus on killing figures who from our perspective sit far closer to them – Lucifer (F. Scott Fitzgerald), Poseidon (Ernest Hemingway), Dionysius (Pablo Picasso) and the Morrigan (James Joyce). I wonder if it’s something about the chaos those specific figures represent, the way that their particular forms of art end up undermining not only the structures but internal belief system of the modern world. If Baal-Et-Al’s idea is to work with Joe Goebbels to coopt pop culture for their own We Will Keep Control project, in a sense a Picasso or Joyce was doing the reverse, presenting in the formats of the elites only to deconstruct their validity. (Gillen’s notes on the Morrigan point in this direction. Also, his description of Set as coming off “a little like Tahani from The Good Place made me laugh out loud.)

In the end our good guys will stop the bad using their own popular media, film from a train, which was in real life the very first motion picture, and terrified people back in the day for exactly the reason that they feared the train was real and was going to leap off the screen and kill them all. 

Writing perfection.

HISTORY IN REPETITION AND RHYME

As we’ve seen throughout these specials, we get lots of echoes between periods here. Lucifer is once again the first one killed, the Morrigan is once again a character all about voice and drama (I love his self-narration so much, please sir can I have a spin-off?), the Norns are still trying to figure everything out, Susanoo=Dandy Baphomet, complete with his own complicated dating relationship (those rings made out of light, though, such a pristine beauty of a moment that Baph never gets), and Woden is once again a gross racist hack misogynist -- that submarine has got to be phallic, right? -- who has stolen his tech powers from someone else to produce content that is entirely derivative while secretly playing the gods and being used by Ananke.

There is also another mechanical creature, “Little Brother”, which we see only for a few panels, and that is not nearly enough because it is an adorable looking flying squid. (SCREW YOU BABY SHARK, BABY FLYING SQUID IS EVERYTHING.) Ananke also works from her standard playbook here, the Prometheus Gambit – you can gain some life if you kill others, which Baal et al will then use for bat#!% crazy purposes, which of course is also part of her plan.

And Minerva is also once again a child who seems maybe to be working with Ananke. It’s clear right from the start that the whole Shirley Temple schtick, lots of Yays and Gollys, is just an act, part of her “character”. And we get a glimpse of the real her again at the end.

That doesn’t have to mean she’s in league with Ananke. (Just read the next arc; she’s totally in league with Ananke.) But she also comes to know what happened to Verdandi, when she wasn’t with the group that discovered him. (Dude: She’s totally in league with Ananke.) And it gives her an excuse to leave Morrigan at precisely the right moment for him to get murdered by Ananke. (Yes, exactly, because she’s in league with Ananke.) And she will kill Set herself without a second thought; it’s all still just hint and innuendo (UGH NO IT’S NOT STOP), but given what we’ve just learned in the present day that’s all we need for now.

Meanwhile Baal is in some ways the opposite of ours, a racist white elitist who dismisses James Baldwin-type Amon-Re as incapable of being an artist given his “nature”, and Set is her own thing too, a snobby name-dropping Virginia Woolf.  Most intriguingly, the Norns have internal divisions that break them down, which make me worry a little bit for Cassandra and her friends. 

Best take care of your family, Cassie. Remember, in #WicDiv no one is just a sidekick…

CREATURE(S) IN EBONY This is the second special where the Fall of the Gods involves the introduction of a new being created by the gods by way of a classic Ananke “Definitely Don’t Do This (wink wink)”.  In 1831, Lucifer and Morrigan resurrect Hades to create an energy vampire that after killing them merged with Woden Shelley to create Steam Punk Elsa. This time the being – again a woman – is described as “looking like some ancient ancestor of the Metropolitans, but made of living poetry and bleak lightning rather than simple metal.” Which sounds an awful like the 1831 Creature.

She also emerged from “an ebony luminescence with streaks of blue beyond blue”, which again, sounds a lot like Mary Shelley Elsa Frankenstein.

