Monday, August 30, 2010

Wednesday Is Vertigo Sampling For All I Care #80

Hellblazer #1 Special Edition
Jack of Fables #1 Special Edition
The Losers #1 Special Edition
Scalped #1 Special Edition

“What’s Next? Great Graphic Novels You Should Be Reading“ is an initiative of $1 introductory comics, in this case hard targeting Alan Moore fans through his laying the groundwork for DC’s Vertigo line of mature readers titles.

Hellblazer #1 Special Edition (Vertigo, 2010, $1.00)
I read this late ‘80s spin-off from Alan Moore’s Swamp Thing last after a stack of Radical, Image and modern Vertigo books. Talk about culture shock. Jamie Delano may have been an early adopter of captions in place of thought balloons, but the sheer number and the purple shade of prose within couldn’t be further removed from the five minute paper movie trailers of today. A lot of it is borderline terrible excerpts from a novel no one outside comics would publish, sort of a sideways attempt at “show, then tell at gratuitous length,” but I can’t help but feel nostalgic for the density of the reading experience. This first issue is a thick forty pages, far more involving than most trade paperbacks now produced at three times the length, in which John Constantine goes from his London flat to a flashback from Tangier to the Sudan to New York. I was really bummed when the story ended in a cliffhanger, not only because the probable ending’s been telegraphed, but because I felt like I had been with the story long enough to have gotten a complete package should it conclude. It’s a gas seeing this formative Constantine running around in a designer blue double breasted suit, moralizing, a bit too quick with an almost corny line. John Ridgway’s art is also a time capsule, his style already a holdover from ‘70s horror anthologies, coupled with the slightly confusing and overcomplicated panel arrangements. Yet, it’s clean, clear within the panels, and captures the necessary tension and horror. Delano’s script is a long strange trip, leavened with gallows humor. The team launched Vertigo’s longest running series with style and substance, validating its longevity.

Jack of Fables #1 Special Edition (Vertigo, 2010, $1.00)
Bill Willingham, especially writing in conjunction with Matthew Sturges, satisfies a specific taste. They’re more articulate and fanciful than Howard Chaykin, but you get my drift. Jack Horner is an immortal rogue whose adventures have been chronicled in fairy tales, and more recently in feature films. However, he’s fallen on hard times, targeted by Fabletown authorities, kidnappers and more. This opening chapter is mildly amusing, with its cursing Tinkerbell and its nude Goldilocks, which should tell you exactly what kind of book this is.

The Losers #1 Special Edition (Vertigo, 2010, $1.00)
Thirty-two pages of a relatively self-intact espionage/revenge tale for a buck is nothing to sneeze out. Still, The Losers is just the A-Team with a PG-13 rating, so I can’t get excited about it. At best, Jock’s choppy art looks like storyboards with delusions of grandeur, and Andy Diggle’s script is full of silly macho posturing and blatant expository dialogue. It’s a cheap thriller, and one issue is all I need, thanks.

Scalped #1 Special Edition (Vertigo, 2010, $1.00)
Diamond Previews had a 3-5 page sample of Scalped when it first came out. Between the tough guy dialogue and the Jorge Zaffino looking art, I was totally turned off. Color me surprised then that a few pages further into the book, artist R.M. Guera shows a command of facial and bodily expression reminiscent of Jose Luis Garcia Lopez. Imagine Eduardo Risso inked by Klaus Janson in his prime, and you’d be close. The art goes a long way toward legitimizing a typical noir crime story from Jason Aaron, complete with young tough returned to town, a lost love turned town slut, a crime boss deeply embedded in local government, and a last page “twist” visible from miles out.

Monday, August 23, 2010

Wednesday Is Radical For All I Care #79

Earp: Saints For Sinners #0
Image Firsts: Age of Bronze #1
Image Firsts: Proof #1
The Rising #0

This time out, it’s four dollar comics from two publishers. One dollar times four, not $4, although that's the kind of price point your follow-up issues are likely to start at.

Earp: Saints For Sinners #0 (Radical, 2010, $1.00)
I can hold up Image Comics from the early ‘90s as a standard for poorness, because they really were mostly crap books cut from the same cloth. I can’t do that today, because the company has one of the most diverse lines in the industry, and they print some of the finest comics around. Radical Comics though, I can easily mock, because they are so formulaic and generally lame. Besides taking the starfucking crown from the departed Virgin Comics, Radical’s “original” content typically consists of giving a sci-fi/horror/fantasy spin to a public domain concept, with as little further deviation as possible.

For instance, Earp looks to be Tombstone with bullet trains and machine guns. However, the script by M. Zachary Sherman and Matt Cirulnick is more eventful than Radical’s stillborn norm, and the dialogue less trite. The painted/CGI art by Mack Chater and Martin Montiel actually allows their subjects to be illuminated, even if the male leads are nearly indistinguishable. All told, that makes Earp much better than the average Radical book, but that’s still just damning with faint praise.

Image Firsts: Age of Bronze #1 (Image, 2010, $1.00)
Eric Shanower has been working since the ‘80s, but for some reason he limits his writing output to adaptations, whether Baum’s Oz books or this, “The Story of the Trojan War.” I’d say that’s a shame, but Shanower does the job so well, why knock it? This first installment starts small, introducing Paris’ world before his journey to Troy. The characters are well drawn, both figuratively and literally, through words and action. The storytelling is wonderfully old school, from the clean, clear figures to the lovingly rendered backgrounds to the consistent 5-6 panels per page. However, the ending is extremely abrupt, as though Shanower were scripting for a larger volume, then cut it into sections at an arbitrary page count. Otherwise, this is a very polished book that I expect would only shine in a collected volume.

Image Firsts: Proof #1 (Radical, 2010, $1.00)
A secret government agency tracks cryptids, sighted but unproven creatures like the chupacabra, in X-Files fashion. Among their top agents is a Sasquatch, John “Proof” Prufcock, who makes the acquaintance of his “Skully,” Ginger Brown. Their first case involves some graphic elements, including some unappealing full frontal nudity. The art by Riley Rossmo is too rough for my taste, but it gets the job done. Alexander Grecian’s script is cinematic, including the part where the book’s over before it’s gotten started. I do applaud the realistic body types on display, and none of the comic is exactly bad, but it’s modern decompressed storytelling with the in vogue sloppy look that frustrates me so.

