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Love Hurts: 'What Will Happen When He Sees Me -- Like THIS?'

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As we head towards Valentine's Day, ComicsAlliance is offering up a daily tribute to love, as depicted in the somewhat dubious world of Romance Comics! Today's entry: Teen Age Romance #86's "He Never Even Noticed!"

In the world of Romance Comics, even something as simple as a trip to the optometrist can lead directly to crushing heartbreak. Or at least, that's what happens in this five-pager from 1962 by Stan "The Man" Lee and the King of Comics, Jack Kirby.

That's right, folks: They knocked this one out between the issues of Fantastic Four that defined comic books as we know them today.

Young Vera -- a surprisingly popular name in these stories that I have never actually heard in real life -- is looking forward to a date where she's sure to be pinned by her boyfriend Bob, presumably right after he delivers a Stone Cold Stunner. Unfortunately, her plans for her special night are ruined when she's diagnosed with astigmatism!

Despite her mother's insistence that she's at least working with a set of attractive frames, Vera is inconsolable -- and you would be too, if your doctor just shoved a pair of glasses onto your face while you sat there in cross-eyed shock. For Vera, though, it's more the fear that her new status as a four-eyed freak with demonstrably inferior genes is going to send Bob running for the hills. It might seem silly now, but keep in mind that this was 50 years ago, and the concept of the Sexy Librarian had only barely been invented.

Fortunately for Vera, Bob isn't nearly as superficial as she suspects:


So take heart, young ladies! Remember that it's not what you look like that matters, just as long as there's a man who thinks you're attractive.

 

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Power Girl's Boob Window Gets Get Closed in a New Costume

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The New DC Universe continues to roll on, and today, the Source provided us with a look at another upcoming title: World's Finest, which features a cover by the legendary George Perez. Set to be released in May as part of the "Second Wave" of DC's rebooted titles, the story arc by Perez, Paul Levitz and Kevin Maguire is focused on two characters from the alternate world of Earth-2 trying to make their way back home.

But more importantly than that, it's got a new costume for Power Girl, replacing her classic "cleavage window" suit. Truly, it is of dire importance.Power Girl is, of course, most closely identified with the original costume from her first appearance back in 1976 in a story by Gerry Conway, Ric Estrada and Wally Wood. Despite essentially being Earth-2's version of Supergirl, they opted not to go with a varation on the "S" logo, giving Power Girl her own distinctive look in the form of a plain white suit accented by a cutout:


Over the years, this design choice has become both beloved and be-hated by fans and creators, often being criticized as emblematic (or lack-of-emblematic, I suppose) of the trend in designing heroines purely around sex appeal. Dresden Codak artist Aaron Diaz, who tried his hand at redesigning Power Girl with his take on the Justice League, even theorized that fighting crime and flying around with a giant hole in your costume is even less practical than dressing up as a Dracula and trying to drive a giant bat-shaped car through a fictional New York City:



But despite the costume's prominence, this isn't the first time that Power Girl's gotten a new look. Heck, she went through two costume changes in the pages of Justice League Europe alone:




But for whatever reason, they didn't stick around -- probably because they were from a time when Power Girl herself was going through a series of weird versions that briefly saw her retconned into being the time-lost daughter of an Atlantean wizard that was invulnerable to anything except "natural, unprocessed materials," meaning that sticks and stones could quite literally break her bones.

It's also worth noting that both of those costumes were pretty generic, especially the white-and-gold one. Say what you want about the cleavage window, but at least it's a fairly distinctive design element, which is why it was revived for the toothpaste-mascot lookin' one on the right.

In the end, she went back to the original suit, after some tweaks from the phenomenal Amanda Conner that saw more detailed seams (since everyone loves those these days) and the big medallion becoming more of a pauldron:


But with the relaunch and the trend in redesigning characters to fit the new aesthetic of the DCU in the early '90s year 2012, that brings us to the All-New Power Girl:


As for my reaction, well, I'm not crazy about it, and I'll admit that as impractical as it may be, I'm a pretty big fan of the classic suit, particularly Conner's version.

I don't dislike the new costume - the logo is actually a pretty nice touch - but I do think it's interesting that it's extremely reminiscent of Supreme, the Superman analogue created by Rob Liefeld that Alan Moore scripted for a few years:



But that said, I'm wiling to roll with it until the inevitable return of the old suit. If nothing else, having Power Girl in this means that there's a good chance that in the New DC Universe, she never had to have a tortured sobbing monologue about how her cleavage was sadness.


And the further we get away from that, the better.

 

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Love Hurts: 'I Felt Drenched By The Scalding Tears of the Heartsick'

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As we head towards Valentine's Day, ComicsAlliance is offering up a daily tribute to love, as depicted in the somewhat dubious world of Romance Comics! Today's entry: Secret Hearts #107's "Heartbreak -- Take Me!"

In this novel-length tear-jerker from 1965, Robert Kanigher and Gene Colan tell the story of one Amy Ames -- The Listening Heart! -- an advice columnist who is fed right the f*** up with dealing with letters from teenagers about their dumb romance troubles. Now, I'm not saying that this characterization was definitely based on Kanigher himself, but I'm pretty sure that dude had found himself anonymously penning the advice columns in Young Romance enough times that it's a pretty solid possibility.

Anyway, Amy has become so sick of being "drenched by the scalding tears of the heartsick" that when a friend comes by on advice to deal with a broken heart, she's a bit callous. Admittedly, this girl did tell someone that they would love each other forever after exactly one (1) date...


...but still, Amy's dismissal is a little heartless. See, Amy doesn't believe in love at first sight.

But, in a surprising twist that you could never see coming unless you had read any romance comic ever, she soon finds herself falling in exactly that! The reason: News photographer Doug Austin, whose "rich, masculine laugh" melts her heart toute suite.


He's doing a story on the people behind newspapers -- you know, like how the Daily Planet is always reporting on three people who work for the Daily Planet -- and offers to take her on a date in exchange for a few shots. Amy agrees because she's become thoroughly smitten, and within abou ten minutes, she's head over heels in a romance that manifests itself as pure insanity.

It's worth noting that this is about where Kanigher's purple prose goes straight off the rails and into crazy town, with Amy referring to a bridge as resembling a "magic ladder hanging over the city" (?) and her own actions as being "like an obedient little open-mouthed girl" (!).

And then there's this.


Unfortunately for Amy, Doug doesn't share her love -- cue tragic ending -- although I can't possibly imagine what could've turned him of.

 

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Love Hurts: 'I'm Not a Normal Girl! I'm a Model!'

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As we head towards Valentine's Day, ComicsAlliance is offering up a daily tribute to love, as depicted in the somewhat dubious world of Romance Comics! Today's entry: Our Love Story #25's "The Loves of a Model!"

From 1973 Stan Lee and Don Heck bring you yet another dubious classic with the story of Bev, a beautiful young model who, according to the first page of the story, likes to sit around looking at pictures of herself.

Even aside from the crippling narcissism, though, Bev has problems. She's torn between two lovers, flamboyant photographer Don -- complete with regulation moustache and medallion -- and straitlaced Paul, who is doing part-time male modeling to pay his way through med school. I'll give you three guesses which one turns out to be the right choice.

But for Bev, it's not that simple. In fact, she's so stressed out her high-fashion love triangle that she ends up losing herself in the sin of gluttony!




That's right, you guys: She's eating like there's no tomorrow. An ENTIRE SANDWICH and HALF AN APPLE. The results of her wanton feasting are, of course, immediate and devastating:


I almost didn't show this panel because it's so horrifying, but it's important for the rest of the story that you see the price her body pays for her lack of willpower:


Hideous.

But in the end, she rejects Don's absolute disgust that she's ballooned up to an almost imperceptibly larger version of "waifish," and decides that she'd be happier with Paul. Because he told he he didn't care if she got fat.

Romance Comics!

 

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Love Hurts: 'Nobody's Going To Grab Me! I'm Too -- Too Unfeminine!'

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As we head towards Valentine's Day, ComicsAlliance is offering up a daily tribute to love, as depicted in the somewhat dubious world of Romance Comics! Today's entry: Young Romance #197's "That Strange Girl!"

Hoo boy. This thing.

Billed on the cover as "The Story They Dared Us To Print," this thing is drenched in as much subtext as it could get away with right from the start. The year was 1974, and the star of the show is one Liz Baker, "torn by doubts and mixed emotions" from a life full of "shame and torment." Why?

Well, mainly because she wears jeans, and you know how people love to talk.


See, Liz often helps out with her father's odd jobs, dresses more for practicality and comfort than fashion, and doesn't date much because she considers the boys in her town to be a total drag. And because of this, everyone in this story, up to and including her mother, think she's what they euphemistically term a "strange girl."

Okay, admittedly, there's also this panel from when she has a sleepover:


Yeah, that one kinda sells it.

But because everyone in this town is a jerk, constant snide comments about Liz being "strange" are the order of the day, and because everyone in this town is an idiot, nobody can figure out why Liz doesn't want to hang out with people who make fun of her because they think she's a lesbian.

Eventually, things hit critical mass when a boy named Fred finally convinces her to walk him home from one of her basketball games -- because of course she plays basketball -- and ends up kissing her. Unfortunately, the aftermath of that kiss doesn't go quite so well:


Even as Fred admits it was a bad choice of words and tries to smooth things over, Liz calls him a "damned liar" and bolts. But a few minutes later, they reconcile, and they all chalk it up to being too in love to put words together right, which actually makes sense. They start going out, and Liz tells all the readers who might feel that they're "different" that one day maybe they can find a boy like Fred.

On the one hand, it's a pretty terrible message for any girl who might've picked this up hoping for advice on how to deal with being a lesbian in 1974. But on the other, it actually is a reminder that just because someone dresses differently or doesn't like the same things that other kids do, it doesn't necessarily reflect their sexual orientation.

So.. good job, Young Romance? Maybe?

 

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Valentine's Day Special: ComicsAlliance Reviews 'Power Rangers' Love Potion Episode

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Chris: Hello everyone! Our original plan this week was to do a review of Supaidaman Episode 9, but with Valentine's Day in the air, we thought something special might be in order. Don't get me wrong, I'm sure the story of Shinko Yamashiro being menaced by a piece of jewelry that is actually a robot beetle from space has all kinds of romance, but you have to admit that it lacks a certain... something.