Almost 92 years later we’ve heard nothing from her. But Kieron never forgets anything, INCLUDING YOUR BIRTHDAY, SO WATCH OUT. What could this all possibly mean…

ANANKIERON CHRISTIE

For me the most interesting element of 1923, though, is everything to do with Ananke. We come into the special, like the last two, knowing she is our Big Bad (probably, I don’t know you guys, I think in the next arc Kieron’s going to make me feel bad for her and I don’t want to). (No worries, he didn’t, or did he, wait, there are two Anankes now, I don’t know, what?)

But here for the first time we enter into the story alongside her. In fact, in that very first shot it almost seems like she’s looking right at us.  

Time’s running out, she’s got to get to the murder-y and behead-yness stat, and this time we get to watch her do it. Awesome!

It’s almost like we’re partners in the exercise, even; right before they’re about to go in for dinner and discover Lucifer Ananke seems to stop and look at us again.

Us and the millennia-old serial killer of children--High fives all around!

For the last 30+ issues I’ve been asking why Ananke is she always wearing a mask, and now finally I get it: just like the Pantheon, she is an actor giving a performance.

Here specifically she presents herself as a classic Agatha Christie protagonist, finding herself along with everyone else in the Remote Place version of a locked room murder mystery and slowly working to uncover the truth of what’s going on while others continue to die. And Then There Was Fun!

Except in fact Ananke is not The Marple but Christie herself, author of the entire series of events that happen, which makes this to my mind pretty much the greatest Christie story ever, and also reinforces the belief of All of Us that Jessica Beatrice Fletcher is the Greatest Fictional Serial Killer that Ever Lived.  

But wait, though. Doesn’t that make Ananke basically…a writer? Like um, this guy…?

But that’s crazy. We’ve spent the last five years with him. He’s fine.

I mean yes, both he and Ananke fashion fictional Big Bads (Note: this issue has absolutely no trace nor mention of a Great Darkness, despite the fact that this entire Pantheon has been around almost to their Use By) and also Ways to Save the World which motivate the characters down paths which lead to their eventual destructions.

And okay, true, in this issue Kieron does spotlight/ridicule parts of the storytelling mechanic, the machines characters are always trying to find/build/repair as nonsense. 

Such rituals are actually simple. It is about will and art. The machines…in my experience, they are little more than props. All that matters is your action and intent. They killed so the world would die. You die so the world can live.

But still, if we were to accept that Ananke is Just Kieron’s, er, Mask, then it’s like this whole time he’s been the one doing terrible things to all these characters, including the characters that he made me want to love.

And then this question which I’ve been chewing on since 455 AD, whether the characters can ever be free of the roles they’ve been assigned, in a sense becomes a question about whether they can ever escape not Her but Him…

Or what about us? The Audience. The ones that Jamie and Kieron and the others are creating this for.

This isn’t And Then There Were None, is it? No, this is Temple of Doom. Kieron may be Mola Ram, but I’m the Ever-Hungry, Never-Satisfied G--D-- Kali.

All along, Kieron has thrown in these moments where we get glimpses of the broader world, the way it feeds on the Pantheon. And I can get to the end of 1923 AD and say there’s a fascinating battle going on here about the ethics and/or violence of being a writer. But maybe there are also deeper questions being asked of me as a reader.

Maybe the issue begins with Ananke looking at me like that for a reason.

STOP IT, ANANKE. YOU’RE MAKING ME UNCOMFORTABLE. LOOK AWAY.

WORLD WARS, IRL AND URL A last point: 1923 AD is unusual for the degree to which it is haunted by something external, aka war. Even as the story takes place in the effervescent champagne bubble oasis of the Roaring 20s, both the nightmare that was World War I and the possibility of another war which is somehow impossibly much much worse than it hangs over the characters. That’s an insightful take on the period, but also an awe-full twist on the sense of doom that we’ve witnessed in the 21st century Pantheon, their own personal oncoming catastrophes expanded to the scale of disaster for the whole world.

It makes me wonder whether the last act of The Wicked + The Divine will involve something of a similar scale, whether the underlying momentum of the book has not always been toward the culture of celebrity, insofar as it engenders adoration, mob-think and a lack of fundamental care for and curiosity in one another, as sign of our own massive social crisis. (See: Brexit. Trump. The Fights My Dad Gets in on Facebook.)

Are we doomed? Do I still have time to tweet a thread about it? I really think it could make a difference, you guys.