The Rising #0 (Radical, 2010, $1.00)
Seemingly benevolent aliens have quietly conquered the Earth, while resistance fighters are scorned by the public. The book opens in Vietnam by way of mechs, and from the third page largely foregoes dialogue. By page nine, the book has veered off into Jake Sully going native with a Na'vi. When you hit page sixteen, back in the real world with dialogue and captions, you’re put out. More Big Brother aliens and reeducation camps, until a godless preacher arranges gladiator combat amongst a chain gang. The painted art by J.P. Targete makes this jumble of cliché look good, but not enough to spend money on.

Thursday, August 19, 2010

The Linkypeux of 8.19.2010

John Henry gave his life against the Inky Poo to prove a man could overcome a machine. Frank Lee Delano fights a losing weekly battle against the internet, so that his sacrificed time might save your own.


100 Sexiest Women in Science Fiction (25-11) (Siskoid's Blog of Geekery)
7 Scientific Reasons a Zombie Outbreak Would Fail (Quickly) (Cracked)

Art & Photograpy
Dope Doll (Rob Kelly Illustration)
Monster PSA: Darren McGavin (Rob Kelly Illustration)
Charles Foster Kane (Rob Kelly Illustration)
From The Vault: Count Dracula - 1998 (Rob Kelly Illustration)
Cintia Dicker by Anne Menke (Touch Puppet)
the good and bad things about explosions in the sky. (when is evil cool?)

Nilsson’s original demo for “Without You” (J.M. DeMatteis' Creation Point)

Television of the Weak: JEESUS (The Factual Opinion)
Showblockers!: 22 characters who stop good TV shows in their tracks (A.V. Club)
"The Big C" review by Dustin Rowles (Pajiba)

Very Tempting Trailer For Machete Maidens Unleashed (Bleeding Cool)
Five Reasons Supermodels Shouldn't Appear in Movies (And Five Reasons Why They Should) (Pajiba)
The Case of the Disappearing '80s Teen Actor (Pajiba)
Dellamorte's Box Office Wrap Up 8/13/10 (CHUD)
Cemetery Junction review by Dustin Rowles (Pajiba)
Too Many Movies: The Expendables/The Human Centipede/Centurion (The Factual Opinion)
Eat, Pray, Love review by Dustin Rowles (Pajiba)
Animal Kingdom review by Brian Prisco (Pajiba)
Scott Pilgrim vs. the World review by Daniel Carlson (Pajiba)
The Horseman review by TK (Pajiba)
The Expendables review by Steven Lloyd Wilson (Pajiba)

Celebrity Gossip:
Charlie Sheen might be the devil (Hobotrashcan)

Comic Books:
DC Comics Solicitations for November, 2010
Marvel Comics Solicitations for November, 2010 (CBR)
Lying In The Gutters – 16th August 2010 (Bleeding Cool)
Vampirella, Alex Ross And A Bucket Of Blood (Bleeding Cool)
Sweet Christmas Present! Isaiah Mustafa For Luke Cage (Bleeding Cool)

Comic Book Reviews:
Comics Panel: August 13, 2010 (A.V. Club)
AICN Comic Reviews Shipping Week: 8/4/10 (AICN)
The Buy Pile 8/11/10 by Hannibal Tabu(CBR)
Comics shop comics: August 11-18 by J. Caleb Mozzocco (Every Day Is Like Wednesday)
Last Week's Comics Reviewed at CBR
Best Shots Comic Reviews: X-MEN, SUPERMAN, More(Newsarama)
Best Shots Advance: CHEW, SIXTH GUN, More (Newsarama)
What I Read This (And Last) Week: Monday, August 16, 2010 (El Jacone's Comic Book Bunker)

Comic Book Blogs:
Nobody’s Favorites: Auntie Porn (Armagideon Time)
'Tarot' #63 Explains What Breasts Are For to Naked Lady Werewolves [Review] (Comics Alliance)
Secret Origins starring The Creeper #18 (September, 1987) (DC Bloodlines)
DC75: The Top Ten Batgirl (Cassandra Cain) Covers (DC Bloodlines)
DC75: With One Hand Tied Behind His Back (Justice League America #69, 1992) (DC Bloodlines)
The Top 20 Donna Troy Covers (Diana Prince: Wonder Woman)
Secret Origins: Nick Fury by Starlin and Chaykin from Marvel Spotlight #31 (September 1976) (Diversions of the Groovy Kind)
Fear Of A Black Panther: Part One (The Factual Opinion)
Fear of a Black Panther Part Two (The 4th Letter)
Daddy Is Dead, Child (Justice League America #38, 1990) (The Idol-Head of Diabolu)
2010 DC Comics Brightest Day Aquaman Magnet (Justice League Detroit)
"Double Cross" from The Witching Hour No. 12, Dec. -Jan., 1970-71. (Kingdom Kane)
69: Strange Tales #111 (Marvel Genesis)
Spy Smasher #2 (Pappy's Golden Age Comics Blogzine)
What If... the Silver Surfer Lost the Power Cosmic? (Siskoid's Blog of Geekery)

NUDITY (Not Safe For Work):
Kelly Brook - Playboy Photoshoot - august 2010 x8 (DeepAtSea)
Alessandra Torresani - Tyler Shields Photoshoot (FHM or Maxim Mag nude outtakes) (Deep At Sea)
Natalia Paris for the Latina Hottie Win (VIDEO) (Egotastic!)
Tina B (hithiphop)
Lily Cole by Juergen Teller (In The Raw)

Machete Maidens Unleashed Documentary Trailer (NSFW: Nudity, Gore)

Wednesday, August 18, 2010

Isaiah Mustafa as Luke Cage?

The Old Spice Guy has begun campaigning to play former Power Man and Hero for Hire Luke Cage, complete with a fairly stupid looking photo shoot. I'm on record as hating the shitty non-costuming Luke Cage has been pulling out of the hamper since joining the Avengers, which is only one part of what's wrong with this picture. I like Isaiah Mustafa, but he's probably the absolute least qualified Cage this side of Nick Cannon. Lots of wrong-headed actors champion themselves in super-hero roles (see Wonder Woman,) many of whom would be hard-pressed to sell themselves as sidekicks, much less the main attraction. I would be fine with just nodding my head and backing away from this, except that I think Isaiah Mustafa could actually be a fine choice for nearly any other Marvel super-hero of African decent. His Old Spice commercials demonstrate a very toned body, regal bearing, and a solid "hero" voice. Black Panther comes most immediately to mind as a casting choice, and the Avengers movie could use a Falcon, as well. Okay, nobody needs a fucking Falcon for anything, but make Captain Mar-Vell black and roll with that. Hell, if Marvel felt the need to recast Jim Rhodes yet again, Mustafa could rock the War Machine. What Isaiah Mustafa cannot work, from what I could dig up online, is street credibility. He looks good in a suit, he'd probably handle a costume with aplomb, he's funny, he's awesome... but he's so not Luke Cage it's just sad he could delude himself into believing otherwise.