Caleb: Love potions. It lacks love potions.

Chris: That's why we've turned instead to Supaidaman's tokusatsu descendant, the Mighty Morphin Power Rangers, for this week's breakdown of... "The Potion Notion."

Caleb: You ready to "Go! Go!", Chris?

Chris: Ready as I'll ever be, but it's worth mentioning before we start that much like the Christmas episode that we hit last year, this one's from Season 3, which is after I'd stopped watching it as a kid.

Caleb: Even if you love the Power Rangers, Season 3 is pretty weird.

Chris: Just from the two episodes we've recapped -- which were actually done back-to-back -- that seems like the case. If nothing else, this one makes it abundantly clear that they're bolting a completely different plot onto a monster that they've imported from the Japanese version of the show. And honestly, I kinda love that.

Caleb: Yeah, Season 3 really cobbles together various Sentai series and it shows. But how can anyone object to watching Rita become an utter nag?

Chris: Pretty easily, if you happen to turn 14 when it's happening. But let's dive in!




Caleb: Our episode opens with Bulk and Skull flattering the adorably platonic Tommy and Kimberly. Turns out the recent Jr. Police recruits are peddling tickets (seriously, they're both lugging around rolls of hundreds of tickets) to a romantic ball and need all the attendees they can get to appease their boss.

Chris: Can you explain the whole "Junior Police" thing to me again? And why not selling hundreds of tickets to what is essentially a school dance would lead to them being "thrown in the brig?"

Caleb: The Jr. Police are kind of like... Super Hall Monitors? Free security guards for the school -- sort of like interns? Bulk and Skull are naturally pretty bad at it, so I assume selling these tickets is an attempt to make up for previous failures.

Chris: Please tell me that there was an episode where Bulk and Skull were scared straight by being put into a prison where a hardened criminal moon-monster yelled at them. "You wanna end up like me, boy?! Gettin' damn near vaporized by a giant robot made of f***in' dinosaurs?! 'Cause that's the road you're walkin' on!"

Caleb: Sadly nothing quite so spiritual. It was a more gradual change. Kind of like Flash Thompson being inspired by Spider-Man. If I remember correctly, they basically just showed up with uniforms on one day and were like, "This is what we're doing now because... Power Rangers."

Chris: Well, that's something. I do think it's a nice bit of foreshadowing -- or at least as much foreshadowing as you can have in a show that runs 20 minutes, including credits -- that when Bulk is trying to butter up our happy couple, Skull is just cold giving Tommy the hairy eyeball.


Caleb: Tommy IS "Mr. Perfect," and sort of easy to resent. If only Skull knew the true price of being awesome, and the warrior's pain within.

Chris: The tragedy of having hair that long.

Caleb: Meanwhile, up on the moon (which is probably where Newt Gingrich got his idea for a moon base), Rita is nagging her recently acquired evil husband to spend some quality time with her. Zedd, being the master strategist that he is, has already covered his bases by prepping a monster and planning a second honeymoon with his wife. Their hideous monster underlings are unironically disgusted by the prospect of those two being physical, except for Rita's clueless brother Rito, who is stoked to be in charge while they're away.


Caleb: Just in case you don't remember, Rito is the guy whose plans to kidnap Santa Claus were foiled by an enchanted snowball fight. He's basically an evil version of Bulk and Skull as one skeleton dude.

Chris: I distinctly remember that all of the segments with Rita were just Japanese footage that had been overdubbed, but while these are definitely dubbed, it's also very clear that everyone involved is actually speaking English, which raises so many questions.

Caleb: Yeah, basically MMPR kept swapping Sentai series (which were separate shows) and shoehorned them into a single... I guess "saga" is the word I'm looking for? As a result, a ton of cool Sentai stuff was left on the cutting room floor and Americans got Rita and Zedd acting like The Honeymooners. It's a little charming, but mostly just insane. Fortunately, we're the irony generation and can really dig on it... right?

Chris: When Zedd told Rita that one day, bang, zoom, right to the moon, he was speaking literally.

Caleb: A season ago it would've been ultra-literal, because he hated her and wanted her dead. As wonderfully narrated by monster crafter Finster as he puts the finishing touches on this week's monster for Rito, their marriage was accomplished by a cosmic love potion. So yes, this week the Rangers face a monster with love manipulation powers enow to wed Rita and Zedd. And I don't use "enow" lightly.

Chris: Just one of the many ways that you're like Thor. And by "many" I mean "exactly one."

Caleb: Anyway, Rito kicks it Rito style and Mickey Mouses some plot details via hilarious exposition and a bubble-shooting heart gun and "Miss Chief" is born.


Chris: I'm going to go ahead and say this now: Miss Chief is my favorite part of this episode, because she has absolutely nothing to do with what the costume was originally created for. It is clearly meant to be a Fireman-type monster, to the point where it wears a Fireman's helmet with "MAD FIRE" written on it. Which is fantastic all on its own.

Caleb: Much of what I love about the "Saban Model" is that episodes of this show aren't written so much as they are "solved." It's the tokusatsu equivalent of cable cooking show challenges.

Chris: They also have the feeling of things that were written under a one-hour time limit. "You must create a 20-minute story of teenagers fighting a fireman monster. Today's secret ingredient -- LOVE POTION!"

Caleb: Allez cuisine! What happens next is probably proof of this concept. Miss Chief (I guess she's a fire chief?) makes sure we all know she's invisible to everyone and starts playing Cupid with her love bubble gun.


Caleb: Kimberly falls for Skull first, much to the emasculation of the lovable badass Tommy, and dumps her beau for Bulk's best friend. Then, their boss Lt. Stone gets hot for teacher in front of the rest of the Rangers. As a side note, Bulk falls for Yellow Ranger Aisha, who has already put together that a monster is messing with their school. That may seem like a leap in logic, but Aisha is usually among the most competent Rangers.

Chris: It would only be a leap of logic if this sh** didn't happen every day in Angel Grove. This scene does raise a few questions, though.

Caleb: Let's address them, then.

Chris: First of all, if Rita and Zedd can make a monster invisible, send it to school and then get it close enough to Kimberly that it can dose her with love potion from a spray bottle, how in the hell are the Power Rangers still alive?

Caleb: Uh... only love monsters can turn invisible. Also, turning invisible must also make them intangible... except for their love bubbles, so like, they can't hurt them. Also, Rita and Zedd aren't very creative.

Chris: "Turn invisible and stab those children in the face while they sleep" doesn't require a whole lot of creativity, to be honest. Second question, does it seem odd to you that Skull seems pretty confident in himself about stealing the girlfriend of a dude who has the power of Jesus and martial arts on his side?

Caleb: A year ago Skull had the power of punk rock and anarchy on his side, which may have lingering effects of suburban sex appeal.

Chris: Fair enough, but he doesn't even question it. He's just like "Oh, I guess Kimberly loves me now, suck it Tommy." Third, not really a question, but I had forgotten that Bulk's real name was "Bulkmeyer." And that Skull's is apparently "Skull."

Caleb: Well, his full name is Eugene "Skull" Skullovitch. Bulk's first name is Farkas. So they both go by nicknames inspired by their last names. Like jocks!

Chris: For those of you reading along at home, I can assure you that Caleb did not have time to look that piece of trivia up.

Caleb: Confounded by all the love, the Rangers meet up at one of the parks they get tons of exercise at in their free time. Tommy has managed to drag his lovestruck girl along, who proclaims her love for Skull. They all try to be diplomatic about the situation, but basically just come out and say, "Kimberly could never fall in love with Skull because he's an ugly creep and Tommy is handsome and cool. Rita and Zedd must have created an invisible love monster or something."

Chris: I like that their first instinct is to go talk to Zordon. Because who knows the ways of the teenage heart better than a giant floating head who lives in a mountain with an androgynous robot?

Caleb: Yeah, they sure do rely on those two weirdos. Zordon will have to wait, though, because Goldar and some birds have come to fight them in their halfway morphed ninja forms. Meanwhile, Rita and Zedd's trip gets interrupted when their spaceship runs out of gas due to Rito's incompetence. Oh snap!

Chris: Which gives us the chance to see Rita chew some scenery with a bizarre chair dance that thrusts her crazy cone bra directly into the faces of 1996's most impressionable children.


Caleb: Fortunately the show cuts back to wholesome violence as the the ninja kids say goodbye to a retreating Goldar and crew before confirming Kimberly's love potion affliction at Zordon's base. He and Alpha are basically helpless to reverse the spell since, you know, Zordon is super lazy, and it's up to the team to "tamper with the delicate balance of human emotions" themselves. By beating someone up.

Chris: It might be the really awful acting, but Zordon seems bored as hell in these episodes, to the point where he's sort of making up additional challenges just to keep things interesting. "You can't use your ranger powers at the North Pole because of... uh... Christmas magic." "I can't fix you because your emotions are delicate, so go fight until it clears up."

Caleb: And so our game show metaphor returns. Back on the moon, Goldar discovers what Rito's been up to. Also, that Rita and Zedd (known as "Ed" to Rito) are engaged in a farce of a marriage. But whatever, let's see the Rangers fight a monster!

Chris: It's also worth noting that the other rangers are surprisingly relieved to discover that their friend has basically been super-roofied.

Caleb: Good thing Goldar is sending down an antidote to the cosmic roofie bubbles -- essentially out of spite -- to put a stop to both the good and bad guys' problems.

Chris: Finster shows up to send Miss Chief back to the Moon Castle and stop the obviously toupee-sporting principal from getting into a fistfight with Lt. Stone, which points to a pretty interesting aspect of this episode: Zedd and Rita actually wanted to take a week off and spend some time doing whatever it is that skinless demon monsters do with surprisingly attractive immortal space witches.

Caleb: Hold hands. Talk about the future. It should be noted, however, that their son does pop up in a future PR series and he is the ugliest S.O.B. in the entire franchise.

Chris: Oh dear.

Caleb: Let's not get off topic talking about ol' Thrax, though. That's a review in itself. With the Earthlings cured, Finster returns to the moon. Lots of love potion gets sprayed, leading Rita to temporarily fall in love with Goldar and his demonic red eyes. She's cured before Zedd notices, which is good because he's kind of super evil. Zedd then gets the plot going again, sending Miss Chief down to do her thing. Grow and fight a Zord and die. Such is the lifecycle of a monster.

