

It's a weird companion piece to Morrison's "Batman" run, and as of page 29, I have no idea where it's headed next. But it is good, indeed.


So.
I tried to e-mail Johnny DC editor Jann Jones about the situation with Mike Kunkel and the "Shazam!" book (which, if you don't know, is that Kunkel is being replaced by Art Baltzar and Franco on the writing, and an as-yet-unnamed artist, but Kunkel will come back and do some issues in the future), and Jones's DC e-mail is no longer active, and it sends an auto reply saying to contact another DC employee.
Hundreds of years ago, Chad Nevett and I began writing a column called "The Splash Page" for Sequart.com. With that website's temporary inactivity, we moved the discussion to our blogs (and starting this summer, we'll be doing a modified version of this for CBR, but that's all hush-hush for now, so don't tell anyone about it yet). Though we haven't maintained our weekly schedule since leaving the hallowed halls of Sequart, we do still talk about comics regularly, and this week we talk EISNER NOMINATIONS!
You may have noticed that I've slipped from the daily update schedule I had maintained for the past year. Well, I just don't have a whole lot to say about comics right now that can't be said in my four-to-six CBR reviews and my weekly "When Words Collide" column. And since I've jumped to Twitter, if I have a little comment to make, I'll probably just make it there, rather than spending time developing it into a full blog post.
Some comic fans get really annoyed at the media coverage of comic conventions since all the television reports ever show are the weirdos dressed in costumes, and the thousands of regular fans are forced to cry to the heavens, "it's not like that -- it's mostly just middle-aged guys with t-shirts and backpacks standing in lines, and, oh... forget it, I understand why they show the costumed weirdos on tv now."
Recently reviewed by me at CBR: Wolverine: Weapon X #1, about which I write the following sentences: "In this issue, we get the return of Maverick, Wolverine's old Weapon X colleague, and a growing mystery involving the Blackguard group and the introduction of some mysterious laser-claw wielding killers. Aaron is building some new mythology for Logan, not by telling stories from the past, but by using the legacy of the past to drive the story forward. Like most of Aaron's protagonists, Wolverine's fate is bound to into his history, but he has no choice but to boldly push forward and make amends for who he is and what he's done."
Recently reviewed by me at CBR: Haunted Tank #5, about which I write the following sentences: "It doesn't become about the racist ghost of a confederate soldier learning to accept the ways of the world today, and it doesn't become about the soldiers of today learning to live with this charming old racist codger. In other words, it's not 'Gran Torino: Iraq.'"
Recently reviewed by me at CBR: Justice Society of America #25, about which I write the following sentences: "And what makes it more than just merely fine. What makes it fine in a way that implies yeah-it-was-a-compressed-resolution-of-a-lot-of-stuff is that Jerry Ordway provides the art. Who better than Ordway -- the Platonic ideal of the 'All-Star Squadron'/'Infinity Inc.' approach to comic book nostalgia -- to work on Geoff Johns's 'Justice Society of America'? He's really the perfect artist for the kind of story being told here, a classic artist for a story drenched in old-school storytelling tropes."
You've been clamoring for it, so Chad Nevett has gone and done it: Bendis Secret Invasion Reading Order.
Recently reviewed by me at CBR: The Destroyer #1, about which I write the following sentences: "This comic is drenched in blood, and if Val Staples had to hand-paint this issue he would have had to prepare buckets of the red stuff. Yet it's Cory Walker doing the drawing, so the extreme gore takes on a delightful absurdity. This isn't a gruesome, stomach-churning story even if blood drips from its pages. It's a ridiculous, over-the-top, post-'Nextwave' comic full of ultra-violence and explosive action. But since this comic stars a geriatric hero facing the end of his life, the extreme visual bombast contrasts sharply with Marlow's underlying sadness. He's a larger-than-life action hero, but even he doesn't have the courage to tell the ones he loves that he's been given a death sentence by his physician."
Recently reviewed by me at CBR: "Pride and Prejudice" #1, about which I write the following sentence: "this isn't a good comic. Not at all."
I've been doing the "When Words Collide" columns for what, like 30-something weeks in a row? And in all that time, I've spotlighted a Marvel character or comic book only once before, when I tackled Marvel's "Punisher Omnibus" and wrote about my preference for Garth Ennis's more blatantly absurd take on the character.
Check out this picture on the left. Squidhunter is definitely in trouble, what with the giant robot tentacles and all. It's a fine little illustration by artist Todd Casey, and you can see more of his work on his newly-minted blog: Rotting in the Berkshires.
Recently reviewed by me at CBR: "Pluto: Urasawa x Tezuka" Vol. 2, about which I write the following sentences: "It's the shift in focus that makes 'Pluto: Urasawa x Tezuka' so powerful. It's probably a silly comparison to make, but as a longtime superhero reader and relative manga neophyte, this series struck me as a kind of 'Watchmen' for the manga crowd. It deconstructs the mythic characters of Tezuka's immensely influential 'Astro Boy' comics, taking them from cartoonish exaggerations and treating them with a subtle realism. This is softer than 'Watchmen,' and it's less formally inventive, but it reminds me of the experience I had while reading Alan Moore and Dave Gibbons's work for the first time: 'Oh,' I thought, 'this is certainly a different take on things.' And I have that same feeling reading this series."