Monday, August 16, 2010

Wednesday Is Any Day For All I Care #78

Hellboy In Mexico (2010)
Human Target #1 Special Edition
Marvelman Primer #1
Predators: Preserve The Game #1

Hellboy In Mexico (Dark Horse, 2010, $3.50)
A good looking, satisfying one shot story by Mike Mignola and Richard Corben. There are a number of striking images, and a classic John Carpenter/Robert Rodriguez vibe throughout.

Human Target #1 Special Edition (DC, 2010, $1.00)
Human Target #1 Special Edition
This is a really fine example of a type of book I’ve read too many times to truly appreciate. It’s about a hired gun who so thoroughly impersonates the intended target of assassins, he forgets himself. The art by Edvin Biukovic flows so smoothly, you can take in his rich images without your eye slowing its progression across panels, the perfect marriage of detail and functionality in sequential art. Peter Milligan’s script is full of twists, although he’s sometimes too cute/clever for the good of the story. There’s a lot of interesting stuff to take in, by my tolerance for badasses engaged in ultra-violent gunplay just isn’t what it used to be. If I get the chance to read the trade free or at highly reduced price, I expect I would, but I couldn’t commit to more.

Marvelman Classic Primer #1 (Marvel, 2010, $3.99)
On the one hand, you have to give Marvel Comics credit for undermining Todd McFarlane’s contested ownership of Miracleman by buying the rights to the original Marvelman source material. On the other hand, the whole point of Alan Moore’s revolutionary work on the character was to redeem a thoroughly amateurish but modestly successful direct, calculated rip-off of Captain Marvel. It’s quite meta.

Charlton Comics weren’t exactly prestige, but it’s hard to appreciate Watchmen after reading how much of it was taken directly from the work of men like Joe Gill and Steve Ditko, yet Moore entered into a big rights hubbub with DC Comics over his massively derivative characters. Moore also hates Marvel Comics, whom I believe he claims owes him for his Arthurian riff on Captain Britain. Marvel ends up owning Marvelman, who once was renamed Miracleman in the States because of their threats of legal action. Marvel also intervened on behalf of Neil Gaiman, who claims Todd McFarlane owes him money for his riff on Spawn, and used the rights to Miracleman given him by Alan Moore as leverage. Marvelman came into existence because DC Comics sued Fawcett over their arguable plagiarism of Superman in creating Captain Marvel. When part of Fawcett’s settlement called for the discontinuation of Captain Marvel’s publishing, its British licensor simply carbon copied the character as Marvelman. Further, the version of Marvelman Alan Moore revised was likely published without the legitimate rights to the character having been acquired. So Marvel Comics now owns the rights to a shoddy Captain Marvel wannabe, the original Shazam largely unsellable since his initial publishing cessation in the 1950s, and still lacks the rights to the stories of a writer that hates them who likely never had the right to write to begin with.

This brings us to the Marvelman Classic Primer, which is a brochure intended to sell the public on Marvelman being worth a shit, despite no one’s having bothered to reprint these stories in nearly sixty years because of their slight quality and irrelevance. There are no actual reprints in the book, but there are really small samples of stories with lousy lettering, misspelled scripts, and inadequately swiped art. A two page text piece is surprisingly candid about Marvelman’s sordid origins, followed by a page purely intended to plug Marvel Comics’ acquisition and publishing plans. Eight very padded pages consist of soundbites of creator Mick Anglo taking the piss out of himself, including the mention of the copious amounts of alcohol consumed in the production of Marvelman. Twelve pages are devoted to pin-ups and biographical profiles of major characters from the not-Marvel Family.

A five page text piece offers “A Short History of British Comics,” which is something I found highly informative, becomes I’m quite ignorant of the intricacies of non-U.S. comics publishing. A seven page sketch gallery is purely ballast, though. Throughout the book, the finished art from pin-ups and variant covers were used to offset the text, most of which already offered photographs of and commentary from the artists. A section devoted to the actual nuts and bolts construction of the art belabored the effort, which was previously rather grand, since the art is very nice. Another thing the art proves is how badly Marvel wants the reprint rights to the Alan Moore and Neil Gaiman material, as those dark tales are clearly the frame of reference, not the Anglo stuff. Speaking of Anglos, despite being a fan since last century, I had no idea Doug Braithwaite was black.

The book closes with a three page review of Marvel UK’s history (try not to snicker) and a checklist of Marvelman adventures (excluding everything after 1963 that Marvel doesn’t own yet.) Despite my critical tone, the Primer is a worthy purchase, easy on the eye and good for the brain. I may mock its intentions, but if the end result is Alan Moore’s acclaimed deconstruction of pseudo-Captain Marvel finally returning to print, well, yippie-skippy.

Predators: Preserve The Game #1 (Dark Horse, 2010, $3.50)
I just read the first issue of the Dark Horse prequel/adaptation of the feature film Predators, for which this is a sequel, so you don’t get a page in without spoiling the movie. I haven’t seen it myself, but between the previous comic and having seen Predator, I had no problem picking right up. This book follows two survivors of the flick on an alien world, one struggling against their nature in order to work with the other against the predators. David Lapham’s story is a reasonable post-script, but the adequate art by Allan Jefferson places drag on the package. All in all, it’s okay, but nothing more.

Friday, August 13, 2010

The Linkypeux of 8.13.2010

John Henry gave his life against the Inky Poo to prove a man could overcome a machine. Frank Lee Delano fights a losing weekly battle against the internet, so that his sacrificed time might save your own.