Chris: Get ready to make fun of me, but: This was the part of the show that totally confused me, mainly because I was unaware that the Power Rangers could turn into ninjas, and then also turn into Power Rangers.

Caleb: Yeah, they stacked some transformations in as part of forcing aspects of Ninja Sentai Kakuranger into the show. Basically to make more toys to give the Rangers something to do in the MMPR movie. Sadly, the coolest aspects of Ninja Sentai Kakuranger are crammed into the "Alien Rangers" saga.

Chris: It's also kind of weird that they have their old dinosaur-themed helmets, but their robots are, like, a frog and a gorilla.

Caleb: It's a splendid cocktail of motifs, indeed.

Chris: So, since it's time for the big finale, how about a Monster Breakdown?



Name: Miss Chief
Appearance: Evil firefighting robot... lady?
Primary Weapon: Love potion bubble gun.
Secondary Weapon: Manhole cover-sized throwing star.
Tertiary Weapon: Dying super fast.
Rating: Love out of 5


Caleb: The episode shifts back to Zedd and Rita's forced love reveal. Even after being exposed to the love antidote, Zedd still loves Rita. Goldar does his best to point out how stupid everything they do is, but he's forced to apologize. This is a metaphor for how we should all watch MMPR episodes.

Chris: I think I'll just stick with watching them for money.

Caleb: Fair enough. The episode ends at the Jr. Police Ball, and everyone is dancing and getting their platonic love on. Kimberly -- or is it Lana Del Rey? -- decides that she should dance with Skull to make up for totally f***ing with his mind earlier while under the influence of love potion. He accepts and they agree to be friends, which is totally good enough for him. Poor creep.


Chris: She just morphed him straight into the Friend Zone.

Caleb: How could he resist with such an awesome band playing? Seriously, is that Paula Cole?

Chris: I think it's Natalie Merchant.

Caleb: So Chris, should we even bother saying what the craziest parts of this episode were? Or should we agree that the entire thing is a pitch-perfect work of love potion madness and get back to playing videogames?

Chris: Well, since I already talked about the utter weirdness of cramming the fireman monster into their love potion story, I'll just go ahead and point out that this Megazord they have is completely f***ing insane.


Chris: First of all, I would be super-pissed if I was the guy who got stuck driving the giant frog, and second of all, the way it ends up combining, it is a robot with a giant frog head codpiece.

Caleb: Frogs are important to ninja mythology, but yeah, its placement isn't the most flattering.

Chris: Also, I was pretty weirded out by the one girl wearing a Cosby Sweater when Kimberly was trying to seduce Skull. Anything stick out to you?

Caleb: Mostly just how much Lana Del Rey is aping Kimberly's style in this last scene at the dance. Amy Jo Johnson's music career could've gone so much further if she'd have been born in '86 and mumbled about videogames.

Chris: Wearing overalls that are also short shorts will put a crimp in most plans, I find.

Caleb: And with that, we bid "The Potion Notion" farewell and wish you, gentle readers, a much less insane Valentine's Day.

Chris: Be here next week when we return to the saga of Takuya Yamashiro with Japanese Spider-Man Episode 9!



Spider-Man Japan:

Episode 1: The Time of Revenge Has Come! Beat Down Iron Cross Group!!

Episode 2: Mysterious World! The Man Who Follows His Fate!

Episode 3: Mysterious Thief 001 vs. Spider-Man!

Episode 4: The Terrifying Half Mer-Man! Calling the Miracle Silver Thread!

Episode 5: Thundering Machine GP7! An Oath of Brothers!

Episode 6: The Experimental Labs of Horror! Evil Professor Monster!

Episode 7: The Ferocious Hit Song! Sing and Dance to the Killer Rock!

Episode 8: Strange Tales of the Past! The Cursed Cat Grave!

 

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The War Rocket Ajax 100th Episode Podcast Spectacular

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With 71 updates before we landed here at ComicsAlliance plus our corporate-sponsored installments, this week marks The 100th Episode of the War Rocket Ajax Podcast! To mark the occasion, hosts Chris Sims and Matt Wilson are joined by original co-host Eugene Ahn (AKA Adam Warrock), fan-favorite guests Curt Franklin and Chris Haley of Let's Be Friends Again, and special surprise guests Chris Roberson and Allison Baker! And you can listen to the whole show right here at ComicsAlliance!War Rocket Ajax #100: The 100th Episode Super Spectacular
(WARNING: Contains NSFW language)



We are back in the iTunes Store! Click here to find ComicsAlliance Presents War Rocket Ajax in iTunes, where you can subscribe and leave us a review if you enjoy the show! Thanks for bearing with us while we sorted everything out!

You can also stream the show using the player above, or download it in MP3 format from WarRocketAjax.com.

As is always the case when our friends from LBFA stop by, things are quick to go off the rails in a way that leads us to strongly recommend that you don't listen to this one at work. Or in public. Or with other people.

In honor of our anniversary, we turn the show over to you, the listener, to do an entire show's worth of questions from our audience! The result is, of course, questions on topics ranging from cannibalism to sexy art to who we'd like to have on our next hundred episodes, but when a listener asks "Who would win in a fight between Tupac and OMAC," things get downright acronymic:

Sims: First, we have to determine what "TUPAC" stands for.

Haley: It stands for "Titular Ultimate... Piece..."

Sims: I think TUPAC would be, in the tradition of ULTIMATUM, the "Totally United People's Army Corps."

Haley: Way to show me up, Chris Sims.

Sims: I'm really good at acronyms in comics.


When the question of how to deal with expiration dates on food comes up, War Rocket Ajax does what it does best and tells you way more than you ever wanted to know about your favorite creators:

Roberson: Dude, so I read one time that you can only have pasta sauce and picante salsa in the fridge after being opened for something like 48 hours, and I am Puritanical about that. When that sh** hits 72 hours, it goes in the trash.

Baker: First of all, Chris is a hypochondriac, so you just kinda have to roll with it. I think a week would be fine.

Roberson: That's not what science says! Now, to be fair, every once in a while, if I don't want to go to the grocery store, I will eat the salsa after like three or four days, and I constantly think "Well this could be it. This is the one that gets me."

Baker: This is what happens in our house: We have bread or some food or whatever, and [Chris and Allison's daughter] Georgia's like "Oh, can I have a hot dog?" And we look, and the hot dog buns are kind of old, and she's like "Oh, those will kill me and I can't eat those." Because my husband has basically trained her that week-old hot dog buns will kill her if she eats them.

Roberson: Raising her right.



Plus, find out about Matt Wilson's biggest regret and the time Darwyn Cooke threatened to kill Chris Haley, and so, so much more.


Show Notes:

You can, of course, find Let's Be Friends Again and Adam Warrock online.

You an also find Chris Haley, Curt Franklin, Eugene Ahn, Chris Roberson and Allison Baker on Twitter!

Please go vote for Euge as a Memphis Hottie. And enjoy the shot of him breakdancing in a kitchen:


Chris enjoys the How Did This Get Made podcast.

Chris Haley enjoys the Professor Blastoff podcast.

Euge enjoys the Making It podcast.

Chris Roberson enjoys the Aw Yeah podcast.


Chris's Rec: 50 Cent: Blood on the Sand




Euge's Rec: Paul F. Tompkins' You Should Have Told Me



Curt's Rec: The Mass Effect 3 Demo



Chris Haley's Rec: Stephen Fry in America



Comics Reviewed:



PunisherMax #22: "Obviously having Steve Dillon as your artist doesn't ever hurt a book, and he kills it on PunisherMax." "Literally."

Wolverine and the X-Men #5: "If this comic lasts a hundred issues, this is going to be one tumultuous school to be at." "Those first three issues of Wolverine and the X-Men, and also finishing the Dark Angel saga in Uncanny X-Force were like two of the best experiences I've had reading comics in as long as I can remember. In this day, with so much out there, the age I'm at, and how cynical people can be about comics is really saying something."

 

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ComicsAlliance's New 52 Valentines Will Reboot Your Relationship

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Today is Valentine's Day, and if you thought you could escape from hearts and flowers in the pages of your favorite comics, think again! Okay, admittedly, DC's New 52 might not seem the most lovey-dovey comics in the world, but that doesn't mean that there's not a burning passion for romance buried somewhere under there!

That's why today, I've sorted through the past six months of new titles to bring you Sixteen New 52 Valentines! From the Justice League battling Darkseid to Catwoman's alluring contortions, there's something there for everyone -- even if "romance" isn't quite what you're after this Valentine's Day!
Justice League:




Aquaman:



Aquaman:




Action Comics:



Justice League:




Justice League:



Batman: The Dark Knight:



Justice League:



Justice League:



Detective Comics:




Wonder Woman:










Catwoman:





And finally, if subtlety's not really your thing...

Red Hood and the Outlaws:




Send them to your sweetheart today -- but keep in mind that ComicsAlliance cannot be held responsible for the immediate end of your relationship.

 

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Great Comics That Never Happened Valentine's Day Special: Betty Marries Veronica!

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In our recurring feature, ComicsAlliance brings you the best comic book adventures that do not, could not, and sometimes should not exist: Great Comics That Never Happened! This week, Chris Sims and the amazing artist Kerry Callen bring you the Riverdale romance you've been waiting for!



Read more for the full cover!Archie Wedding Special: Betty Marries Veronica

Story by Chris Sims
Art by Kerry Callen


You've seen the alternate futures where Archie marries Betty, Veronica and Valerie, but get ready for the most unexpected marriage of all as we cordially invite you to the wedding of Elizabeth Cooper and Veronica Lodge!

For years, Betty and Veronica have been competing for Archie's indecisive affection, but when they realize that they're better without him, their enduring best friendship blossoms into a full-fledged romance! But while the girls are more than smitten with each other, the rest of Riverdale's not so happy!

With Betty and Veronica tying the knot, will Archie be left to the not-so-tender mercies of Cheryl Blossom? And while a friendship may be fine, will Hiram Lodge ever be able to accept his daughter's wedding to a girl who's -- (gulp) -- middle class?! And when Reggie plots to break up their wedding and steal Betty's affection for himself, will these two lady lovebirds be able to overcome their differences and find happiness? It's the wedding of the 21st century in the story you don't dare miss!

See more from Kerry Callen, and check out the complete GCTNH Archive!