[campaignagainstcliche]

Your Favorite Band Cannot Save You a novella by Scotto Moore

Why is this relevant to you, gentle reader? My debut novella will be released by Tor.com on February 5th! After fifteen years of writing and producing plays & musicals; writing five novels & novellas that were terrible; writing fiftyish short episodes for four different web series; writing two short films (produced) and two feature screenplays (unproduced); two years trying to write comics; a decade writing & making music; several years editing & writing for indie zines and blogs; and a degree in theatre years ago that actually involved zero writing instruction whatsoever... I have a book coming out! So yeah, a little excitement over here at HQ. 

I see those posts go by that are like "Kids don't give up if you're not an early success. Babe Ruth hit his first field goal when he was 43. Orson Welles was 72 when he carpet bombed the Philippines with prints of his first film. Brian Eno is ageless and only started his music career during his eighth major geological epoch," etc, and I wanted to chime in that those posts are solid gold & genuinely helpful. 

At any rate, here is the blurby goodness:

Your Favorite Band Cannot Save You is a story of music, obsession, violence, and madness by Scotto Moore I was home alone on a Saturday night when I experienced the most beautiful piece of music I had ever heard in my life.

Beautiful Remorse is the hot new band on the scene, releasing one track a day for ten days straight. Each track has a mysterious name and a strangely powerful effect on the band’s fans.

A curious music blogger decides to investigate the phenomenon up close by following Beautiful Remorse on tour across Texas and Kansas, realizing along the way that the band’s lead singer is hiding an incredible, impossible secret.

Please consider checking it out! Tor.com will be publishing the novella February 5th, 2019!

From Kieron Gillen’s newsletter:

I was asked to read Scotto Moore’s debut Novella by Tor for possibly giving a quote. I don’t know Scotto, so me saying yes would be a surprise, except for the fact it’s called Your Favourite Band Cannot Save You. I gave it the following blurb: “understands a key truth about Ziggy Stardust: Rock and roll messiahs are really fucking scary.” You like what Jamie and me do, you’ll probably like it.

Pre-order on Amazon

Pre-order via local bookstore

[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.

[comicweek]

My Favorite Comics Things 2018 Part 1: The Creators

The following is selections of my ballot for @multiversitycomics end of the year awards. The ballot is done in a Ranked Choice manner, with placement in relation to the amount of points that vote gets. So 10 is best 1 is least best. I’ll write notes where I can.

The WRITERS

10 - James Tynion IV

Tynion IV  finished up his excellent 47 issue run (and some change) on Detective Comics. This run of ‘Tec was my favorite thing in the Rebirth era, it was so consistent and he ended things on an emotionally powerful note (that is perhaps undone by the nature of BigTwo Comics.) He also started writing Justice League Dark and spot issues of Justice League. An overall good year, which is to say nothing of his continuing adventures of the Backstager with specials and other work at Boom.

9 - Marguerite Bennett

Bennett finished up an 18 issue run of Batwoman, that I vainly hope will get a deluxe collection one day. Bombshells: United also ended in one of the best examples of this is how you do finales

8 - Sarah Vaughn

I was a bit of a late convert to Sleepless, which is surprising since Vaughn did the underrated Alex+Ada with  Jonathan Luna and Deadman: Dark Mansion of Forbidden Love. Sleepless is a sleeper hit of Image, I hope, it’s not like anything they really publish with its emphasis on fantasy romance that rightly eschews explaining the fantasy except for fantasy that is love. 

7 - Kieron Gillen 

The Wicked + The Divine continued on. He recently launched Die with Stephanie Hans. Finished up work on Star Wars. Uber is still around and he has that new book from Dynamite.

6 - Jeff Lemire

If all he did was Black Hammer, the main book, he’d make the list. But Lemire also wrote several Hammer miniseries as Dark Horse finds a new Mignolaver-esque line to publish (and adapt). He also finished a multi year run on Bloodshot with several experimental issues and kinda killed all my interest in the property for the time being. Which is the sign of a great run.