100 Sexiest Women in Science Fiction (40-26) (Siskoid's Blog of Geekery)

Art & Photograpy
Murder Times Five (Rob Kelly Illustration)
Superman (Rob Kelly Illustration)
Jager in Armani (Rob Kelly Illustration)
Kelly Rowland #1 (This Photo Life)
Kelly Rowland #2 (This Photo Life)
Kelly Rowland #3 (This Photo Life)
Alex Lim's The Stumps Have Eyes (Touch Puppet)
Ellen von Unwerth x Guess Fall 2010 Campaign (Touch Puppet)

Television of the Weak: Donald Sutherland Is Dead and Living In Austria (The Factual Opinion)

Dellamorte's Box Office Wrap Up 8/6/10 (CHUD)
Animal Kingdom review by Devin Faraci (CHUD)
The Other Guys review by Devin Faraci (CHUD)
The Expendables review (CHUD)
Tapped review by Dustin Rowles (Pajiba)
Middle Men review by Brian Prisco (Pajiba)

Celebrity Gossip:
The Official Amy Winehouse Aging Timeline (Buzzfeed)

Comic Books:
Lying In The Gutters – 9th August 2010 (Bleeding Cool)
'Life With Archie: The Married Life' #1 Is the Most Fascinating Archie Comic of All Time (Bleeding Cool)
That’s Why The Lady Is A Vampirella (Bleeding Cool)
Marvel Two-In-One... The Lost Issues (Bleeding Cool)
Lea Hernandez Warns Us Over Nineties Revivals (Bleeding Cool)
Dark Horse Comics Solicitations for November, 2010 (CBR)
Comic Book Movies We Hope Never Get Made (Moviefone)

Comic Book Reviews:
AICN Comic Reviews Shipping Week: 7/28/10 (AICN)
The Buy Pile 8/4/10 by Hannibal Tabu(CBR)
Last Week's Comics Reviewed (CBR)
Comic shop comics: July 28-August 4
Review: X-Men: S.W.O.R.D.—No Time To Breathe (Every Day Is Like Wednesday)
Comics Of The Weak: Our Parents Used To Take Care Of Us (The Factual Opinion)
Best Shots Comic Reviews: SECRET AVENGERS, WONDER WOMAN More
Best Shots Advance Reviews: FOGTOWN, IRREDEEMABLE, More
Best Shots Rapid Reviews: SPIDER-MAN, BRIGHTEST DAY, More
Best Shots Extra Threeview: AVENGERS: PRIME #2, MAGNUS #1...
Best Shots Advance Reviews: MORNING GLORIES, PILGRIM, More
Best Shots Comic Reviews: SHADOWLAND, BATMAN: ODYSSEY, More
Best Shots Rapid Reviews: INCREDIBLE HULK, BATGIRL, More
Best Shots Reviews: EMERALD WARRIORS #1, BPRD: HELL #1

Comic Book Blogs:
Nobody’s Favorites: Rebel (Armagideon Time)
You’re choking in it (Armagideon Time)
Daredevil: It's Time to Stop Constantly Destroying His Life (Comics Alliance)
DC75: The Truly Most Memorable Moments of the Dodranscentennial (DC Bloodlines)
1992 Lissik Human Form Character Design by Arthur Adams (DC Bloodlines)
1992 Slodd Human Form Character Design by Arthur Adams (DC Bloodlines)
1993 DC Comics Bloodlines Annuals Checklist Card (DC Bloodlines)
10 Moments in DC History That You Won’t See On the Top 75 (Continued On 2nd Page Following)
Ten Reasons No One Cares About Wonder Woman (Diana Prince: Wonder Woman)
Justice #4 (April, 2006) (Diana Prince: Wonder Woman)
"Crisis on Twin Earths!" from The Mighty Thor #280 (November, 1978) (Diversions of the Groovy Kind)
"Mourn for the Thorn" from Lois Lane #108 (November 1970) (Diversions of the Groovy Kind)
Jerry Bingham's Debut in World's Finest #251 (March 1978) "No Home For the Hero"! (Diversions of the Groovy Kind)
The Hulk's Rogues Gallery by Giffen and Perez (Diversions of the Groovy Kind)
Firestorm Pin-up – December 1983 (Firestorm Fan)
The Brave and The Bold #50 (Oct.-Nov.1963) (The Idol-Head of Diabolu)
"Elongated Man Throws His Weight Around!" (Detective Comics No. 372, February 1968) (Kingdom Kane)
68: Sgt. Fury and his Howling Commandos #2 (Marvel Genesis)
DC75: The Agonizing Death of Captain Adam (Space Adventures #33) (The Power of Captain Atom)
DC75: The Agonizing Death of Captain Adam (Space Adventures #33) (The Power of Captain Atom)
What If... the Beast Had Continued to Mutate? (Siskoid's Blog of Geekery)

NUDITY (Not Safe For Work):
Ashley Greene - Wet Republic Pool MGM Grand - Las Vegas - 08.07.2010 x28 (DeepAtSea)
Larissa Riquelme Nude Pictures in Hombre Extremo magazine (Egotastic!)
Christina Hendricks in GQ UK. Yes. (3NE)
Jolijn Snijders for I Love Fake Magazine (Touch Puppet)
Abbey Lee Kershaw by Mario Sorrenti (Touch Puppet)

Not Quite Safe For Work, or anywhere else you wish to preserve from perversion.

TOBACCO - Super Gum from TOBACCO on Vimeo.

Wednesday, August 11, 2010

Wednesday Is For Bad Girls For All I Care #77

Artifacts #1 (2010)
Hack/Slash: My First Maniac #1
Lady Deadpool #1 (2010)
X-Women #1 (2010)

Artifacts #1 (Image, 2010, $3.99)
I read a collection of Ron Marz’s first Witchblade arc, so I’d like to start things off by congratulating Marz on finding a personality for Sara Pezzini. It’s your basic jaded Hellboy working class monster slayer attitude, but Pezzini wears it well. Second, the book opens with an alright “Professor Xavier Is A Jerk” wall-breaker, although I can’t say for sure if it’s intentional or a carryover from some damned prelude chapter that drops the reader into the middle of the action. Third, artist Michael Broussard’s style is like Leinil Francis Yu processed through Top Cow sensibilities, which makes it attractive without being titillating. Fourth, I appreciated John Constantine the defrocked priest and the oriental shopkeeper from Gremlins giving a basic explanation of what the thirteen artifacts are and how they relate to one another. Fifth, having a reasonable awareness of the Top Cow universe, I like how Marz is trying to draw together even quite disparate areas into a unified whole.

There’s a two page introduction to Witchblade, and another two for other characters. Those would have been really handy at the front of the book for new readers, but I’m glad they’re in there at all. Neutral points there. Something bad happens to a character I don’t know enough to care about outside general principle, at an angle that makes the degree of badness vague. That’s a point lost.

Just as I was starting to get into things, the book ends. I’m really tired of that shit. Comic book are not novels, which take me hours and hours to read in a fully immerse experience for just twice the price of this comic. Comics also are not films, which offer millions of dollars of production values and hours of entertainment for a dollar more than this comic. Comics are twenty-two pages where anything can happen. If your “anything” is the opening scenes of a movie, or first chapter of a book, you’re not doing it right. That’s worth at least two demerits, which leaves this book’s total score at middling. I do not foresee a thirteen issue commitment under those terms.