 

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Love Hurts: 'I Was Foolish To Go Steady -- So Young -- For So Long!'

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Today is Valentine's Day, and as we've been doing all month, ComicsAlliance is celebrating this time of hearts and flowers with some of the most tragic stories of love gone wrong from the pages of Romance Comics! Today, we finish our heartbreaking retrospective with the pain of Our Love Story #24's "Joe Howard's Chick!"

From 1973, Stan Lee and Don Heck bring you a tale of woe that may be the most overwrought tearjerker in Romance Comic history. The heartbroken subject today is one Connie Smith, and unlike most of the genre's tragic heroines, she's a) happy, and b) gainfully boyfriended.

In fact, she's been that way for a while, having decided long ago that dreamy Joe Howard was the boy for her. They've been going steady for years, and, if Connie's conversation with her friends is any indication, they have a pretty healthy relationship based on a mutual love of BSDM.


Unfortunately, no amount of bondage can keep their romance going forever, and eventually Joe and Connie drift apart, leaving her single and alone. But she's young, pretty and outgoing, so no problem, right?

WRONG! She dated Joe Howard and only Joe Howard throughout "the most important dating years!" Now that they've broken up, every other decent boy in town is "off to school or married by now," leaving no one to marry her and thus fulfill her purpose as a woman. Connie's foolish devotion to monogamy has led her to the unthinkable horror of spinsterhood at age 18.

Obviously, she has to leave town in shame.


So let this be a lesson to you, young ladies: Don't fall into the trap of dating someone just because you're in love with them! Date as many dudes as possible -- maybe even some of those older guys like dentists or teachers at schools for the blind or oh I don't know guys who make comic books for a living. Otherwise, you will be exiled from polite society, doomed to spend your early 20s among other spinsters, slowly amassing a hoard of cats until a lonely death finally claims you.

Happy Valentine's Day, everybody!

 

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On the Cheap: '50 Cent: Blood on the Sand' [Review]

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If you're a regular listener of ComicsAlliance's War Rocket Ajax podcast, then you're probably already aware that I'm in the habit of picking up video games from a few years back on the cheap while we're waiting on newer titles like Saints Row the Third or Mass Effect 3. My most recent buy was 2009's 50 Cent: Blood on the Sand, a game for which official description on the publisher's website is, and I quote, "50 cent is gonna kill all the badguys for REVENGE!!!!"

As a special Valentine's Day gift to me, editor-in-chief Laura Hudson allowed me to review it, despite the fact that it has virtually nothing to do with comics. And it is probably one of the most amazing games I have ever played.In terms of gameplay, Blood on the Sand is a lot like another ancient title that I just got around to recently, Gears of War. It's the same sort of cover-based third-person shooter (or CBTPS) about a character who has the mystical ability to recover from multiple gunshot wounds by ducking behind one of the thousand four foot high stone rectangles littering the landscape, with you hovering over his shoulder, holding down RT while pointing at various members of a nameless horde that you want to die. There's even the mandatory Bullet Time mechanic, hilariously referred to here as "Gangsta Fire." But while I found Gears to be a little boring -- which is weird when you consider that it's a game featuring a rifle with a chainsaw stuck on the end of it for good measure -- BOTS was engaging right from the start.

It really just comes down to presentation. While Gears has at least a slight hope of being taken seriously despite a main character with a soul patch, a leather do-rag and a name like "Marcus Fenix," BOTS suffers from no such delusions. As a result, this thing is every bit as over-the-top as its premise demands. This is a game in which anything that could possibly explode does, and while it's a cover-based shooter, it's also a game that invites you to run directly at a man with an assault rifle and do karate at him.

In that respect, it reminds me a lot of yet another game from a few years back, also put out by THQ: The Punisher.



I loved this game. In fact, it was playing this game that turned me from a guy that kinda liked the Punisher into a guy that read every single Punisher comic ever published in the span of about three weeks. It had a style to it, and in those hazy, pre-Arkham City days, that was a rare thing to find in a licensed super-hero game. It combined the ultra-serious character of the Tom Jane movie -- he provides the voiceovers for the game, including narrating the Punisher Armory style database entries for all the weapons -- with a structure that threw everything at the player and just didn't let up. This was an ultraviolent Punisher game that ended with the Punisher on the roof of Ryker's Island fighting Jigsaw and his suit of bootleg Iron Man armor. It's fantastic.

And that tradition carries right over into Blood on the Sand. Admittedly, it doesn't quite reach the heights of the pressing X to bust out of a coffin and blow away mourning mobsters with an assault rifle at a funeral, but the tradeoff is that you get mechanics like the ability to upgrade not only 50 Cent's weapons and melee combat moves, but also his taunts, which allow you to unlock new levels of profanity.

I'll say that one more time so we're all clear that this is a thing that happened: You unlock new levels of profanity for 50 Cent to say to the people he's shooting in the face. That is f***ing genius, even before you get to the part where the different levels are headlined in gothic script written in Latin -- the highest level, "Mack Daddy," is under the headline "REX PATER."

It's all part of creating a feeling, and in both of these games it's the way that they apply that feeling to the otherwise standard gameplay that makes them work. The difference, of course, is that with Blood on the Sand, you're playing as a real person.

Well, sort of. The 50 Cent of the game is based on the real 50 Cent in exactly the same way as the Sgt. Slaughter that helped GI Joe defeat Cobra Commander was based on the dude that lost his title to Hulk Hogan at WrestleMania VII. They both provide their own voices, for instance, and while voice acting seems pretty far outside of Mr. Cent's skill set to the point where he's not quite convincing playing himself, there's a charm to it. The fact that he's having a good time with it comes through pretty well, especially when he starts laughing at stuff like G-Unit's DJ Whoo Kid's awesome cartoony declaration that "these ruins are hundreds of years old -- Napoleonic, if I'm correct!"

They're also both apparently trained in the use of all NATO and Warsaw pact small arms, but I'll get back to that in a second.

Because what really sets Blood on the Sand apart and makes it amazing is the story. It usually just gets summed up in exactly four words -- "b*tch took my skull" -- but that really just scratches the surface. Let's walk through it, shall we?


The story opens on Mr. Cent and his pals in G-Unit performing onstage in an unnamed Middle Eastern country. Incidentally, the only reason you know that it's Middle Eastern is that it says so on the box; everyone has an accent but they're not exactly what you'd call distinctive, and it could just as easily be pretty much any other war-torn Not-America setting. I honestly thought it was Eastern Europe for a while -- there's a mention of "The Scourge of Odessa" early on -- but then I realized that "Blood on the Sand" was a pretty big tipoff, since this game doesn't really do well with subtlety.

Anyway, the danger inherent in this performance is highlighted by the fact that Cent is rapping onstage in a bulletproof vest with hand grenades dangling from it, but it's worth it: G-Unit has been promised a $10,000,000 fee to be collected after the concert. Ah, but when they go to collect, it turns out that the weasely concert promoter, Anwar, has been robbed.

As you might expect, Cent's reaction to this is anger, but he doesn't come off as all that surprised. If anything, he seems like he expected it, and I sort of got the impression that in the universe of Blood on the Sand, this kind of thing happens to him a lot. You'd think he'd start asking for payment up front, but I guess hindsight is 20/20.

Fortunately, Anwar has an alternative source of payment: an ancient diamond-encrusted skull. Why does this low-rent concert promoter in a bad suit have a priceless relic? How did it the robbers who got away with ten million dollars in cash miss it? Never really explained, and honestly? In this game, those are the wrong questions to ask.

Cent agrees to take the skull as payment, but then he's immediately ambushed and robbed by a woman named Leela, who's working for Kamal, the same guy who robbed the concert promoter. Thus, Cent and company embark on their mission to kill all the badguys for REVENGE!!!!, which they're able to do because apparently 50 Cent is a super-hero.

Seriously, there's a part in this game where, after surviving yet another wave of enemies, Cent says "I guess Kamal forgot I was bulletproof." In the context of the game, this isn't just a reference to his previous video game effort, or even to the real-life incident where he was shot nine times and survived. It's just a fact, and while it's not uncommon to watch a video game character take a rocket to the face without much trouble, the fact that it's basically a real dude whose expression and tone of voice change a bit makes it hilarious. Throw in the fact that you can do insane martial arts combos that involve snapping necks and stabbing dudes in the face, while Cent raps on the soundtrack about how he does not know karate, and it's just brilliant. Not even kidding.


About three quarters of the way through the game, though, the plot goes off the rails with a determined insanity that I've only ever seen matched by Assassin's Creed 2, and that game had to go all the way to having a fistfight with Pope Alexander VI and his magic powers and then being yelled at by aliens underneath the Vatican to do it.

See, it turns out that the girl who stole the skull, Leela, only did so because Kamal was holding her family hostage, but then it turns out that she was lying to you, because she was actually working for this other dude who shows up for the last two levels to fill the suddenly vacant role of end boss because he wants you dead so that he can sell your organs on the black market. At least, I think that's what he wants? He's trying to blow you up with a helicopter at the time, which you'd think would make organ harvesting a little tougher than it should be. It turns out that this guy is the mastermind behind the whole thing, to the point where he organized even the initial ambush by buying off Anwar with the skull. Which Anwar already owned.

It makes absolutely no sense. It's glorious anyway.

Because making sense isn't what this narrative is trying to accomplish. The goal here was to take elements of something that was already over the top -- Cent's infamously brag-heavy rap -- and put them into a setting that would be even bigger. And it does it. It even tells you that it's doing it right in the opening cutscene, when Anwar hassles Cent for bragging about how "the gangsters run the streets" when he's in a country where the gangsters run everything. It all comes back to making things bigger.

Even if it doesn't take itself too seriously, that doesn't mean that Blood on the Sand isn't deceptively smart about it. The best thing it does is have fun, to the point where you can actually hear genuine laughter from the stars coming through. And believe it or not, I think there's a lesson there.

