Time travel is a fascinating topic to many, and Fred Van Lente‘s current Ivar, Timewalker series from Valiant is timesurfing at both its most fun, and most scientific, with nods to Stephen Hawking’s writings on the subject. Van Lente did his own time jump to the past a couple years ago in The Comic Book History of Comics. This week Tim discusses both these works with him, along with Spider-Man, Archer & Armstrong, reassessing Fredric Wertham, and more.
Podcast: Play in new window | Download
Remember the ‘90s? Remember gold foil covers and mutants with huge guns and toothpick feet? If so, then perhaps you also remember Malibu Comics, the company that originally served as Image Comics’ publisher. After Image broke off on its own, Marvel bought Malibu, only to shut it down when the comics industry imploded. Roland Mann was an editor at Malibu (on the Ultraverse titles, among others) and has also written a number of comics (including Cat and Mouse). This week Tim talks with Roland about the ‘90s and what he’s been doing since then, including a new comic, Citizens, that he’s working on with Terra Kaiju artist Joe Badon!
Podcast: Play in new window | Download
In the world of corporate comics, creators are challenged to put together a run on a given book that will stand out against everything that’s come before in that book, and leave a mark on the series that will last well beyond their run. Grant Morrison’s New X-Men run, from 2001 to 2004, met that challenge. In the ten years since he left the book, several characters and situations he set up have endured, including Fantomex, the Stepford Cuckoos, and Scott Summers’ relationship with Emma Frost. Morrison had a good handle on all his characters, old and new, and introduced the new ones in a way that made us care about them, something that certain comics writers have failed to do.
Of course, it’s not perfect. The X-men going public seemed to be the biggest event of the run — somehow overshadowing the slaughter of six million mutants on Genosha. The art was inconsistent — great when Frank Quitely was on it, but questionable some other times. This week Tim and Kumar examine Morrison’s run, particularly the initial “Cassandra Nova” arc.
Podcast: Play in new window | Download
If you’re into American comics at all, you undoubtedly know how Stan Lee, Jack Kirby, Steve Ditko and others changed the industry with their work in the 1960s, and set the template for kinds of stories Marvel still publishes today.
That’s just part of the story that Sean Howe researched for his 2012 book Marvel Comics: The Untold Story. Through interviews, research of media reports, and of course tons of comics reading, Howe uncovered the backgrounds of many comics stories and rumors that longtime readers may have wondered about. There’s plenty of intra-creator acrimony to be found in its pages, yet Howe found that the book helped some of those involved to move on from decades-old wounds.
This week Tim talks to Sean Howe about the research, the reaction, and what this book has to say to aspiring creators.
Podcast: Play in new window | Download
The Dark Silliness of Fear Itself: Deadpool
By Neil Tomblin
Remember rapper MC Hammer? He was the rapper who always said, “It’s hammer time!” This catchphrase resurfaced in Marvel Comics’ Deadpool story arc of “Fear Itself.” “Fear Itself” was a big event that included many different books that feature various Marvel superheroes. The basis of each story deals with magical Thor-like hammers that fall to the sky and endow different Marvel characters with powers. These stories are also an analysis of current events that have brought fear to America. One of the “Fear Itself” stories that stood out for me was “Fear Itself: Deadpool.” This story arc was funny and action-packed.
One thing I kind of never understood about the Deadpool comics is all of the comedy. The name Deadpool sounds so dark and hardcore that one would think to make the Deadpool’s stories dark. Deadpool’s suit even looks hardcore. Instead of getting the ruff stories that are featured in DC Comics’ Deathstrike comic book series, we get the slapstick humor in Deapool’s stories. How does Spiderman get the dark stories, but Deadpool gets the stories that makes Deadpool look like a parody of himself? However, as I began to read more into this Deadpool story, the comedy began to grow on me.
Continue reading The Dark Silliness of Fear Itself: Deadpool
In the course of doing this podcast, we often find comics that we’d like to read more of, but seldom can because we have to move on to the next podcast topic, and there are only so many hours in a day. This week, Mulele & Tim thought they would revisit some previously reviewed Web comics and see how their creators had progressed. But, wait, hold the phone — what’s going on with Evil Diva? (original 2009 critique was rerun November 5, 2011) The work-for-hire Web comic abruptly changed its business model last summer. Are the site’s handlers killing the comic while trying to save it?
Also, Mulele revisits Dustin Harbin‘s site, with asides about Matthew Forsythe and boycotts of Marvel & DC.
Podcast: Play in new window | Download
Writer, Artist, Editor: Jack Kirby
Marvel Comics, 1977.
(This review originally appeared at Weird Crime Theater.)
By pure coincidence, I found this comic at the Camberwell Collector’s Fair the very same week that I was reading Arthur C. Clarke’s novel version.
A cursory glance at the cover will tell you that Marvel’s approach to this property was so divorced from that of Stanley Kubrick or Clarke as to make it effectively unrecognizable. I mean, just look the price box alone!
Crossover events have become ubiquitous fare from Marvel and DC, with smaller publishers recently jumping on the bandwagon. Lots of us complain about them, and yet, buying ironically is still buying. Tim is joined by John Roberson to discuss why the past year’s main events, Fear Itself and Flashpoint, were particularly unsatisfying, what makes a (relatively) good event series, and why we read these books in spite of “event fatigue”.
John’s Comic Art Commissions page
Podcast: Play in new window | Download
Villains we love to hate! Villains who could have been good guys but made bad choices! What makes the more interesting villain? Are the two types mutually exclusive? Why are some villains really compelling, while others become the butt of jokes? What makes a villain menacing? How is it different in comics compared to movies or TV? Tim and newcomer Kevin Horton discuss.
Other discussions of this question:
Podcast: Play in new window | Download
Dan Kanemitsu talks with Tim about how he and others in the manga industry have responded to the new Tokyo censorship law. The conversation also covers the differences, and interactions, between American and Japanese comics, the creative freedom enjoyed by women in Japanese comics, and much more.
Podcast: Play in new window | Download