Hack/Slash: My First Maniac #1 (Image, 2010, $3.50)
I’m seeing a pattern emerge here. Stories focusing on Cassandra Hack solo in her formative years as a stalker of ‘80s slasher movie archetypes are pretty swell. From Dr. Loomis to the Dream Warriors, I’m a lot more interested in this type of material with a strong protagonist around. It isn’t until creator Tim Seeley tries to expand the series’ focus into super-hero bullshit that I find my interest waning. This story, heavy on internal monologue in the form of diary entries, makes getting reacquainted with the character a solid read. I suspect Seeley has hung out with his share of Suicide Girl types, since Hack’s voice is true for that generation of strong but damaged grrls.

I’ve seen flashbacks to Hack's origin a few times, so while I kept up with the scenes involving the Lunch Lady killer, I suspect this opening sequence as written could confuse the uninitiated. It was wise to give a full issue over to the aftermath of Hack’s first kill, showing her inability to fit into normal society afterward, and her need to direct her innate hostilities toward positive ends. It could have actually stood a second issue, as you do get the sense of Seeley rapidly shifting gears as his page count dwindled. Still, it’s good stuff, in no way hindered by the appealing art by Daniel Leister. An impressive opening that might finally see me take the plunge on a trade collection.

Lady Deadpool #1 (Marvel, 2010, $3.99)
I have one word to describe the current Deadpool phenomenon: “Lobo.” There was a brief moment in time when a giddy thrill could be had in this crass reprobate trashing the pristine, conservative DC Universe. That moment passed, and trying to read a Lobo comic today is painfully embarrassing. Lobo was stupid LCD trash, and yet Lady Deadpool is somehow worse. As you may recall, Deadpool is Spider-Man as a gun toting psychotic mercenary. Remember the “beautiful” veiled harem girl/princess/etc. from the old Looney Tunes that turned out to be a hideously ugly, boy crazy hillbilly? Lady Deadpool is an alternate reality hybrid of the two. That’s the whole joke. Lady Deadpool conceals her disfigured flesh while overeating, killing goons, and talking about her lust for a hawt dude. There’s also some miserably broad parody of the media/government that’s too empty-headed to offend anyone, beyond sheer lack of craft on the part of writer Mary H.K. Choi. Wait-- I take that back. Toward the end, there’s a “comedic” reference to the Manson Family murders that remains vomitous. I usually like Ken Lashley’s art, but when employed to facilitate a story so pointless, even it proved a turn-off. Easily one of the worst comics I’ve read this year, if only for the obvious disinterest on the part of all theoretically creative parties to bring more to this than the paycheck calls for.

X-Women #1 (Marvel, 2010, $4.99)
For decades, Milo Manara has been the uncontested master of stringing together a series of themed softcore set pieces through a thin narrative. Manara can do this because he draws the most beautiful and delicately realized women in the world. What makes X-Women different from most of his work is that in place of sex scenes are super-powers, the revealing costumes never quite give up the naughty bits (plentiful buns notwithstanding,) and there are numerous heroines in this adventure rather than a solo protagonist. Manara seems like he’s tried to pack in some unnecessary detail because it’s an X-Book, and Dave Stewart’s colors are a bit more harsh than Milo normally enjoys, but it's otherwise exactly what you’d expect. Chris Claremont is credited as writer, which manifests itself through the use of the island nation of Madripoor, the presence of Rachael Summers, and some clunky expository dialogue. Otherwise, it’s Manara’s show, and anyone who hasn’t come to terms with Kitty Pryde being a grown woman now is going to be left feel dirty.

As an aside, as someone who pays attention to indicia— the legal text that companies hung on the bottom of opening pages for about sixty years— I have to award X-Women the honor of offering the greatest scavenger hunt yet. DC and Marvel have gotten downright devious about concealing the location of indicia in their comics, but page 25 (of 64,) written atop the bottom portion of art on an advertisement for an oversized Avengers poster, takes the cake. Very easy to overlook on the assumption it was the details of a sweepstakes or something.

Monday, August 9, 2010

A Frank Review of "Dead Like Me: Life After Death" (2009)

The Short Version? Domestic Reapers.
What Is It? Dramedy.
Who Is In It? The series regulars, minus Rube and Daisy, and including Zod Jr., Whitley Gilbert, Hope Davidson
Should I See It? No.

I was turned on to Dead Like Me after the demise of the television series through a friend's DVD set. The short version is that chosen members of the recently deceased would return to something closely approximating life to serve as grim reapers. These individuals were charged with collecting the souls of those who died extremely, shortly before the big splat, and lead them to the afterlife. In their downtime, the reapers also had to maintain new living identities in the mundane world, operating inconspicuously and without contact with people from their past lives.

I liked the show enough to buy my own on sale, and just finished a nightly viewing of each episode over the past month, my second look at each. I also happened upon a used copy of the direct-to-DVD follow-up over the course of the marathon, and looked forward to finally catching that. I was put out by the absence of a few preferred cast members, but I'm not some devotee that would call that a deal breaker. It was a fun show that suited my sense of humor, but never essential.

Few revivals can ever capture the "magic" of the original, but there was only a three year gap between the cancellation of Dead Like Me and the initial production of this feature. Ideally, especially with a cult favorite, the creators would hew as closely as possible to the original, which in this case had a very distinctive visual and writing style. When the credits begin, and there's a new logo that would be at home on a Spooky Sounds of Halloween cassette tape. Then a faux Dead Like Me comic book materializes to relate the basics of the show, the only appropriate response bears the initials "W.T.F." It isn't even a good comic book-- just badly colored storyboards and the dreaded Comic Sans font. The natural assumption would be that the production budget must have been pretty skimpy, and that they maybe didn't have the rights to use footage from the television show to flash back to. However, in the commentary track, the director reveals that this was instead a way for him to place his own stamp on the show. His stamp reads "Clueless Asshole," and it'll cover this movie before he's done.

One of the series' gimmicks was to keep its reapers guessing as the exact identity of the soon-to-be departed, and to kill the unfortunate in a roundabout Rube Goldbergian manner. In this movie, there's only one brief scene where a reap's target is in question, and the flick opens with a scientist committing suicide through an entirely too literal Goldbergian contraption-- complete with an unironic last minute call rewarding his inventiveness that he's unable to take. The specific group of reapers the series followed specialized in violent deaths, but to the exclusion of suicides. In this instance, the divergence from the norm is explained, but the movie sets itself early on to the task of breaking as many of the series' rules as possible, succeeding in ruining a lot of what was good there while opening up a big can of worms that are left squirming about at the curtain call.