 

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'Romance Double Feature' Is the Antidote to Your Valentine's Day Love Hangover

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Over the past two weeks, I've been taking a look at some of the more horrifying heartbreaks in classic romance comics, so believe me when I say that on Valentine's Day, my faith in love (or at least love in comics) was at an all-time low. Fortunately, there was an antidote. The latest issue of the Double Feature digital comic was an all-Romance issue, and after 16 pages of stories that did it wrong, it was pretty refreshing to see a romance book that got it right.If you're not familiar with Double Feature, it's one of my favorite digital comics, if only for how it's one of the few books that takes full advantage of the digital format. As the name implies, each issue has two eight-page stories, and for 99¢, you can either get it in DRM-free PDF format that you can review on any device you want, or you can go through the iPad app and get a version tricked out with bonus commentary and the ability to strip down the art to colors, inks and pencils.

It's a pretty awesome package, and it's only made moreso by the talented folks involved, including Hack/Slash's Tim Seeley, Mike Norton, Corinna Bechko, Gabriel Hardman and others, working in issues themed around horror, action, sci-fi and, of course, Romance.

Which brings us to the latest issue, and two sharp stories from both the good and the bad side of love. The first is "In Other Words," by J. Torres and CA favorite Evan "Doc" Shaner:


Set at a wedding reception in 1967 -- which gives Shaner the chance to indulge in Rat Pack fashions and goofy bridesmaid dresses -- "In Other Words" tells the story of a grumpy bridesmaid and an acid-tongued bartender who form a quick attraction based on their love of trading barbs over drinks.

True to its title, it's a story with a lot of talking, with Torres building a constant stream of patter that echoes the dialogue in a romantic comedy from the '60s. It's clever and witty, and when you throw in Shaner's clean, expressive art, watching two people meeting and falling in love through a eight pages of rapid-fire verbal sparring is just fun.

But while "In Other Words" shows the beginning of a relationship, the second story, "Two Wheels, Two Feet" shows the end:



In eight pages, writer Jamie S. Rich and artist Megan Levens offer up a heartbreaker in the grand tradition, but instead of the melodramatic sob stories I waded through for "Love Hurts," theirs is a breakup with a clever twist.

Rich's story is based on the idea of finding a message that could be for anyone, and realizing beyond a shadow of a doubt that it's definitely for you. It becomes a sad story of the end of a romance, but there's an underlying message that yeah, it's probably for the best that it ends. What really sells it, though, is Leven's art. More than anything else, it reminds me of work by Jamie McKelvie, and the body language and facial expressions sell the premise perfectly.

It's another great issue from Double Feature, with the added bonus of being the perfect antidote for that lingering post-Valentine's Day romance hangover. Check it out at the DF website, and poke around the others while you're there -- it's easily one of the best values in comics, and exactly what digital books need.

 

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Kevin Smith's 'Comic Book Men' Is a Compelling Argument Against Comic Book Stores [Review]

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Last Sunday, Comic Book Men premiered on AMC, sliding right into the time slot right after the comic book-based Walking Dead series. It's a reality show masterminded by filmmaker and occasional comic book writer Kevin Smith that follows four employees at his New Jersey comic book shop, the Secret Stash, as they deal with the world of comics retail. If the intent is to show comic shop employees as anything other than obnoxious walking sterotypes, it's a complete failure.

If, however, it's meant to be the most compelling argument I've ever seen for never setting foot in a comic book store, I have to admit that it's a smashing success.Believe it or not, the person who comes out best in this whole train wreck of a show is Smith himself and, to a lesser extent, his longtime friend and collaborator Walt Flanagan, who manages the shop. As much as I might not care for his work, it's impossible to argue that Smith's not a witty guy, and the scenes where he's around to direct the conversation are the closest things get to actually being entertaining.

Even those parts, though, are mystifying in terms of why anyone would think they were a good idea to put on television. They're set up as Smith and his cronies recording a podcast about the show, and while I respect the desire to do something a little different than the confessional-style shots of someone talking into a camera that are the standard for reality TV, the end result is that you're watching a bunch of people sit around talking about things you're watching them do, and adding nothing to it. Except for the part about three minutes in when they start talking about which super-heroines they want to have sex with, which is a nice way to confirm every negative image of comic book store employees right at the start.

And that's what they do for the next hour, because while Flanagan seems like a nice enough guy who's doing his job -- and doing pretty well at it -- the other three cast members are just awful.


It took about a half hour before I was sure that I hated every one of those guys with a passion, but it would've happened a lot sooner if it wasn't for the weird way the show's been structured. Despite the title of the show, it doesn't really focus on comics. It doesn't really focus on retail at all, in fact; there's not a single Secret Stash customer shown in the entire hour. Instead, the first episode operates on the obviously contrived Pawn Stars gimmick of people coming in to sell telegenic collectibles.

I freely admit that I'm probably the only one who was looking forward to watching somebody drag in a dusty long boxes of "Death of Superman" tie-ins that the cat peed on and demand a thousand bucks for the whole lot of rare collector's items, since that would be a pretty accurate portrayal of what it's like to work in a comic book store. Instead, the very first customer who wanders in just happens to have an original Bob Kane Batman sketch that they're looking to sell.


That has got to be the luckiest coincidence of the century, even though it leads to Flanagan talking about how maybe Kane drew this thing on the back of some rare, undiscovered Bob Kane creation. It turns out to be a press release that was just handy when Kane was doing the sketch, which ensures that this segment leads off with a massive anticlimax.

And it only gets more contrived from there. At one point, a guy comes in literally dressed like Steve Carell in The 40 Year-Old Virgin with a polo shirt buttoned up to his throat and a stack of Megos. He's even got a 6 Million Dollar Man figure, which gives Kevin Smith, the writer of Kevin Smith's Bionic Man, the chance to talk for a few minutes about how awesome the Bionic Man is.

Far be it from me to knock a guy for staying on his hustle -- after Clerks, Kevin Smith's most successful project has always been Kevin Smith -- but to pretend that it's anything else is just bullsh*tting the audience. Which, in the end, is what that segment's all about.

We all know there are weirdos out there hoarding collectibles and wandering into shops to demand outrageous prices for them -- when I worked in a comic shop, I once dealt with a guy who claimed that his comic had to be worth a million bucks because it was even older than Superman #1, except that it turned out to be 1994's Superboy #0 -- but those are such obvious setups that they might as well have just billed it as a sitcom and had Smith script lines for everyone directly. Even worse, it's boring. Was anyone really super interested in watching Walt Flanagan talk a dude down to $75 for his Thor poster?

That said, it's still better than the other half of the show, which focuses on the employees and just how infinitely hateable they are.



It has a standard reality show challenge, which in this case involves dragging a bunch of dead stock to a flea market and seeing who can make the most money. For Comic Book Men, it's structured clear attempt to echo Clerks, to the point where it even has the white-on-black title cards dividing up sections. The difference is that while Clerks pit two affable friends against an army of jerky customers, these guys are just constantly being a**holes to each other.

Look, I worked in a comic book store for six years. I get how it is when you're at a job that requires a lot of standing around and doing nothing, and that tends to lead to guys busting on each other and having dumb conversations about favorite super-heroes and who could beat whom in a fight. It's why I can't really get mad at the sexy super-heroine conversation at the top of the show, because that's a conversation I've had more than a few times while I was propping up a counter. But with these guys, it's the only thing you see, and it never stops.

I don't know how much coaching went into it, or if they just came in one day and a producer decided one of them was going to be the jerk, one was going to be the toadie and one was going to be the bland one that nobody really cares about, but these three guys fall pretty naturally into those roles. Every second they're onscreen, they get a little less likable.

The worst by far is Bryan, a dude who looks like he's trying so hard to be Ed Greenwood that it's actually painful to watch.


This dude... There's a part during the flea market competition where he just starts smashing these collectible plates that one of the other guys is selling as part of some kind of aggressive sales tactic, and also so that the other dude can't sell them and beat him at the contest. A nearby senior citizen sees this and walks over to yell at him for being a dick, and he immediately backs down and pays for the things he broke. Then the old man leaves, and just as quickly as he backed down, Bryan gets tough again and demands his money back until the other guy shuffles like a kicked puppy and hands it over.

Everything he's shown doing in this show goes down like that, with this guy coming off as the smarmy alpha nerd prick with an unearned sense of superiority that everyone who goes to a comic shop tries to avoid. He's also the first one to say that the shoppers at the flea market look like they were banned from going to the mall and that the corseted goth girl who tries to sell a Chucky doll looks like she's "mentally ill," which is why I have no problem saying that he looks like Dumbledore f**ked a mushroom.

And the thing is, he's presented as less of an a**hole and more of a lovable rascal. I guess it's because they're all in this together and he can always get some support for bashing on the freakshows that come into the shop with the other employees, but he's also the first to lead the "hilarious" discussion of how the other guy wears nice jeans because he's having sex with Richie Rich, so, you know, whatever.



I know guys like this. I've seen them at cons, and I do my best to get as far away from them as possible. But despite the show's premise that these are the everyday heroes down there fightin' in the retail trenches, they're not. These are the guys that work at the shop you only go to when the store you like sells out of the comic you want, that you do your best to deal with as quickly as possible because they don't even wait until you're at the door before they start smirking at your purchases.

I don't know. Maybe when the cameras are off and they're not dealing with a string of scripted goofballs bringing in collectibles that were hand-picked for the show because they're all tied into movies, these guys are at the top of customer service. Maybe they're not an embarrassment. But that's how they're being portrayed, and by extension, how AMC sees comics in general: A bunch of guys standing around trying to sound like a Kevin Smith movie but failing because they're not as clever.

That's apparently how even people in the industry think comics should be seen, and as a result, this show isn't just bad. It's depressing.

 

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'The Drug Avengers' Are Here To Save The Future From The Past's Pot-Smoking Ways

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If you went to school in the late '80s and early '90s, chances are pretty high that you saw a lot of anti-drug propaganda. I know I did, but one of the ones that I somehow managed to dodge during D.A.R.E. sessions was 1988's The Drug Avengers.

Fortunately, the good people over at Everything Is Terrible, a site dedicated to plundering and preserving the weirdest offerings of the VHS era, has rescued the show from obscurity. And it's a good thing, too, because without the knowledge that drug use on Earth was keeping humanity from being allowed to join an intergalactic federation of planets, I might not have had the resolve to just say no.

DRUG AVENGERS from Everything Is Terrible! on Vimeo.



Produced in 1988 under a grant from the Department of Education, Drug Avengers actually won a contest for its creativity. That might seem a little surprising, considering that it hits the same notes that a lot of similar PSAs did, with advice on how to stand up to peer pressure and a stern reminder for the frustratingly stupid children of the '80s that told them not to shove pills into their mouths if they find them laying around on the street.

