James Bond

The Pull List: Batman, Brave and The Bold, Damnation, Maestros, Mighty Thor, Punks Not Dead, and more!

February 25, 2018 by krisis

Doctor Strange: Damnation #1, art by Rod Reis

I know it seems impossible, but The Pull List has grown even bigger this week for the third week in a row! That’s because I finished catching up to present on a number of DC and Marvel books, plus I picked up five smaller press books.

DC Comics
- Batman #41
- Batman & the Signal #2
- The Brave and The Bold #1
- Damage #2
- Deathbed #1 (Vertigo)
- Justice League #39
- Milk Wars – DC Cave Carson Has a Cybernetic Eye / Swamp Thing Special
- Super Sons #13
- Superman #41
- Trinity #18
Image Comics
- The Further Adventures of Nick Wilson #2
- Ice Cream Man #2
- Maestros #5
- Redlands #6
- Twisted Romance #3
Marvel Comics
- Astonishing X-Men #8
- Avengers #681
- Deadpool vs. Old Man Logan #5
- Doctor Strange – Damnation #1
- Generation X #87
- Infinity Countdown Prime
- Mighty Thor #704
- Tales of Suspense #102
- The Incredible Hulk #713
- Venom #162
- X-Men Gold #22
Smaller Publishers: Dark Horse, Dynamite, IDW, Vault Comics, Zenescope
- Belle Beast Hunter #2, Zenescope
- Heathen #6, Vault Comics
- James Bond: The Body #1, Dynamite Comics
- Mata Hari #1, Dark Horse / Berger Books
- Musketeers #1, Zenescope
- Punks Not Dead #1, IDW Publishing / Black Crown

Pick of the Pull

Big Two (Marvel/DC) Issue of the Week:
Mighty Thor (2016) #704

A bloody, thrilling, heart-rending comic. Aaron has somehow amped up the drama in each of the last three issues as we hasten towards a potential Ragnarok at the hands of the Mangog and Jane Foster’s death at her own hands if she takes up the mantle of Thor just one more time.

Yet, beyond those looming disasters there is still Makelith’s war on the Ten Realms. Mangog is just one facet of that. Even in the dimness and tragedy, Aaron finds shining moments – Jane with her friend in the cancer ward, a father and son joined in battle, and a mother casting aside a snake that has wounded her before.

All the while, Dauterman and Wilson are turning in a quality of artwork never seen before at Marvel comics – truly, one of the pinnacles of art at Marvel in over 75 years of publishing.

This story has officially become the best Thor story in my eyes, and it just might be Marvel’s best longform story of all time. I’d place it alongside Mark Gruenwald Captain America and Chris Claremont X-Men at this point.

Best Small-Pub Issue of the Week:
Punks Not Dead (2018) #1, IDW Publishing / Black Crown

An utterly madcap introduction to Punks Not Dead (and, for me, to Black Crown comics, which are edited by Shelly Bond distributed by IDW). This book is part Injection, part Sid and Nancy, and a little dash of the more lighthearted issues of Sandman.

It follows a teenage boy and his scam artist mom as the kid picks up some kind of supernatural echo of the deceased Sid Vicious in a dingy airport bathroom. Meanwhile, the beleaguered Department for Extra-Usual Affairs is busy putting minor demons out of the closet at 10 Downing Street with a staff of one.

This book is funny, unique, and looks freaking brilliant. Artist Martin Simmonds is simply incredible, drawing a real-seeming Britain with amped up color and clever use of cut-and-pasted patterns to ground it in real, textured reality. I am in love with this book, and will not only be keeping up with it, but also checking out other titles from Black Crown. [Read more…] about The Pull List: Batman, Brave and The Bold, Damnation, Maestros, Mighty Thor, Punks Not Dead, and more!

The Pull List: Batman, Damage, Dark Fang, Ales Kot, & more!

January 20, 2018 by krisis

Welcome back the The Pull List, where I review every new comic I digitally picked up this week that wasn’t X-Men?

I’m still a few weeks away from being caught-up on non-X Marvel books, so my reads were restricted to some young DC titles, DC’s first “New Age of Heroes” launch, and Tom King’s Batman – which I mostly stay caught up upon for the hot takes.

This week’s Pull List includes:

Avengers (2017) #676
Batman (2016) #39
Damage (2018) #1
Dark Fang (2017) #3
Days of Hate (2018) #1
The Further Adventures of Nick Wilson (2018) #1
Ice Cream Man (2018) #1
James Bond: The Body (2018 #1.

Song of the Day: “Look What You Made Me Do” – Scott Bradlee’s Postmodern Jukebox featuring Kenton Chen

October 30, 2017 by krisis

The problem with perfection is the same one as the one with success: both are an expression of infinity.

If you are driven, you can be successful but still feel you aren’t successful enough. If you are a perfectionist, you can control every little detail but still feel you could have done more.

In each case, you’ve halved the distance between you and the infinite – there is still an infinite distance left to travel.

I think about this concept a lot, but never more than when I am considering a well-made album. Isn’t that the perfect intersection of success and perfection, plus some other nearly-infinite-to-measure quality of talent? As an artist, how do you go back into the studio when your last album is a critical and financial success, and just perfectly executed? It’s a tightrope act from which a lot of acts tumble.

Case and point: Taylor Swift’s 1989. It’s as perfect of a pop record as I’ve heard in my life. Every single song could survive on the radio as a single. And, unusually for a golden pop LP, it actually took home the Album of the Year trophy at the Grammies – a rarity.

I don’t think there is any way to top 1989, so Taylor just … didn’t. At least, not with her lead single “Look What You Made Me Do” of off Reputation, out next week.

Swift has a habit of releasing somewhat bare, unusual lead singles, but this one is less than that. The entire songs lacks for melody before it dissolves into an embarrassing faux-hip hop retread of “I’m Too Sexy.” The overwrought lyrics, usually a Swiftian specialty, but here coming off as protesting too much. And the cinema-quality video, which mashes up a lot of disconnected elements. (Why is she a zombie at the beginning? What is with the Beyoncé rip-off dance break).

Yes, I know it currently has over 600 million streams on YouTube. That’s the kind of half-infinite success you can maintain after a long streak of near-perfection.

If there’s one good bit of the song (and the video, as it happens), it’s the string-tinged bridge with little tinkles of carousel music. It’s everything the rest of the song isn’t but wants to be – catchy, lush, and foreboding.

It’s from that point that retro arrangement wunderkind Scott Bradlee developed his band’s cover of the song. Described as a cover in the style of a James Bond theme song, it picks up the strings theme from the bridge and stretches it luxuriously across each verse to turn the previously bare vocal into a poisonous vamp.