Comedy is timing. You can say something poorly thought out, or plain nonsensical, and get laughs-- if you do it quickly enough in the right moment. Wait five seconds to polish the joke, and the thought becomes a bomb or a non-sequitur. The timing throughout the movie is way off. Where the show's afterlife was represented by brief flashes of blue light that sometimes vaguely represented something, the movie offers saggy moments of the dead being applauded by auditorium crowds and-- wait, it's always cheering crowds here. What a rip!

Another major problem is found in the sets. Der Waffle Haus is burned to the ground off-screen, which symbolizes the strip mining of the show itself. Rube, the guiding light of the series, is pronounced dead, while Kiffany and Casey never appear. The new Daisy actress is introduced, and is so clearly not Laura Harris (or even reflecting the right fashion of the character, with her staid '50s ensemble,) you're immediately aware something is off. The cast is then whisked away by limo to a dimly lit high class restaurant, where they're presented with Palm Treo smartphones in place of Post-Its by some Eurotrash Brit that's the new boss. Meanwhile, the Lass home must have finally been sold, which might help explain George's seeming detachment from her remaining family in town. The most egregious change is to Happy Time, the sterile, florescent lit cubicle hell George worked at. In the interim, the piss-ant temping agency has become a stunning corporate office with byzantine architecture involving glass and orange-red natural lighting everywhere. It looks like heaven as imagined by Renny Harlin, and is so far removed from the aesthetic and purpose of its existence in the series that its appearance is to the detriment of the proceedings. Crystal shows up just to show up, though.

Sarah Wynter replaces Laura Harris as Daisy Adair due to a last minute scheduling conflict with Harris' TV show Women's Murder Club. Great pains are taken in commentaries to connect the two actresses, who played terrorist sisters in the second season of 24, but that's a show known for its implausibility. Harris is a stunning alabaster beauty, and Wynter is a rubber chicken that should have Wayland Flowers working her from behind. Daisy Adair was the most complex character on the show, with Harris navigating positively schizophrenic writing with grace. Wynter's career highlights involve showing her tits in a Species sequel and a lesser Schwarzenegger flick, her comedic timing is shit, and her performance is flat as a board.

One casting divergence from the series that actually works is Jennifer Rae Westley as Millie Hagen, George's living alter ego. In the earlier episodes, the actress portraying how the living world saw George, put indelicately, looked like a heroin addict on the down side of life. As the series progressed, George saw romantic attention from some fairly hot guys that would be out of that chick's league, where Westley is actually hotter than George, so that turn makes sense.

Inevitably, you have to cast about for blame. The veteran actors had varying degrees of trouble with finding their characters. Cynthia Stevenson and Britt McKillip fared the best there, as they were shielded from the mess of the reaper world, and could focus on their mother-daughter relationship. Both characters had matured and progressed in mostly believable ways, and were able to sell some clunky dialogue. Ellen Muth carried a similar trajectory, but because of her presence in the reaper entanglements, she is forced to carry out actions that don't fit even an older, wiser George. Callum Blue was on auto-pilot as Mason, while Jasmine Guy couldn't quite overcome the contrivances forced on her character. Christine Willes is still Delores Herbig, but seemingly sadder and more defeated by age.

I expect the actors all had confidence in their writers, veterans of most series episodes, which is one area where the movie goes astray. Every reaper except George is given short shrift, devolved to their most base character attributes and painfully manipulated to suit the needs of a coolly constructed story. Without the grounding presence of Mandy Patinkin as Rube, their amusing infantile tangents are never met by an opposing force, killing the humor for lack of tension. Roxy's failure to step up in Rube's absence sends the lot flying out of their usual orbit and into trouble, with repercussions that are never adequately explained. The new boss, Cameron Kane, is initially portrayed as a make-it-or-break-it shark who sacrifices humanity for efficiency. However, the organization immediately breaks down due to the incompetence and/or callousness of his oversight, which begs the question of why he was given a position of authority in the first place. Whether he was an active agent of evil or simply disinterested in his duties are never elaborated upon, and the seduction of the reapers is so easily initiated that everyone in the affair comes off as lacking sophistication. My best guess is that the series' strengths lay in lacing boring normal life with divine undercurrents, where the movie's script has fantastic aspirations beyond the writers' comfort zone.

Ultimately, the head to call for is director Stephen Herek, whose feeling the need to impose his style on the production spoils the soup. Constant use of slow motion. A desire to unnecessarily elevate the production values from the show, conversely making the movie look cheap. A fixation on expanding the scale of the premise without laying down a proper structure to support it. Soap operatic turns, saccharine melodrama, and incongruous sexual escapades. Awful attempts at broad comedy and third hand gallows humor that never should have escaped the cutting room. An attempt to pull a Shyamalan by sticking clocks in every scene. Fucking bullet time. Thanks to a moronic director, much of the flavor of the show is lost, and this debacle will only sully the memory of a pretty swell show that seems to have lived just long enough, and then a bit too much.


  • Audio Commentary by Director Stephen Herek and Actress Ellen Muth Muth relates the story of filming her death scene from the series shortly after 9/11, sending bystanders dialing 9-1-1. There's some other anecdotal crap like that, but mostly it's just pretension and delusion.
  • Back From The Dead: Resurrecting Dead Like Me Featurette You know the usual interview bullshit on these things? That.

Friday, August 6, 2010

Brightest Day is Atomic For All I Care #76

Adventure Comics #516
Brightest Day #5-6
Brightest Day: The Atom Special #1
R.E.B.E.L.S. #18 (2010)

Adventure Comics #516 (DC, 2010, $3.99)
A few years ago, Jim Shooter returned to writing The Legion of Super-Heroes after decades of absence, offering new characters and situations, thinly veiled futuristic expletives, edgy subjects, and the first hint of a forward direction this goddamned franchise has seen since Legion Lost. Well, fuck all that. Geoff Johns finally debooted the Legion back to the pre-Five Years Later period, and got Paul Levitz to return to writing them from pretty near where he left off decades back. I'm not reading the main title, but the Adventure Comics side project is about as backwards looking as could be. This is the latest recitation of the legend of R.J. Brande, incorporating a host of familiar retcons and some seemingly new ones I don't care for, most specifically Brande's now speaking in the broken English of an early 20th Century Jewish immigrant. Oy vey, indeed! Reading this again was tiresome, and the telling so annoying and lethargic, I can't imagine it roping any new readers. Utterly pointless waste of time for all parties.

