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I must not have been reading Ultimate Spidey during the good years, because I'm enjoying the current stuff, what with Aunt May's crazy house of super-teens and such. Sure, the latest thing was all about Ultimate Rick Jones and wrapping up Bendis plot threads that were laying around, but it wasn't bad. That's kind of always been the Ultimate thing anyway, right? Make some lame reference to Marvel continuity that only lifelong nerds will get, then pretend that it's actually the "accessible" series that anybody can read?

Also, I need to read me some fucking Gantz already.

I want war crime comics.

That can either be a comic about war crimes or crimes during wartime, either/or. Just make it pulpy.

My favorite part of that Iron Man issue was how Larocca totally blew the reveal that Rhodey had been shot with completely crap storytelling. D'Armata, too, put his worst foot forward.

I want a Kelly's Heroes comic: wwII combat crime caper, b/c I don't think it gets better than that

Sinners would have been a lot more interesting if it started at it's end as a riff on The Last Detail.

especially since Tracy never ended up dead on the beach at the end of the previous Get Carter riff.

The best use of the "I love you, archenemy" motif I've ever seen was in an Electro story published in the adjectiveless-Spider-Man series in the years immediately after McFarlane left. It was a real mind-fuck at the time. Then DeMatteis did it with the Chameleon in Spectacular a few years later. The Chameleon hasn't been right since.

That was Jenkins, rather than DeMatteis, unless Cham has announced his love twice: http://www.4thletter.net/2009/09/i-love-you-peter/

And yeah, those stories only go so far, like the old "If you kill me you're worse than I am!" bit.

I love Gantz. It's the Matrix by way of the Kinsey Reports.

Did you read the essay in volume 5? The one where Oku claimed he may have been the first artist who blurred an areola to give the nipple a sense of motion?

Oh yeah! Like... I do sort of presume Oku's "playing up" his persona to an extent, like not necessarily acting as a full-blown author character but... intensifying his delivery for special impact. The John McClain/Marty McFly fan art sequence pushed me over the line on that one... in the later volumes (don't have 9 yet) the editors' content adopts the same raised eyebrow expression as some of the stuff in the back of Golgo 13, which suggests a maybe wider-than-Oku comfort with the series' absurdities. It's not a joke, I don't think the series is EVER a "joke," like how Garth Ennis might do it... it's more of a joy from indulging, and being ashamed of nothing, and wanting to share how nice it is to not be ashamed of things.

Plus, I mean... he's an artist who's self-inserted into earlier stories, so he's built a character to further groom, I think... I'd REALLY love to read his guy-guy attraction farce.

I'm betting you'll catch a taste of guy-guy soon enough, that's got to be in part the reason he's introduced the gigantic yaoi guy. Bring on the drunken make-outs.

Believe me, the "gigantic yaoi guy" was introduced for something far more amazing than that.

I don't want to spoil too much, but let's say there's some astounding racial sensitivity on display in an upcoming story arc.

"bring on the drunken make-outs" totally fits the "bring on the dancing horses" eighties song.

The Eggo shortage was truly a dark and troubled time in American history...

Ted McKeever doing Dr. Strange! Is that worth looking at?

Jonathan, I feel like you sort of answered your own question.

I wonder what happened to Paul Jenkins that changed his style so much

Also- on the cover of the marvel be one of us whatever the f-ck book, those are totally NOT spider legs. Arachnid maybe, but not spider. They look like the legs of a louse or a tick. Fascinating subtext there.

Breaking into comics the Marvel Way:

1a. Work at another comics company for like 8 years, including DC, become a success there.

1b. Become successful writing any other medium.

2a. Draw a Marvel Adventures series, when you're proven that you won't totally fuck up, be allowed to draw a "real" comic, probably an obscure miniseries and when you've proven again that you REALLY won't fuck up, get put on a flagship title or a crossover or something.

2b. Write a moderately well-selling mini-series for Marvel, get given the reins to a flagship series for a couple of issues, become one of the seven guys in their rotation.

You know, I thought that whole Chameleon thing was in the tail-end of DeMatteis' Spectacular, with Luke Ross on the art - somewhere hereabouts:


But it is entirely possible I am misremembering because boy howdy do all those late 90s Spider-Man comics blend together into one putrid mush.

Um. Gantz ended in like 1998 or something. Srsly.

Please get with Evangelion Reloaded the Squickening or whatever the kids are reading nowadays. Srsly.
You Are (Not) Alone! Placing (not) within parenthesis carries great portent!

Also, who gives a fick about Peter Parket Spire Man, srsly? I mean srsly. Spdrsrsly.
Terminal Choice did a fair remix of I Kissed A Girl but that doesn't mean I give shit.

Gantz ends with shit. Some stuff happens and blah de blah nothing you just spent twenty volumes reading matters a shit. Har. The aliens will come and rape humanity anyway blah blah irreverence.

Goddamnit Tucker look what you did, talking about Gotham City Sirens that one time attracted all the 4channers.


as much I personally liked the past year in Superman (minus Action), I have to admit your Last Stand review was god damn hilarious.

That's what I like about this site - often it insults things I like, but I laugh anyway. It helps me to get past myself and see my taste as the personal, subjective thing it is.

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