5 - Bryan Edward Hill

Despite being around and within comics and comics related things for years, 2018 was a bit of a breakout year for Bryan Edward HIll. He finished up work on what appears to be the first “season” of Postal. Wrote a solid fill in arc for Detective Comics, that spins into his forthcoming Batman and the Outsiders relaunch. And was a part of the Vertigo relaunch with American Carnage. He is a good writer and an all around interesting dude, who is a great interview, which is why his proclamation that 2019 might be is last year in comics so freighting.

4 - Jody Houser

2018 was a good year for Jody Houser. By her count she contributed to 48 issues overall (41 as solo writer). She finished off a run on Mother Panic, started a new Faith mini at Valiant. Continued to write Star Wars stuff and other nerd properties like Doctor Who (13th Doctor) and Stranger Things. 

3 - Ta-Nehisi Coates

Black Panther was a big deal with year and Coates run on the series has helped prime things. I’ve largely dropped Marvel but whatever Coates does I’ll give it a look. This includes his run on Captain America. 

2 - Cecil Castellucci

Shade, The Changing Woman, that is all. 

1 -  Magdalene Visaggio

A productive year for Mags Visaggio, new Kim & Kim and one of the real surprises of Young Animal: Eternity Girl.

Artists in General

10 – Alvaro Martinez & Raul Fernandez - Detective Comics and Justice League Dark

9 – Fernando Blanco - Batwoman

8 – Sonny Lieu - Eternity Girl and Milk Wars backups

7 – Karl Kerschl & MSASSYK -Isola

6 – Ed Piskor - X-Men: Grand Design

5 – Sean Phillips - My Heroes Have Always Been Junkies

4  - Ngozi Ukazu - Check, Please!

3 – Dexter Soy - Red Hood and the Outlaws

2 – Linda Sejic - Swing, Punderworld

1 – Stjepan Sejic - Aquaman, Justice League Odyssey,Sunstone: Mercy

Publishers

1. First Second Books

They published my favorite OGN of the year,The Prince and the Dressmaker, and have some of the best YA OGN publishing in the book trade.

2. Drawn & Quarterly

The Berlin trilogy is finally complete and they published a lil book called Sabrina, which got nominated for that there Man Booker Prize

3. Image Comics

Basically the go to place for mainstream independent work.

4. DC Comics

They may be doing some stuff that has made people on the internet angry, but they did a lot of good. Spinning up Zoom and Ink for next year, Bendis and Jinxworld, overall quality of the line. I maybe less enchanted with them in 2018 but they still did a lot of good. 

5. Top Cow Productions

Yes, an imprint within a publisher but their overall offering has me consistent interested and willing to give them a shot. 

My Favorite Comics Things 2018 Part 2: The Comics  My Favorite Comics Things 2018 Part 3: Adaptations   

[canelovsggg]

Canelo Alvarez faces Gennady Golovkin for a third time on Saturday night in a fight that should settle their long-time rivalry once and for all.

It’s advantage Canelo so far, with the Mexican winning the second bout between the pair by majority decision after their initial fight was scored a draw. That was particularly controversial though, with many believing Golovkin had done enough, while the second clash was also tight.

CLICK HERE TO WATCH FREE

Almost exactly four years later, they meet at the T-Mobile Arena in Las Vegas once again, with the undisputed super-middleweight crown on the line. Canelo has held all the belts in the division since taking the IBF title off Caleb Plant last year.

For just the second time in his professional career though, Canelo goes into a fight off the back of a defeat. He was beaten by Dmitry Bivol in May as he stepped up to light heavyweight, losing on points.

Golovkin meanwhile has fought only four times since that second fight with the Mexican, all of which were largely low-key affairs. He beat Ryota Murata earlier this year in Japan to add the WBA middleweight belt to the IBF and titles he already held.

Canelo Alvarez and Gennadiy Golovkin face off in their trilogy rematch as they look to decide who is the better fighter.

The two champions met in 2017 for their first scrap, with the match-up scored a draw, to Golovkin's disappointment.

He was even more dissatisfied with the 2018 rematch, which was ruled in Canelo's favour.

The two have dominated the ring for most of the four years since, and are now going to meet again in the ring in Las Vegas.