Then there's the new Atom strip, which sucks. I liked Jeff Lemire's Sweet Tooth well enough, even if an issue could be read in seconds. Then the guy started giving interviews for this serial, talking up his love for Silver Age comics and science heroes. When I hear that, it sounds like a respect for history, intellectual scripts, and compressed storytelling. Well, Lemire was just giving a stroke job, because this strip is just as shit as your average DC Comic. Ray Palmer's estranged father just had a stroke, and he feels bad about it. That's two pages, both of which are essentially splashes, devoted to Ray's newly acquired daddy issues. I remember Ray's father previously turning up in the early '90s Atom Special, and I think he was on some kind of death bed then, but suddenly he's this hugely important part of Ray's life.

Next, the Atom pays a visit to Oracle, because he knows the Calculator was behind his recent troubles. There is no explanation as to why he would jump to this conclusion, and I guess we're supposed to be impressed that the Atom is going to be the guy to finally bring the Calculator down. You know, after Oracle and... um... I guess somebody else sometime cared that the Calculator exists and failed to bust him. Cue two page spread of the Atom flying through a phone signal, another page to his bouncing between connection points, until finally confronting the Calculator. You know, the guy who looks like an accountant, who used to have giant calculator keys on his costume? So we have three pages of Atom holding a CPA by his white collar, until he's gassed, and a final page of the bookkeeper stepping on his neck.

In summary, fuck you Jeff Lemire for proving all of Ray Palmer's detractors right by portraying him as a boring nerd who battles plainclothes dorks in boring ass stories. Also, fuck Mahmud Asrar for taking on a couple dozen different assignments for several publishers after his nice work on Dynamo 5 so he can phone-in this weak art job-- peppered with cover art from Brightest Day to make this crap seem relevant.

Brightest Day #5-6 (DC, 2010, $2.99)
By gum, this is the prettiest book on the stands that doesn't really matter! Aquaman and Mera look hot drawn by Ivan Reis for three pages dealing with the BP oil spill. Hawk, Dove and Deadman look swell trying to resurrect related dead Dove and Hawk avatars for two pages. Switch two three pages of Aquaman battling evil guys from Mera's home dimension. Ardian Syaf's nine pages of Hawkworld stuff is a bit raunchier, with the sloppy black hentai kiss and the flat human faces, but his beasties are good and jacked-up. Two more pages of Lifeman, two pages of Mera spilling a big revelation. Everybody bow, and those not tossing in their speckles can wait for the easy recap online.

New issue, promised to answer the question "Who Is Martian Manhunter" that three years of his ongoing series failed to provide. No such thing will occur. Instead, more gratuitous violence from the renegade Martian chick. Is she J'Onn's reanimated daughter? Is she the Typhoid Mary of H'ronmeer's plague? Does she rock the same MPD shtick as Miss Martian? Only affirmative seems to be the latter. Meanwhile, J'Onn J'Onzz seems to be getting his nails done where the Hulk used to go in his Goth period.

Change partners and do si do! Fake Black Lantern versus Liveman and Hawk and Dave, among the least popular trio of heroes DC could throw together without involving Brother Power. Say, which corps would the Geek join, anyway?

Aw shit-- it's the Firestorm defamation project, back in full swing! Jason blows off hotties pushing up on him, while Ronnie is too drunk to see straight, puking on a helpless bystander. Maybe now that they both know there's a Black Lantern between them, the pair has finally bottomed out and can stop alienating whatever fans they could potentially gain here. Of course, the art by Scott Clark remains filled with cgi/photo backgrounds and the figures are mostly lousy, so good luck with that.

Oh yeah, Mera dropped a big continuity bomb last issue that casts a pall over her entire history. It's hard to validate if you read the original stories, and I doubt the world needed another carbon copy evil sibling, but alrighty then.

Boom! Forgot about Martian Manhunter, din'cha? Dude's playing with a squirrel and killing plants. There are worse pastimes, yo. J'Onn confirms that the JLA arc "Trial By Fire" didn't kill all the White Martians, while speaking in overly formal manner, and being drawn way less well by Pat Gleason than I'd have thought. That brow is insufficient sir, and I suspect you still haven't recovered from Green Lantern Corps with the lack of detail and over-reliance on shadow here. Finally, Martian in a Refrigerator and peace out!

Two books. Too many plots. Too much inertia.

Brightest Day: The Atom Special #1 (DC, 2010, $2.99)
Brightest Day is bringing sexy back with pretty boy Aquaman and skintight Mera. Brightest Day is putting pants on Martian Manhunter and giving him his nineteenth ultimate nemesis. Brightest Day is advancing race relations through drunk fratboy Ronnie and uptight Oreo Jason as the new Firestorm. Brightest Day is mending the marriage of the Hawks. Now, what can Brightest Day do for the Atom?

About the same thing it's doing for Deadman, Hawk and Dove-- foist them on the buying public without perceptibly improving on this pack of failures. I've had to tolerate months of shit talking from Ryan Choi fans about what a boring whitebread creep Ray Palmer is, and this book wholeheartedly supports that opinion. For starts, writer Jeff Lemire clearly never bothered reading the All New Atom, or he might have known Professor Hyatt was revealed to be senile in that series. Where that series made Ivy Town a completely oddball place offering myriad story possibilities, Lemire's Ivy Town is Dullsville, in which the only action piece takes place in a fucking library. With Palmer arguing that while Green Lantern rules space and the Flash an entire city, he rocks the fucking library. Jesus Ray, you suck at winning friends and influencing peep-holes.

Lemire also doesn't seem to have read any Totally Old Atom adventures, since he takes a big steaming shit on the entirety of Ray Palmer's continuity. I've been reading Ray's earliest adventures, which backs up my impression of the character from later stories, being that Ray's an athletic asshole with a superiority complex ironically saddled with a semi-bullshit power. The reason why shrinking people stories work is because they're about normal people surviving against adversity. Nobody aspires to get really small, but Ray's so good at what he does, he makes little cool. Lemire's Ray, however, is another weaselly Peter Parker who, despite being a divorced university professor, still looks like he's a first year student. This Atom makes rookie mistakes, and is still hung up over an abusive brother and overbearing father I barely recall ever seeing before (or never, in the brother's case.)