But that creativity definitely comes through in the premise, which finds the entire planet Earth being banned from acceptance by aliens because humanity has become a bunch of potheads, which essentially makes this thing the Anti-Dune. In order to sort things out and keep Earth from being wiped out, Madame Space President apparently decides to send a bunch of random pre-teens back to solve the entire planet's drug problem by themselves. And for some reason she sends them back to do this in 1988.

It might sound weird, but when you get right down to it, it's basically the anti-drug version of Mass Effect.

I can't speak to how effective this was in keeping kids off drugs -- which, now that I think of it, isn't really "Avenging" -- but I will say that the part where the kid gets a six-pack of beer, a pack of cigarettes and a back of chocolate chip cookies so that he can make himself feel better the way freelance writers adults do is pretty genius.

 

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Ask Chris #94: Eighty Cents Worth of Punisher

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Here at ComicsAlliance, we value our readership and are always open to what the masses of Internet readers have to say. That's why every week, Senior Writer Chris Sims puts his comics culture knowledge to the test as he responds to your reader questions!


Q: I bought Punisher (the first ongoing) #44-53 for 80 cents this week. Did I get a good deal? -- @boydstep

A: Out of all the questions I got this week, this was the only one that combined two of the things I love most in this world: The Punisher, and oddly specific but ultimately insignificant dollar amounts. Clearly, you brought this question to the right place.Under normal circumstances, I'd say you got your money's worth just by virtue of getting ten comics for less than a buck, but these in particular are a special case. Mike Baron's run on Punisher had always been about putting Frank Castle into almost-believable situations that had been ripped from the headlines (or at least his local video store in the case of the stories that were pretty directly inspired by Class of 1984), but that last year is all over the map in terms of quality.

Fortunately for you, I'm both a guy who's read every Punisher comic and someone who essentially sits around reading comic books for a living. As a result, I've developed a complex rubric for determining the actual worth of comic books that's way more accurate than any printed price guide could ever hope to be. The way I see it, we can look back over the issues you picked up and determine whether I'd pay to read them again, or if I'd actually have to charge for the hassle of slogging through 'em. At the end of it, if the bill comes out to less than eighty cents, then you've made a bad deal.



For starters, we can go ahead and throw #48, 51, and 53 right out of the running. The first two aren't necessarily bad, but they're about as generic as you can get with Punisher stories. They both operate on the premise of just putting the Punisher into different locations -- a snowstorm and Chinatown, respectively -- and then seeing how that works out for 22 pages. Here's a hint: Frank kills everyone else in the book, because he's the one who gets to come back next month.

#53 has a little more going for it, but it's also the first part of the seven-part "Final Days" story, in which Frank gets his face cut up by Jigsaw in prison and then gets stitched back together by a heroin-addicted prostitute who used to be a brilliant surgeon who experimented with using melanin in her procedures, thus leading to the issues where the Punisher's skin was dyed black and he teamed up with Luke Cage in Chicago.



Now those issues are definitely your eighty cents, but without the rest of the story, there's no real reason to jump into the first part.

Running Total: $0.00

With those knocked out, we can start in with #44, and I hate to break this to you pal, but we are off to a pretty bad start. This one focuses on what was then the hot news item that was flag-burning, and it's probably the single weakest issue of Baron's otherwise pretty solid run. If nothing else, it has not aged well, probably because it's about Frank teaming up with a rapper named Arc Light to fight a bunch of rednecks who are mad at him for burning a flag as part of his act, and includes a lengthy sequence where the Punisher talks about how this newfangled "rap" isn't music.


48 Hours, this thing ain't. That's gonna knock a few buck off the total right there, and it only gets worse when Frank starts explaining why he's not racist:


Baron's run is full of some pretty great dry humor -- he often finishes up panels on these weird anti-punchlines that are occasionally downright bizarre -- but that particular gag falls pretty flat on its face. I'd want five bucks for getting through that thing again.

Running Total: -$5.00

Sadly, #45 isn't a whole lot better, though it does have one of the greatest cover gags in Punisher history:



The premise of this one is that there's someone killing cabbies, so the Punisher has Microchip trick out a taxi so that he can go undercover. It's a neat idea, especially when the Punisher gets into a high speed chase with this pickup truck full of crooks who have no idea why this super-taxi is trying to murder them. Unfortunately, the whole thing turns into the story of a woman who's killing cabbies for revenge because she had to walk home one night and got raped, and it is rough.

Even with the good cover, it'd take at least a couple bucks before I'd read it.

Running Total: -$7.00

Things are not looking so good for your financial acumen right now, but don't fret, because this next story is where things start to pick up again. First of all, it's got the insanely over-the-top cover blurb "IT WAS FROZEN IN THE PAST. IF IT THAWS, THERE'LL BE NO FUTURE!" and I'd drop four bits just to find out what the hell that's all about.

Then, it turns out that it's about the Punisher stealing an airplane that crashed into a glacier while it was carrying the prototype of a Nazi particle beam.


That's the thing about '80s Punisher. With the Garth Ennis era of the 2000s, Frank Castle's focus was narrowed back to his war on organized crime, but back then he was basically a globetrotting adventurer who went anywhere that he thought someone might need killing. The character was much more influenced by Men's Adventure Novel characters like Mack Bolan, and this is a prime example.

It's definitely worth a buck, maybe a little more for the Punisher blasting Nazis with a particle beam and the truly hilarious fact that Baron left the door open for a sequel by mentioning a second plane rigged up the same way in the last panel.

Running Total: -$5.75


You're still in the hole, but things are looking up, because these next two issues are one of my favorite parts of the entire run. Any creator can take the Punisher himself to the extreme, but Baron and Hugh Haynes take the actual concept of a gun over the top by having the Punisher fight a Middle Eastern country with a cannon that's 40 meters long.


That was not a typo. He fights the entire country.

Seriously, this thing is awesome. It's the closest comics have ever gotten to that feeling of finding a fuzzy VHS tape of the greatest straight-to-video action movie ever made, and it just keeps getting crazier as it goes on. Every twist takes it to new heights, like how the guy running the gun is the same dude that killed Frank's last remaining relatives in a previous story. Frank eventually frees himself from the giant cannon with the help of his "diamond manicure" -- a set of super-sharp fake fingernails that have been abandoned in recent years, though I can't imagine why -- and then decides that he can't very well run around killing people without a giant skull on his chest.

So of course he just does the sensible thing and greases up for combat.


How in the hell have there been three live-action Punisher movies and none of them have included this scene? And incidentally, I have no idea what's supposed to be exploding in that second panel. Presumably the Punisher's skill at greasing his chest was just so overwhelming that things spontaneously combusted.

These are easily two of the most enjoyable Punisher comics of the era, and they'd be a bargain at two bucks each.

Running Total: -$1.75

Let's skip ahead a bit to #52. Once again, we have a pretty phenomenal cover, this time by Mike Harris and Rodney Ramos:


Those babies crack me up every time I see this comic, especially the one that Frank's just dangling by the foot while he shoots at somebody. He's just so darn happy.

Unfortunately, the story doesn't really live up to the promise of the cover, but here's the thing: It should. This is, after all, the story of the Punisher fighting a woman who is not only kidnapping babies to sell to rich people, but who is also a former luchador.




I have been waiting my entire life to see Frank Castle hulk up and power out of a Fujiwara armbar, but it just doesn't work in this issue, and the fact that Lupe speaks with an accent that even Chris Claremont would think goes a little too far doesn't really help matters either.

It's not quite as bad as the flag-burning issue, but it'd take about a buck for me to get past that hilarious baby on the cover.

Running Total: -$2.75

All right. We are down to the wire here, and you're still in the red. There's only one thing that can help you now: The double-sized Punisher #50.

And this is a comic where Frank Castle invades Biosphere-2 to kill an evil scientist/architect who uses a deadly buzzsaw yo-yo to murder his underlings.


Ridiculous location pulled directly from a newspaper the creator was reading at the time? That's worth a buck. Completely insane super-villain weaponry? That's worth a buck. Hell, I'd pay a dollar just to read about a guy with that hair.

Throw in the fact the Punisher kills this dude by snapping his knee and then leaving him to drown when a nearby dam bursts, and that the last page includes a line about how this didn't result in any innocent people being killed "thanks to the Emergency Broadcast System," and you're looking at a comic that's giving you at least $3.60 worth of enjoyment.

Running Total: $0.85

So there you go, Jeff: Actual, mathematical proof that your eighty cents were well spent. The numbers don't lie, and now you can rest easy knowing that you got more enjoyment out of these comics than the one (1) crunchy taco that you could've bought instead.

That's all we have for this week, but if you've got a question you'd like to see Chris tackle in a future column, just send it to @theisb on Twitter with the hashtag #AskChris, or send an email to chris@comicsalliance.com with [Ask Chris] in the subject line!

 

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The Mad Marketing of Jack Davis's Commercials [Video]

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If you're a comic book reader, you're probably most familiar with the legendary Jack Davis from his work as the artist of the classic EC horror titles of the '50s and his status as one of the founding creators of MAD Magazine. What you might not know, however, is that there was a time when he was one of the highest-paid illustrators in the world, thanks to his work in advertising.

His career as a commercial illustrator hit its height in the '60s, and if you've never seen the ads he produced for products like Gilette razors, sleeping pills and various boozes -- not to be used in combination with each other -- I can assure you that they're exactly as weird as you want them to be. To prove it, we've got a mix of classic Jack Davis commercials after the cut, and trust me: you're going to want to watch it.

One of the most interesting things about this is that they went with Davis's art for a cereal commercial starring comedienne Ruth Buzzi, which is a testament to how highly regarded Davis was in the world of advertising. Someone thought it would be better -- or at least faster and easier to produce -- to have Davis do it rather than bringing Buzzi in and filming it live.

As for the rest of the ads, they are a delight. I'm particularly fond of the first one for Utica Club Beer and the assertion that it'll mellow you out unless you're a cartoon mobster. That had to have reigned as the best beer commercial until the Ramones did three singles for Steel Reserve.

