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He gave a slightly playful tweet about it, but other than that, I haven't heard anything else reaction wise from him.
I don t usually care for too gory or sleazy series, but Hellblazer is in another league, same as PREACHER and 100 BULLETS. Or certain Sandman stories. There is some heart and intelligence to it.
It feels like the good ol' MAX series, but it's definitely a modern reboot of sorts, as Frank Castle is younger even though it's present day (no Vietnam this time, he's just a Marine) and Steve Dillon is the artist.
It's AWESOME.
One odd thing though.... there's a big bold 'parental advisory' on the cover, and there's tons of blood, yet all the swearing looks like @$%# gibberish. Weird....
Lothar to Mandrake after running away when seeing a "ghost": "I wasn t really scared. I was just running for the exercise."
Mandrake: "Of course."
A grand day out for my favorite Doctor played by Tom Baker.
In the 80s and 90s this was a Norwegian humour magazine akin to MAD etc.
THE HARD GOODBYE
and
A DAME TO KILL FOR.
Once again struck by how faithful the films are to the Frank Miller comics. Miller codirected with Rodriguez, so there is that. They are both masterful.
But give me that adaptation of Hell and Back with Johnny Depp and all will be forgiven about the second film.
I didn't mind Josh Brolin in the role, I just wanted some continuity. I forgive things like Manute being recast, as Michael Clarke Duncan had died, but it as it was, after the facial surgery, Dwight just looked like Josh Brolin with a funky wig on rather than a completely different person, which was how it was done in the graphic novels.
That's basically most of my complaints with the second film. It had so little continuity with the first film, it makes it difficult to truly watch them together.
THE BIG FAT KILL
FAMILY VALUES
BOOZE, BROADS, & BULLETS
HELL AND BACK
Clearly, Miller is more than just a little inspired by the old EC comics.
Hell and Back is my second favorite of the Sin City series. That Yellow Bastard is my all time favorite, but Hell and Back is just damned good. Family Values was a bit of a mistake and some of the stories in Booze, Broads & Bullets are hit or miss, but Hell and Back makes up for every bit of that. Assuming the Sin City films can survive, I want that to be adapted. The trippy scene in the middle would be amazing on film.
Thought I would mention it in here first before going ahead.
The year is 1733 and Redbeard s son Erik is escaping from London with a prize on his head after helping his father escape from the gallows.
Well, Steve Rogers/Captain America #2 is now out and...if you haven't read it yet, go ahead & do so. As I expected, Marvel's not REALLY wanting you to believe that Steve was a Hydra double agent for all these decades, and Joe Simon & Jack Kirby have no need to go rolling in their graves. It's a plot twist, one that makes perfect sense if you read Avengers/Pleasant Hill. I have every reason to believe that by the end of this story arc, everything will be back to normal for Cap -- or at least, as "normal" as anything ever gets in the modern Marvel age...
Another Carl Barks collection from Fantagraphics Books. This one covers 1948/1949 and consists of over 200 pages of timeless classics as usual. A work of art.
The Flash: Flashpoint
I have just gotten past the point where:
I went into this story blind, so all of the twists have come at me by surprise. I don't know much about the DCU, probably only a little more than the average person on the street. There are a number of characters that I don't really know of. So I will, once I have finished Flashpoint, read up about them, and then re-read the story.
Any suggestions about what Flash stories I should try after this?
I'm an old fuddy-duddy, so I personally recommend the stuff illustrated by Carmine Infantino in the late '50s through the '60s. This is the "run" that introduced Barry Allen and defined his Rogues Gallery. Great Silver Age sci-fi, can't do much better than this to my eyes. But you probably want a more modern take, so I'll suggest the Mark Waid run, which introduced the entire concept of the speed force. This is fairly pivotal to the current Flash mythos so it's probably where you want to look.
But really folks, anybody with an interest in DC's superheroes needs a proper grounding in the Julius Schwartz edited books of the '50s-'60s, from Flash and Green Lantern through the JLA, the Atom and Hawkman. It's like saying, if you like Marvel's superheroes you really ought to check out the work of Stan Lee, Jack Kirby and Steve Ditko. These are the giants on whose shoulders current comics creators are fortunate to stand.