Here is everything you need to know about Saturday's fight. When is Canelo Alvarez vs. Gennadiy Golovkin 3 on Saturday? Date, start time

Date: Saturday, September 17 Time: 8 p.m. ET / 5 p.m. PT / 1 a.m. BST Main event ringwalks (approx): 11 p.m. ET / 8 p.m. PT / 4 a.m. BST

The main card is scheduled to get underway at 8 p.m. ET / 5 p.m. PT / 1 a.m. BST with main event ringwalks scheduled for 11 p.m. ET / 8 p.m. PT / 4 a.m. BST. These timings could change due to the length of the undercard bouts. Can I watch Canelo Alvarez vs. Gennadiy Golovkin 3 on DAZN on Saturday?

The card will stream live on DAZN and on DAZN PPV in USA, Canada, UK, Ireland, Australia, New Zealand.

The event will not be screened in Mexico, Kazakhstan, Latin America (Guatemala, Honduras, El Salvador, Nicaragua, Costa Rica, Panama, Colombia, Venezuela, Ecuador, Peru, Bolivia, Brazil, Paraguay, Chile, Argentina, Uruguay, Cuba, Haiti, Dominican Republic).

All other regions will carry the event. What devices are supported on DAZN?

DAZN is available on web browsers at DAZN.com (except Argentina, Chile and Colombia) and also has apps available for all of the following TV and streaming devices:

Mobile Devices Where is the Canelo Alvarez vs. Gennadiy Golovkin 3 fight on Saturday?

The fight takes place at the T-Mobile Arena in Las Vegas, Nevada. Canelo Alvarez record and bio

Nationality: Mexican Born: July 18, 1990 Height: 5' 8" Reach: 70" Total fights: 61 Record: 57-2-2 (39 KOs)

Gennadiy Golovkin record and bio

Nationality: Kazakh Born: April 8, 1982 Height: 5' 10" Reach: 70" Total fights: 44 Record: 42-1-1 (37 KOs)

Canelo Alvarez vs. Gennadiy Golovkin 3 fight card

Canelo Alvarez vs. Gennadiy Golovkin 3 for the undisputed super middleweight title Jesse Rodriguez vs. Israel Gonzalez for the WBC super flyweight title Ali Akhmedov vs. Gabriel Rosado; Super middleweight Austin Williams vs. Kieron Conway; Middleweight Diego Pacheco vs. Enrique Collazo; Super middleweight Marc Castro vs. Kevin Mendoza; Lightweight Aaron Apone vs. Fernando Molina; Super lightweight Anthony Herrera vs. Delvin McKinley; Super flyweight

[dementedgnomicwizard]

Do you have any comics that you recommend? I want some new stuff to read!

OOH yesyesyes! Let me just like. Tell you everything that I love.

The first comic I ever really fell in love with was Matt Fraction’s 2012 Hawkeye  run. It’s... so good. It reinvents the character in such a fun and interesting a deeply human way and also it’s funny as hell and the art is SEXY. David Aja and Matt Hollingsworth outsold. Also, it’s a really good jumping-off point if you’re trying to get into comics; a lot of comics do a kind of wink-wink-nudge-nudge self-referential thing where the characters will say something and you’ll go “huh?” and there will be an asterisk and a footnote that says, like, “Read Secret Ultra Infinity Super Wars Vs. The X-Men Issue 458″ and you’re like “I am not going to do that” and then you don’t understand whatever’s happening for a few panels. The Fraction series doesn’t really do that! Which is super nice.

Once you’re done with that—Kelly Thompson’s 2016 Hawkeye run, which follows Kate Bishop (also Hawkeye) after she moves to LA! I LOVE LOVE LOVED this run because Kate is my favorite Marvel character of all time and Thompson really understands her and writes her better than pretty much anyone else who’s ever tackled Kate. Including Allan Heinberg. Feel free to @ me.

Skip All-New Hawkeye. It’s literally not worth it. Jeff Lumire doesn’t understand Clint and Kate’s dynamic and doesn’t understand Kate, period. The way their dynamic plays out in ANH reads like he literally just skimmed the Fraction series, lmao. There’s one cute flashback scene that addresses Kate’s backstory a little bit that I like a lot better than her motivation-backstory-flashback from the 2005 Young Avengers, but also when you take into account that she’d already had one of these flashback sequences it’s sort of redundant in a way that makes me wonder if Lumire was like... at all familiar with her character when he signed on to do the series. WHATEVER. I’M SALTY.

