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One of the things I really liked about Nonnonba was how the Youkai serve as a link between the toonily-rendered characters and the photorealistic, intractable backgrounds. The Youkai are just as goofy-looking as Geru and Nonnonba, but they more fully inhabit and manipulate these solid, dense houses, woods, and waters.

This resonates with the bildungsroman aspect of the story. Geru learns to possess the power of the Youkai by drawing them. You could say that Shiguru Mizuki, not the house spirit, is the one who torments a certain family late in the book. Revenge comics!

"Geru learns to possess the power of the Youkai by drawing them. You could say that Shiguru Mizuki, not the house spirit, is the one who torments a certain family late in the book."


Another great episode guys. But the best Wolverine comic, and the best Punisher and the best Ghost Rider comic, is Hearts of Darkness!!!

I do love Hearts of Darkness. Such a great way to get all the characters into one place. "I got a letter that said to come here" "Me too" "Let's kill everybody" "Okay"

How large an impact do you guys think Mark Millar has had on the Big Two comics? Or comics in general.

First thing that comes to my mind re: Millar's impact is a whole lot of Hollywood dreams in comics form. Like, Millar's the guy I think of when I hear about comics-to-movies existing on any level really substantively benefiting a creator (as opposed to a publisher) - which isn't anything exclusive to Millar, it's just nobody else has made it quite so critical to their persona.

BUT - you raise an interesting secondary issue. Has Millar had any particular aesthetic effect? Who are the "post-Millar" writers? I can't think of anyone, actually - maybe Johns, but that's mainly because they both sort of orbit Grant Morrison in terms of influence -- Millar to a much greater extent, of course; if you want to talk about his pursuit of cool superhero 'moments,' I'd say he's following JLA to an extent -- rather than any apparent Millar-related consequence.

I guess I tend to think of Millar as less an impact than a double culmination. First, he stands at the present end of the half-parodic, half-indulgent 2000 AD approach to fantastical comics -- you can draw a pretty straight line from Millar to Mills & Wagner, as much as devoted 2kAD readers tend to turn their heads at spit at the mention of Millar's name, and despite Millar's apparently genuine affection for superhero comics -- as one of the guys (with Warren Ellis, who never actually wrote for 2000 AD but knew the tradition) who really bottled it to superhero taste and sold it in the US.

Secondly, and relatedly, Millar is sort of a culmination of superhero-specialist writers coming at it for love of the game, finding great success, and trying to break away later to do their own thing, in that Millar seems like his corporate work so much that his creator-owned work is nearly the same thing, only a bit harsher, and he's been successful at it beyond any of his peers. Query whether this makes him additionally salable to movie producers, reinforcing his status as a creator-owned succes on corporate comics'' terms...

Quite a coup getting Satan to intro the podcast. :3

Also some interesting stuff about Millar. He's sort of like a dirty Michael Bay. I think that would make him Tony Scott though.

I do write occasional reviews, but in portuguese, so you probably wouldn't have read them.

But there is no way I can write as well as Jog, so you aren't missing much...

I don't know if you saw the show notes where I apologize for messing up your name, Pedro, but... sorry!!

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