next.

as for the guy in the waiting room, its pretty clear that he is probably the same guy(s) who is tailing her in the previous issue, who makes note of her seeing a shrink. whoever he is – criminally or governmentally oriented, he is likely trying to get her to play a hand in telling matt about her visits to the shrink, thus forcing him to react in kind, for whatever their interests/intentions are in surveilling him. sneaky bastards, yo.

and i’ve never posted here before, but i read this blog all the time. good stuff fellas. better than working when i’m at, that’s for damn sure!

As for Catwoman, I still think we were robbed out of the character development stemming from the Zatanna reveal by OYL

but that arc with film freak just dragged on for so long, also despite being a good idea for a villain he sort of annoyed me. Maybe because he reminded me of myself? a little too much.

The most recent arc with lex luthor could have been edited as well, like the first issue from that arc was utterly pointless.

I think I still prefer pre one year later Catwoman of pheifers run, although it had more fluff, it just seemed a little more epic.

Lopez is good, but if the book is in trouble, then they should switch the paper stock back to non gloss and flat colour it like a newspaper.

But Ted was always smart from go, and was never created as a kind of self-indulgant fantasy avatar.

Here is a photo of the author, right from the publisher’s website:
http://www.editions-delcourt.fr/auteur.php?id=432

He was a designer on The Fifth Element.

Best,
Hunter (Pedro Bouça)

Rogers has developed a pretty entertaining writing approach: part Stan Lee Spider-Man, part Kirby Jimmy Olsen, with a dash of Giffen/DeMatteis Justice League thrown in. I miss Cully Hamner as the regular artist — this issue’s Cully cover illustrates the reason — but the new kid Albuquerque (his father was a founding partner in the fabled law firm of Albuquerque, Atascadero, Escondido, and Cucamonga) does a nicely Cullyesque riff.

Fun stuff. Buy it quick, before it gets the ax.

This guy lives in a brutal era and has seen so much death that the death of a single girl is unlikely to move him beyond the simple acknowledgment of the tragedy and waste of it all. But good people and bad people meet sticky ends almost constantly throughout the series, and taken altogether, this tends to lend to the realism of the narrative as a whole.

Usagi is traveling a path of enlightenment, attempting to transcend from beyond the waste of human existence around him. In the world he walks through, human life doesn’t have the dignity that we would give it. He’s learned to honour the little lives around him but with few exceptions, doesn’t hold on to the stuff of life too strongly.

In UY, characters are not sacrificed in order to serve the emotional needs of the hero. They are, however, sacrificed to serve the world through which the hero treads. They do not die for the hero’s sake, they die to establish the milieu. And if you must apply WiR terminology to UY, then let it stand for World in Refrigerators – because Sakai seems to kill with equanimity men and women, young and old, rich and poor, good and bad.

Frank – I’m not saying that, exactly. After reading Immonen’s column here about photo-referencing, I understand a lot more about it, and appreciate the time and effort of people who are good at it. I know most artists use references, and I have no problem with it. In the first issue, however, some of Calero’s figures, especially when they were moving, looked posed instead of fluid, as if he put up some action figures and drew them. When you pose an action figure as if it’s running, it still doesn’t look like it’s running. I thought he did a better job with the action in this issue, but I was struck by how different the few pages with Jon and Liona looked from the rest of the book. Maybe it was the coloring in that case. I’m sorry if I implied that using photo references isn’t “drawing.” That certainly wasn’t my intention.

I still think it’s Matt in the psychiatrist’s office. Sure, he’s blind, but he probably can listen to the ticks of the hands to determine the time! Ben Urich is a very good possibility, too, although that arm looks a bit too well tailored for a frumpy guy like Ben.

Good point, John. Although they did cause some big problems on the island too.

I just axed Daredevil from my pull list (along with a few others), with the intention to wait-for-the-trade because, while I’ve enjoyed Brubaker’s run so far, I think I’ll enjoy it just as much reading it in ocassional chunks.

Was this your first issue of Walk-In? If so, it’s not a good jumping-on point at all, and honestly, while I’m enjoying it, somewhat, I don’t know that I’d recommend it yet.

Okko is just another example of why Archaia is arguably publishing the best comics on the shelves these days.

And while I agree the post-mortem deification of Ted is a bit much, it kind of makes sense here: After all, it’s coming from Guy, who has a pretty tenuous grasp on reality – I loved the mention of “when I ran the League…” Ted was his friend, and Guy obviously feels bad about his death, so he’s being nicer to him now than he was in life. On top of that, he doesn’t like Batman, so he can pump up Ted and take a shot at Bats in one swing.

You’re a riot, Alice.

A regular riot.

[i]However, and my knowledge of pre-JLI Ted Kord is practically non-existent, every single time he was portrayed, it was as a doofus. Sure, a doofus with intelligence and a lot of potential, but basically as a doofus who pretty much squandered that potential. The first time I ever read Ted being treated as a super-genius was in the comic in which he was, you know, killed.[/i]

Well, you did miss his best moments, then. Ted was a perfectly competent businessman, inventor, and superhero in his pre-JLI regular series (although a bit of a hard-luck guy too). He was sharp enough in his appearances in the Captain Atom comic, and in the post-Bwah-Hah-Hah Justice League, the one with Superman and Maxima, he was very bright.