The best one by far, however, has to be the truly insane ad for Cask Mountain Wine. I have no idea why someone decided that the best way to sell this stuff was to assure customers that hillbillies had sex in the stuff you're drinking, but Davis pulls it off. In fact, with his expressive, friendly cartooning and hilarious exaggerations, he makes the idea of drinking something that was mixed with hillbilly love leavings downright appealing.

Well, no, he doesn't. It's still the most disgusting thing I've ever heard. But he comes close, and when you're working with that much of a handicap, that's gotta count for something.

Incidentally, Cask Mountain Wine doesn't seem to be around anymore, but Davis certainly is, and he's still one of the greats.

[via Sleestak]

 

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War Rocket Ajax #101: Rick Spears and Chuck BB Get Brutal with 'Black Metal' [Podcast]

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This week, ComicsAlliance's War Rocket Ajax podcast gets brutal with the creators of Oni Press's Black Metal, Rick Spears and Chuck BB! They tell us all about what it was like to make a bone-crushing, head-chopping adventure through Hell for kids, and you can listen to the whole show right here at ComicsAlliance!War Rocket Ajax #101: Friendship is a Sword with Rick Spears and Chuck BB
(WARNING: Contains NSFW language)



We are back in the iTunes Store! Click here to find ComicsAlliance Presents War Rocket Ajax in iTunes, where you can subscribe and leave us a review if you enjoy the show! Thanks for bearing with us while we sorted everything out, and enjoy the classic episodes going up every week!

You can also stream the show using the player above, or download it in MP3 format from WarRocketAjax.com.



In this week's episode, Chris is gearing up for two weeks of the WFMU Fundraiser Marathon and Matt is tuckered out from wrapping the first story arc of Copernicus Jones, but they're both pleased to welcome Hundo Club member Dave Conde to the show as a special third chair. Clearly, he got his money's worth.

When Chuck and Rick arrive, Rick breaks down what Black Metal is all about for new readers:

Rick: Basically it's about these two two brothers, Sam and Shawn Stronghand, and they are these black metal dudes, and they end up shoplifting this record, playing it backwards, getting this enchanted sword, and they go to Hell to basically take over. That summarizes the first book, without giving too much of it away.

In the second book, we sort of get deeper into the mysteries of what's going on in Hell and the political structure there, and angels and Heaven get involved, and the boys decide because it's two of them and they've got one sword and they're not really good at sharing, to go get a second sword and the complications that entails. It's grim and it's dark, but also funny, and we try to have a good time with it.

You know, it's a kids' book. With lots of decapitations.

The first one, at it's heart, it's about working together. It's about partnership, you know what I'm saying? The buddy system. Because only when they work together...

Chuck: Rick and I walked hand-in-hand to make this comic, and I never let him out of my sight.

Rick: Through fields of daisies.


They also tell us a little bit about their influences on Black Metal from the world of black metal:

Chuck: I am a metalhead as of... all the times. From being a kid to being a now. Right now, at this very moment.

Rick: For my part, I listen to a lot of varied stuff and definitely a lot of metal. Otherwise, I'm sort of more of a punk kid. What I like about metal is, especially when I was younger, really young, like Mötley Crüe or something, people would be like "They're Satanists!" and I was like "Really?!" I'd get tingly abouit because if they're really into Satan, I don't know, I don't want to get into trouble, but then you're like, actually, that's kinda f***ing cool. Maybe I want to try it out. That's definitely something we want to play with in Black Metal.

Chuck: Satan is a part of Black Metal?!

Rick: Yeah.

Chuck: By and large, if you're listening to the second wave of punk or whatever you want to call it, you're listening to metal. But yes, to answer your question, we're legit.




Plus, hear about Chuck BB's appearance on VH1's The Pickup Artist. Seriously.


Show Notes:

You can find Rick Spears and Chuck BB on Twitter!

Chuck's Stone Cold Lazy appears in the pages of Decibel Magazine.

Elvis Costello's "Five Gears In Reverse" isn't on YouTube, but you should go buy Get Happy!! anyway.

If you're not familiar with Darkthrone, prepare for brutality.

The cheery story of Mayhem on Wikipedia! Prepare to fall down a hole of reading about death metal, plots to blow up churches, and murders.

Read about Chuck's encounter with the Pickup Artist, and watch the whole episode.

Check Out Dave's Knifey Spoony webcomic!


Chris's Rec: Gotham City Impostors.




Matt's Rec: The Sisters Brothers.




Dave's Rec: The Specials.





Comics Reviewed:


Wolverine #301: "There's a section of this comic called 'Chapter 11: Ninja in a Coma.' They have to go find this master ninja, so Wolverine takes these people to a hospital, where there's a guy who's been in a coma for five years, and Wolverine cuts the life support stuff that's keeping him alive. The guy starts to flatline, and all the sudden the guy gets up and says 'Logan, you insufferable bastard, I will kill you for this! ... I love the Jason Aaron books like this and Ghost Rider where he just gets to go nuts and make these crazy characters with crazy motivations. It's a hoot of a book."

Winter Soldier #2: "Here's the thing about Winter Soldier: the first issue ends with the Black Widow and Bucky being attacked by one of the Red Ghost's gorillas, who has a machine gun, and who yells at one point, in Russian, 'Death to America.' Even in a book like that, what Marvel is doing right now is putting that sort of crazy, fun insanity into their comics. At least, in the good ones."

Batman #6: "I do just want to point out that when we talked about how it was going to be super-fun to see Batman figure out what the deal was with those guys and flip the script on them, and flip out and beat those dudes up, yeah. We were right. That's totally fun."

 

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'Ghost Rider: Spirit of Vengeance' Is Not Very Good [Review]

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Believe it or not, I had high expectations for Ghost Rider: Spirit of Vengeance. Directors Brian Taylor and Mark Neveldine (Crank) making a Ghost Rider movie with Nicolas Cage at his most ridiculous is a combination that had a lot of potential to be great and completely over the top, which is exactly what I want out of Ghost Rider.

Unfortunately, that's not exactly how it worked out. As fun as I'd hoped it would be, Spirit of Vengeance was just not very good. Spoilers follow.I think we can all agree that as a franchise, Ghost Rider is at its best when it embraces the craziness of the premise. This is, after all, the story of a carnival stunt rider who sells his soul to the devil and then turns into a skeleton that's on fire wearing a leather jacket and driving around on a motorcycle that is also on fire so that he can punish the guilty by beating them with chains that are also on fire. Subtlety is not exactly the strong point here.

That's one of the reasons why the recent Jason Aaron run on the comic was so good. It took the idea of a demon-possessed stunt biker as its baseline, and then built a world where everything around it had to be bigger, stranger and more extreme, with plot points that included an army of gun-toting nuns and a satanic 18-wheeler.

It also seemed like a good match for filmmakers Neveldine and Taylor, whose films Crank and Crank: High Voltage are easily (and unsurprisingly) two of my favorite movies of all time, for exactly the same reason: They're based entirely on taking action movie elements like car chases and gunfights and doing them bigger and wilder than anyone else.

And yet, the one word that best describes Ghost Rider: Spirit of Vengeance is "slow."



In that respect, it's the opposite of what I expected from the Cage (who, despite being in an awful lot of bad movies, is generally pretty entertaining), from Ghost Rider and most of all from Neveldine/Taylor. Those two guys built their name on a movie that was relentless about showing you something new and unexpected, to the point where it was actually about a guy who would die if things got too boring.

Spirit of Vengeance, on the other hand, is a pretty far cry from the Crank movies. It's actually really reminiscent of Jonah Hex, another more disappointing movie from Neveldine/Taylor. It even has the same kind of animated intro sequence, and, unfortunately, the same boring treatment of stuff that, by all rights, should be really thrilling.

A few weeks ago on the How Did This Get Made podcast, Brian Taylor mentioned that the original script by David Goyer has been floating around Hollywood since the late '90s -- right around the time Goyer hit it big for Marvel with the first Blade movie -- and that it went through rewrite after rewrite before it ended up with Neveldine/Taylor. That's a bad sign right from the start, but you'd think that at some point in the revision process someone would come with a script that didn't just stumble around from point to point.

The plot of this thing is about as thin as it gets:

1. The Devil needs a human body to go around making deals with people, like the one that turned Johnny Blaze into Ghost Rider.

2. Unfortunately, doing that burns through the frail mortal body he has inhabited and gives him Bell's Palsy.

3. In order to get around this limitation, he knocks up beautiful Eastern European gun-runner moll Nadya (Violante Placido) because...

4. ...when their half-demon kid turns 13, he can transfer his immortal soul into a sturdier vessel in a prophesized ritual that works out like a demonic Bar Mitzvah.

5. The kid just turned 13. Mazel Tov!

6. Now Ghost Rider has to stop the ritual, or else the apocalypse or something. I lost interest about this point.

7. There is a super-villain involved that is actually harder to watch and less interesting than Jigsaw and Loony Bin Jim from Punisher War Zone.

7. PS: Everything you know about Ghost Rider being possessed by a demon is wrong!


And that's pretty much it, except that the kid is named "Danny" after the second Ghost Rider, Danny Ketch. This illustrates one of the major problems with just throwing in names to reference the comics without actually tying them into anything, because you're me, you spend the entire movie hoping that you're going to see this 13-year-old turn into a crazy little kid version of Ghost Rider. It doesn't happen, and I ended up walking away from it way more disappointed than I would've been if they'd just named the kid "Scott" or something.

Also, the closest Danny comes is using his powers to put the demon Zarathos back into Blaze after he cures himself of being Ghost Rider through the classic Marvel problem-solving method of locking oneself in a room and sweating it out for a few hours.


This happens in the middle of the film, which means there's a good stretch of the movie where Johnny Blaze is just Johnny Blaze, Guy Who Owns a Motorcycle, walking around without the super-powers that you know he's going to get back at the climax of the movie. Because that's what you really want to see, right? Ghost Rider not being Ghost Rider and just fighting dudes with guns like everyone else ever?

Beyond that pretty obvious problem, it really raises the question of why the bad guys are even able to kidnap Danny, since he already has the powers of the Devil, or Roarke, or Mephisto, or whatever Ultimate Demonic Force the bad guy is supposed to be. Since Danny was built to wield these powers, he also has none of the weaknesses of the Devil in human form, except the movie never allows him to do anything with this except give Ghost Rider his powers back. It doesn't just open the door for massive plot holes in virtually every scene of this movie, it also a giant waste of an idea with a lot of potential.