Young Avengers! The 2005 series is sort of required reading to understand Kieron Gillen’s 2013 series, but I like the Gillen series a lot better (at least in its handling of its female characters *cough* Kate *cough*) There’s a lot of YA reading inbetween the 2005 and 2013 series but I skipped a lot of it because the art was ugly and the Runaways crossover was near-unreadable, IMO.

THE UNBELIEVABLE GWENPOOL! I LOVE Gwenpool. She’s one of my favorite characters. If you’re not familiar, the basic concept is that she is a girl from our universe who loved Marvel, and one day she woke up and found herself in the Marvel universe—and proceeded to just sort of cause chaos in every way possible. Her series was fun and vibrant and the art style is sooooo cute. 

Spidey! This run was so so so fun and cute. I definitely have a weakness for teenage superheroes because I think their problems are more interesting and their banter is MUCH funnier, by and large. This run focused on Peter Parker in high school juggling his teenage problems with his identity as Spider-Man.

America! Gabby Rivera tackled the character of America Chavez for a solo series and I, for one, really enjoyed it. Also Joe Quinones’s art is deeply, deeply sexy. America is a really fun character and also she’s a lesbian so I was sold from the beginning! Prodigy, who I love, also pops up in this series quite a bit, and so does Kate!!!! Because they’re in love. AmeriKate will get confirmed one day or I’ll kill Marvel.

West Coast Avengers! This series is super new but I’m REALLY excited about it. Both the Hawkeyes are part of this new team, and so are Gwenpool and America, which was all it took to sell me on it. Issue 1 came out in August, and Issue 2 comes out on I belieeeeeeve the 19th of this month! I’m really, really excited for it. Issue 1 was a lot of fun and I trust Kelly Thompson with my life even if she keeps comphetting Kate.

Mark Waid’s Daredevil! I just started this series, and I’m only two volumes in, but I like it a lot so far. Those of you who follow me know that I’ve been wading through the Daredevil Netflix series and although I’ve been enjoying it a decent amount, a lot of it is sort of... bleak and joyless. This is not so in Waid’s series! It combines a pretty perfect amount of fun banter and zinginess with the inherent grittiness of Daredevil. I admittedly don’t know much about the character, since this is my first time reading him, but I love it so far and Matt and Foggy are in love, also, thanks for coming to my TED talk.

Also I just started Matt Fraction’s Iron Fist and although I’m not yet far in enough to make a real call I like it so far and given that Fraction is one of my favorite comic writers ever I’m confident that I’ll really enjoy it.

NON-BIG TWO COMICS! (Sorry, DC fans, I’ve never read anything DC and I probably never will except maybe The Flash but even that’s a big ol’ maybe)

SEX CRIMINALS! This one’s by Matt Fraction (who y’all know I love) and Chip Zdarsky, who I also love to death. It’s a REALLY funny series about people who figure out that time freezes when they cum so they start robbing banks. It sounds like a really weird concept, and it is, but it’s also so fucking good. It’s so good. That’s really all I can say.

Heavy Vinyl! This is a series about a group of girls in I belieeeeeve the 90s who work at a record store and are also part of a secret underground crime-fighting fight club. I’ve only read volume 1—I’m not sure if there’s more out yet, I’ve checked my local store a couple times and haven’t found any—but I’m eager to read more when/if there ever is any.

Kelly Thompson’s Nancy Drew! I was a little scared going into this one that the similarities to Kate (private detective, sassy young woman, written by Thompson etc) would make Nancy’s voice too similar to Kate’s, but because it’s Thompson I wasn’t let down! The only way Kelly Thompson has ever let me down is by making Kate date boys. ANYWAY. As someone who grew up reading and loving Nancy Drew, I was really excited about this series and I wasn’t disappointed. George is a lesbian in this! Finally! That’s all you need to know. Go read it.

That’s all I got for now! Thanks for asking, sorry this got long!