On this episode of the podcast, Eric talks with Jane Espenson and Brad Bell about Husbands the webseries!
MONSTERS ARE PEOPLE TOO! EXCEPT WHEN THEY'RE NOT!
Dear Marvel, NO! ~The Internet
The return of X in DHP #19, Green Lantern drama, IDW GI Joe, and probably some new Marvel NOW
WINNER: Cover Of The Week - 12/12/2012: Avengers Arena #1 Regular Dave Johnson Cover
WINNER: Comic Of The Week - 12/12/2012: Avengers Arena #1 by Dennis Hopeless and Kev Walker
What's shipping from the House of Wolverine in March, 2013?! What teen characters will die horrible deaths while wearing swimsuits?! Find out here in Marvel's mighty March solicits!
The trailer from the next movie directed by M. Night Shyamalan.
Cover During the American Civil War Becky Moncrief, an innocent girl, is taking care of her dying stepfather when all of a sudden several mysterious men storm in with the intention of taking the man and his secret possession. However things don't go according to plan for these mysterious men and with the help of Drake Sinclair, Becky Moncrief gets away with the secret possession. The secret possession turns out to be one of six evil and magical guns that not only have mystical abilities but also unlock a secret treasure. Becky Moncrief and Drake Sinclair embark on a journey through the Weird West in pursuit of the other 5 magical guns and in search of revenge for the responsible of the death of Becky's stepfather. How is it? The 6th Gun Volume 1 story takes place roughly after the end of the American Civil War. Its not the Wild West usually associated with Westerns but the Weird West riddled with elements of the occult. Missy, the undead General Oleander Hume's wife, in preparation of his returns to "life", sets her henchmen after the General's lost gun. They fail miserably and in that process the protagonists meet and partner up with the purpose of getting revenge on Missy and recovering all the 6 magical guns. Early on the reader will find out that Sinclair's motives are everything but altruistic. And thus a quest is born. A strange quest for the unlikely partners and unholy alliances that will take them through many confrontations, gunfights and discoveries of the earthly and unearthly type. Sinclair is a complex character that unveils a bit in this volume and has a couple of surprises for the reader. Becky on the other hand is a sweet girl that will have to grow up fast if she wants to survive all the mystical, occult and plain villainous menaces that will be thrown at her. Strange are the fruits from that tree. The aesthetic of it all is, for the lack of a better word, glorious. The look & feel created for The 6th Gun is vibrant, colorful and exalts the dynamic of the panels and the flow of the art created by Brian Hurtt. Brian's art is very clean and fluid. Personally I didn't thought it would be possible to describe a gunfight in a way that would be dynamic, fluid and above all capture the reader's attention and create suspense. But my doubts were proven unfounded. Brian Hurtt managed to capture the essence of a Western movie gunfight and translate it to sequential art as perfectly as it will ever get. Monster? ME?! General Hume rises again Verdict? This one is a winner. I'm not usually a fan of Westerns in any medium, but I loved the weirdness and randomness Brian Hurtt and Cullen Bunn bring to this book. Its a fast paced action book, with a Western setting and an occult flavoring. It has gunfights and zombies and zombie hellbent on revenge and bloodthirsty Civil War southern generals. What's there not to love?! The 6th Gun Volume 1 is a fun book. In this aspect its an old fashion comic, from a time when fun was what comics where about. The story is contained in this collection and, while there are a few loose ends that will connect with the next volume, it wraps up nicely. If you're either looking for a Western, an Occult or fun book, give this one a looksie. Publisher: Oni Press Year: 2011 Pages: 160 Authors: Brian Hurtt, Cullen Bunn ISBN: 1934964603 Originally Published at Reading Graphic Novels http://readinggraphicnovels.blogspot.com/2012/12/review-6th-gun-volume-1.html
This isn't your father's Murder World.
Hollywood. Astronomy. Lovecraft. All this and more, from Image Comics.
The Outhouse is continuing its feud with the Beat!
In a last ditch effort to save beloved teen characters from cheap and meaningless deaths, North Korea attempted to target and destroy Diamond Comics' warehouse with a failed rocket launch.
Let us know what you'll be watching in our Primetime TV Poll for Wednesday 12/12
Colton Hayes will be joining the cast next year.
Before he was Deathstroke, Slade Wilson was possessed by Eclipso! Is this the secret origin of a super villain?
A few bits of information were revealed in today's liveblog.
'I'm gonna give you the best chemical peel you ever had'
The lost Legionnaires must decide if they are willing to sacrifice millions in order to save billions!
The Outhouse investigates a shocking conspiracy theory about the controversial writer of Avengers Arena.
The Outhouse makes a bold prediction for the comic industry in 2013.
Issue 19 of our weekly Skyrim webcomic is out. Read it here!
The official Man of Steel trailer is out.
The popular game show will feature a category on the Marvel relaunch.
We're honoring people in the comic book industry.
Frank want Gail Know that Gail no alone. DC fire Frank too!