And that seems to be a running theme in this movie. Another case in point: Idris Elba's character, Moreau.


Elba's a lot of fun in the role, but at the end of the day, he only has slightly more to do in this movie than Elba did as Heimdall, the Norse God of Standing Around And Looking At Stuff in Thor. He explains the plot, shoots a couple of dudes, and then dies at the end because, well, why not? He's expendable from the first moment, and there's never any doubt that that's how it's going to play out, because you never feel like you're not watching a movie. There's nothing to draw you in, or surprise you, or deviate from the standard formula they've selected to spend two hours playing with. Which just happens to be the formula from Superman II with a heavy metal makeover.

That said, there are a few places in the movie where Neveldine/Taylor's signature style comes through. There's a car chase right at the beginning that's really fun, with a great use of Elba's character and even a really well-done comedic payoff at the end of it.

Unfortunately, those shining moments are pretty brief, and more often than not the limitations of the film end up hampering its best ideas. Whenever the Ghost Rider uses a vehicle, for example, it turns into a crazy demonic hellfire version of itself, a cool concept with a lot of potential that never really pays off. Early on in the film Ghost Rider climbs into a gigantic piece of construction equipment, which sounds like a great setup for over-the-top craziness in hellfire heavy machinery. Instead, it falls flat thanks to a lot of lingering shots of a CGI Nicolas Cage sitting in the un-transformed cab of the crane and shoving levers. When the machinery comes back at the end, it's still a truck that's less demonic and more "red and on fire," with the added bonus that it can drive itself while Ghost Rider is otherwise occupied.

Even the action scenes are dull, with a lot of Ghost Rider standing around and swaying like he's at a rave that only he can hear. My guess is that he's meant to be in a trance, but it doesn't really make for exciting cinema, and when you throw in that his signature move in the film is the Penance Stare, which is represented at Ghost Rider standing there looking at somebody for a long few minutes, it doesn't exactly make for exciting cinema. The only thing that really breaks it up is hearing Nicolas Cage, the Greatest Overactor of Our Time, occasionally hissing out a post-kill pun, and those are just the worst.


I will say that the last line of the movie is pretty great. If the rest of the movie had lived up to that moment, it also would've been great.

But it doesn't, and there's nothing to distract you from the gaping holes in the plot, and nothing that happens is any more exciting to watch than to hear about secondhand. Seriously, imagine Ghost Rider killing a bunch of dudes with a giant possessed piece of construction equipment that is on fire. I guarantee you that what's going on in your head is better than what was actually on the screen. And if that's the case, then there's not really much of a point to watching it.

 

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'Super Best Friends Forever': Art from the Supergirl, Batgirl & Wonder Girl DC Nation Short

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For me, the announcement of Cartoon Network's "DC Nation" shorts was one of the best pieces of TV news in recent memory. As much as it focused on the big names like Superman and Batman, one of the best things about shows like Justice League Unlimited was getting to see a spotlight on some of the more obscure characters, and a series of shorts built on that same idea, including a return of the animated Teen Titans, is pretty exciting.

But the most exciting thing by far has been the announcement of Super Best Friends Forever, a series about Supergirl, Batgirl and Wonder Girl developed by Lauren Faust. This week, TV guide unveiled the character designs, and as you might expect from the creator of My Little Pony: Friendship is Magic, they are adorable.
As far as designs go, Faust seems to be going right for the classic looks of the characters, with the '80s version of Supergirl, a New Teen Titans-era Wonder Girl, and a Batgirl that echoes the purple costume Yvonne Craig sported on the '60s Batman TV show, and they look great.

Faust posted a scan of the article at her DeviantArt page, which included a brief quote about the "visual joke" style of the shorts:



"[SBFF] has plenty of action and fighting, but is really much more focused on comedy and laughs and how much fun it is to be a superhero," says producer Lauren Faust. "It's like taking a teenage experience but putting a super-hero spin on it. In one episode, Supergirl ad Batgirl try to convince Wonder Girl to sneak out in Wonder Woman's invisible jet and go for a joyride."


Considering that my favorite Supergirl story of the past decade was Supergirl's Cosmic Adventures in the 8th Grade, that sounds like exactly what I'd like to see.

In addition to the first look at character designs for SBFF, the TV Guide article also included a few other tidbits about the DC Nation Block, including the confirmation that those Plastic Man shorts we were excited about last year had finally found a home in the block, as well as shedding some light on a few of the other characters that we'll be seeing.

For those of you who missed it, yes: We are now living in a world in which there is technically a cartoon all about the breakdancing gang member-turned-super-hero star of the "Justice League Detroit" era, Vibe.


Believe me, I'm as surprised as you are.

It's also worth noting that the DC Nation block is set to air on Saturday Mornings at 10 AM, which means that it's in the same time slot as new episodes of My Little Pony on the Hub, meaning that Faust's fans will have a difficult choice to make.

Unless they remember to set the DVR to record one, I mean.


(Via Spinoff)

 

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'Bloodstrike' Looks Back at the '90s... And Makes Them Look Good [Review]

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I've never read an issue of the original Extreme Studios title Bloodstrike, but I feel like I learned everything I need to know about it by looking at the front of the first issue from 1993. I've seen this thing a hundred times in back issue bins, and the cover's invitation to "RUB THE BLOOD!" has never failed to crack me up. It seems like such a stereotypical gimmick, except that it's something I've never actually seen any other comic do, something that captures the weird essence of that first wave of Image comic books. Say what you will about their quality, but a lot of people were drawn to them solely because they were doing crazy things you'd never seen before, putting it all out on the page without a hint of subtlety or irony.

Tim Seeley and Franchesco Gaston's Bloodstrike relaunch, which hits stands in March, does not have any blood to rub on its cover, but I feel like it should. It's exactly that kind of high-energy, irony-free, over-the-top super-hero book that the stuff in the '90s wanted to be, and it's a damn hoot.Let's be honest: Two years ago, it would have been really weird to get excited about a new Bloodstrike comic, but the relaunched Extreme Studios titles have been giving you every reason in the world to look forward to them. They've been a string of hits from creators at the top of their game, to the point where it's become a running gag that we're as excited about the Extreme books as we are about X-Force, and it's somehow not 1991. Even so, Bloodstrike is a little different.

I think it's fair to say that books like Glory and Prophet have found success by using original titles as a springboard to transform them into something new. Bloodstrike, though... I hate to call it a "throwback" because that word has such a negative connotation, but in a lot of ways, that's exactly what it is. It fully embraces everything about those '90s comics, full of ultraviolence and cussin', higher-ups who are just unrepentantly evil caricatures of sneering businessmen, and super-muscular dudes solving their problems by shooting them in the face. It's all here, right down to the fact that when Cabbot Stone takes off his mask, he has the same Grifter-esque markings on his face that he has on his mask. Because face tattoos are extreme.

But the thing is, Bloodstrike isn't a throwback to how those books actually were. Bloodstrike is a throwback to what you thought these books were like if you read them when you were 13. And they're somehow better than your memories.

It's a tough trick to pull off, but it's one of the things that Seeley's best at. Between this, his Masters of the Universe-inspired Colt Noble and the Megalords, and his recent shot at reviving a character that he came up with when he was five years old in the pages of Double Feature, it's become his specialty. He takes things he loved as a kid, strips them of nostalgia, and then figures out how to work with them in a way that's actually good and not just a callback to something you remember.


That's exactly what he and Gaston have done here, and the fun they have comes through on the page. The premise they're working with is a pretty simple one: The government has figured out how to resurrect dead super-humans, so they're bringing them back to life, sending them on suicide missions, and then patching up whatever's left to send it off on another mission. As you might expect, this has left Cabbot Stone, one of the superhumans in question, in a pretty grumpy mood. Throw in a boss with a callous disregard for life that walks hand-in-hand with the abilitiy to give it back to anyone that he decides should have another shot, and you've got all the elements in place.

That's really all there is to it, but Seeley and Gaston combine those pieces to create a story that is just relentless in the way that it tosses ideas at the reader. More than anything else, their first three issues remind me of that first year of Warren Ellis on Stormwatch, and how it took these goofy, amped-up characters and put them in goofy, amped-up situations that still managed to have that sinister, dangerous edge to everything they did.

The same thing's happening here, but Seeley's script flips back and forth between the hilarious and the horrifying, sometimes even on the same page. The first issue's a great example: Half of the book focuses on a Stone duking it out with a mountain of cyborg zombies pieced together from rotting corpses and outdated computers, and it's one of the funniest sequences I've seen in comics in a while:


The other half? Stone being analyzed by a psychologist in a sequence so depressing that one of the characters actually commits suicide, which gets flipped around into a punchline that's grim, but also pretty funny. The book bounces back and forth in tone throughout the first three issues, especially once Seeley and Gaston start to embrace the slapstick potential of a cast of characters who can recover from any injury they hand out. I said before that the book embraced the ultraviolence, but it's also completely aware of how silly that stuff can be when you apply it to super-heroes, a group of people for whom even death is a notoriously temporary condition.

It's tempting to look at this as commentary, but it's not quite that, either. It's just accepted as how things work: that these are characters that exist to do crazy, brutal things, and have equally crazy, equally brutal things done to them in return. It's why they're here and it's why we're reading about them, so why not go for it? And it ends up reading like Wolverine by way of the Three Stooges, in a good way.

There's a bit in the third issue where the Bloodstrike team is going after a guy with magnetic powers, and he ends up ripping nails out of a wall and spiking them right into a speedster's leg:



It's brutal, and it's clever, and it's a great use of a character's powers that just looks painful. But it's also the start of a sequence that couldn't look more like a Looney Tunes bit unless he dropped an actual anvil on their heads and little birdies flew around. Then it's right back to a more serious moment of action and death, before the scene switches to another new idea.

The constant oscillating between styles and approaches is certainly jarring, and in a different comic, that'd be a bad thing. But here, it's part of the fun. It means that you never really know what's going to come next, and the sheer number of bizarre ideas being thrown at you are like a magician's assistant, distracting you while Seeley steadily builds a compelling, serious narrative about life and death behind them.

It comes together for something that's every bit as weird and overwhelming and enjoyable as you want it to be. It's a comic where an offer to rub the blood would fit right in, and in this case, that's a good thing.

Preview of Bloodstrike #26:




 

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