In Lemire's world, Ray Palmer was a little pussy who wore glasses and was inspired to heroism by personal tragedy. Instead of working under his own initiative, Professor Hyatt directed him to find the white dwarf material. Instead of being trapped in a cave activating his Atom powers through ingenuity, Ray saw the news of a cave-in and happened to already have a makeshift super-hero costume. Jean Loring? Never heard of her! All of the original Fox/Kane stories? Never happened! No, this is the Hank Pym version of Ray Palmer from '70s Justice League of America stories, who struggled with an inferiority complex and questioned his usefulness to the team. Basically, the same kind of shit that turned me off to Ryan Choi, except without the humor, the innovation, and with some X-Files conspiracy bullshit grafted onto Ray's entire friggin' life.

I've pre-paid for two more issues of Adventure Comics after the one reviewed here, which is the length of rope Lemire has to turn around my intention to never read his work again. I don't care for Mahmud Asrar's bland art either, but he'll have ditched this paycheck project even before I will make it out

R.E.B.E.L.S. #18 (DC, 2010, $2.99)
It seems a little late to be doling out an introductory issue, but I guess someone's banking on the new old Brainiac bringing new eyes in. There's a tweaked version of Vril Dox's origin to accommodate the most recent Brainiac revamp, a brief reacquaintance with the seemingly forgotten current R.E.B.E.L.S. and even a quick revisitation of Captain Comet's origins. Speaking of the latter, space sex with Starfire clears him of my many charges of homosexuality, though the jury's still out on my follow-up accusation of bi-dom. Not content to play solely in the Silver Age (Bronze if you count the nod to Secret Society of Super-Villains,) a Grant Morrison creation also turns up. It's all alright, but the steady course is only that.

Tuesday, August 3, 2010

The Linkypeux of 8.3.2010

John Henry gave his life against the Inky Poo to prove a man could overcome a machine. Frank Lee Delano fights a losing weekly battle against the internet, so that his sacrificed time might save your own.


The Hottest Women Of Indie-Rock (BuzzFeed)
The Devin's Advocate: It's easy to be cynical about Comic Con... (CHUD)
The 7 most badass women in history (guyism)
100 Sexiest Women in Science Fiction (55-41) (Siskoid's Blog of Geekery)

Art & Photograpy
Star Wars propaganda posters (Damn Cool Pics)
Sweet Lips, Swap Lips (Rob Kelly Illustration)
James Bond (Rob Kelly Illustration)

If Green Lantern Was a Pervert [Comic]

What's wrong with this political cartoon? (Every Day Is Like Wednesday)
A few weak links in this chain e-mail (PolitiFact)
Tim Pawlenty says the U.S. is not undertaxed compared to its competitors (PolitiFact)

The Rolling Roadshow poster series is stunning (CHUD)
Dellamorte's Box Office Wrap Up 7/30/10 (CHUD)
Scott Pilgrim vs. The World review by Nick Nunziata (CHUD)
Get Low review by Devin Faraci (CHUD)
Scott Pilgrim Vs. The World review by Joe McCulloch (The Factual Opinion)
Dinner for Schmucks review by Dustin Rowles (Pajiba)
Get Low review by Brian Prisco (Pajiba)
Operation Endgame review by TK (Pajiba)
The Warriors review by Dustin Rowles (Pajiba)

Celebrity Gossip:
Sara Gilbert comes out! (US)

Comic Books:
Lying In The Gutters – 2nd August 2010 (Bleeding Cool)
Nick Cave Rewriting The Crow Remake (Bleeding Cool)
Cosplay At San Diego Comic Con Special (Bleeding Cool)
Is This Is A Terribly Racist Tea Party Comic? Or Is It A Plant? (Bleeding Cool)
The Real Superheroes In Pictures (Bleeding Cool)
Greg Baldino On Black Comix – Part One (Bleeding Cool)
Greg Baldino On Black Comix – Part Two (Bleeding Cool)
Greg Baldino On Black Comix – Part Three (Bleeding Cool)
Marvel Comics Solicitations for October, 2010 (CBR)
Judge rules Dark Ages Spawn, Domina and Tiffany are derivative characters (CBR)
Comic Book Legends Revealed #271(CBR)

Comic Book Reviews:
AICN Comic Reviews Shipping Week: 7/21/10 (AICN)
The Buy Pile 7/28/10 by Hannibal Tabu(CBR)
Best Shots Advance Reviews: ARTIFACTS, IRON MAN ANIME, More (Newsarama)
Best Shots Rapid Reviews: WONDER WOMAN, FANTASTIC 4, More (Newsarama)

Comic Book Blogs:
Nobody’s Favorites: Maggot (Armagideon Time)
Richard Dragon, Kung-Fu Fighter #1 (April-May, 1975) (DC Bloodlines)
The Top Ten Lady Shiva Covers (DC Bloodlines)
Wonder Woman #115 (July, 1960) (Diana Prince: Wonder Woman)
The Top 20 Steve Trevor Covers (Diana Prince: Wonder Woman)
Public Domain Superhero Day: The Raven (Sketchcard) (Flameape)
The Patron Saint of Loser Super-Heroes (The Idol-Head of Diabolu)
The Human Flame: Sixth Most Important Martian Manhunter Adversary (The Idol-Head of Diabolu)
2010 FBCC Sketches | Martian Manhunter by Michael Netzer (The Idol-Head of Diabolu)
The Top 20 Vandal Savage Covers (The Idol-Head of Diabolu)
2010 The Martian Manhunter Archives Volume 7 Table of Contents by Tom Hartley (The Idol-Head of Diabolu)
ATOM No. 35, March-February 1968 (Kingdom Kane)
67: Tales to Astonish #46 (Marvel Genesis)
Space Adventures #34 (June, 1960) (The Power of Captain Atom)
The Top 20 Captain Atom Covers (The Power of Captain Atom)
What If... the Thing Had Continued to Mutate? (Siskoid's Blog of Geekery)

NUDITY (Not Safe For Work):
Kenya Moore in Smooth Magazine 47 (Bossip)
Alice Eve & Sarah Jessica Parker | SexAndTheCity2 (DeepAtSea)
Olga Estupinann Nude in Some Fashion Shoot of the Day (Drunken Stepfather)
Avril Lavigne Nipple Slip Pictures Are The Sexy Beach Bomb (Egotastic!)
Fibi Love (hithiphop)
Richard Avedon for The New Yorker (Touch Puppet)
Ashley Smith in Dedicate Magazine June 2010 for Greg Gex. (Touch Puppet)


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