If DC Reboots Captain Carrot as a Cheap Rocket Raccoon Knockoff in a Book No One Cares About, Does Anyone Notice?By ThanosCopter in News with Benefits on December 11, 2012
The character has been renamed Captain K'Rot.
Let us know what you'll be watching in our Primetime TV Poll for Tuesday 12/11
Darick Robertson Trapped in a mob hospital, Nick Sax must do everything he can to escape alive. And that, of course, means that Grant Morrison writes a scene so violent that it could never appear on a DC Universe title, and artist extraordinaire Darick Robertson turns that idea of violence into a cesspool of blood, yanked out teeth, broken bones and unmitigated death. Nick is still troubled by Happy, a blue horse with wings that only he can see and hear. He’s convinced that Happy is a hallucination but eventually realizes that this sweet cartoonish creature really exists. And so he does what every man would in his situation: he plays poker and asks Happy to look at his contender’s cards, and thus he wins so many times that he must once again fight for his life. There is something inherently violent about Nick Sax. As a former cop, he was a figure of authority that was supposed to uphold the law. As a mercenary, a low-life hitman, he’s in the opposite spectrum of the law. However, more than act violently Nick merely reacts violently (he shoots the prostitute killer in the first chapter and here he defends himself first from the mob in the hospital and then from the poker players that can’t accept defeat). If his actions were fundamentally reactions, then it’s also understandable that he refuses to help the child Happy has mentioned, because in order for him to save the endangered child Nick would have to take actions rather than reactions, and he’s not ready to do that, at least not yet. Nick & Happy If we consider that violence has an element of objectivity (racism, homophobia, etc.) then we might forget that violence also has one of subjectivity (crime, terror, etc.). Nick had battled against crime in the past, but fighting against subjective violence means that he himself, the subject, is also prone to carry out exactly the same type of violence he was fighting against in the first place. As a hitman, Nick is reactive, ready to respond but deprived of the initiative he had as a detective; by breaking the law, ultimately, he remains in the service of the very order he apparently despises. Darick Robertson continues to amaze me with his heavily inked explosions of blood and with the strong grip he has on graphic violence, depicting fighting scenes as a lethal and yet memerizing dance. In Darick’s hands, the dead bodies are so much more than an adornment in the page, they’re fundamental pieces of storytelling as they mark the relevance of Nick’s actions (or reactions) and the consequences. I’d also like to point out Darick’s impressive cover, in which we see a battered down Santa Claus, wearing old and dirty clothes and carrying a bag not full of presents, but rather full of kidnapped children (and in fact, we can see the frightened eye of one of them through a hole in the bag). ___________________________________________________________________ ___________________________________________________________________ Nick's victims / las víctimas de Nick Atrapado en un hospital de la mafia, Nick Sax debe hacer todo lo que pueda para escapar con vida. Y ello, por supuesto, significa que Grant Morrison escribe una escena tan violenta que no podría aparecer en ningún título del Universo DC, y el extra-ordinario artista Darick Robertson convierte esa idea en un sumidero de sangre, dientes arrancados, huesos rotos y muerte sin mitigar. Nick aún está en conflicto con Happy, un caballo azul con alas que sólo él puede ver y oír. Está convencido de que Happy es una alucinación pero por fin se da cuenta de que esta dulce criatura de caricatura existe de verdad. Así que hace lo que cualquier hombre haría en su situación: juega al póker y le pide a Happy que mire las cartas de sus contendientes, y así gana tantas veces que una vez más debe luchar por su vida. Hay algo inherentemente violento en Nick Sax. Como ex policía, fue una figura de autoridad y se suponía que respetaba la ley. Como mercenario, como matón de poca monta, se halla en el espectro opuesto de la ley. Sin embargo, más que actuar violentamente, Nick meramente reacciona violentamente (le dispara al asesino de prostitutas en el primer capítulo, y aquí se defiende a sí mismo primero de la mafia en el hospital y luego de los jugadores de póker que no saben perder). Si sus acciones fueron fundamentalmente reacciones, entonces es comprensible que se rehúse a ayudar a la niña que Happy ha mencionado, porque para salvar a esta niña en peligro Nick tendría que emprender una acción más que una reacción, y no está listo para ello, al menos todavía no. the kidnapped children / los niños secuestrados Si consideramos que la violencia tiene un elemento de objetividad (racismo, homofobia, etc.) entonces podríamos olvidar que la violencia también tiene un elemento de subjetividad (crimen, terror, etc.). Nick había batallado contra el crimen en el pasado, pero pelear contra la violencia subjetiva significa que él mismo, el sujeto, puede también cometer el mismo tipo de violencia contra la que estaba peleando en primer lugar. Como matón, Nick es reactivo, está listo para responder, desprovisto de la iniciativa que tenía como detective; al romper la ley, en última instancia, permanece al servicio del mismo orden que en apariencia desprecia. Darick Robertson continúa asombrándome con sus explosiones de sangre entintadas con fiereza, y con su dominio único de la violencia gráfica, al retratar escenas de pelea como mortales y, no obstante, hipnotizadoras danzas. En las manos de Darick, los cadáveres son mucho más que un adorno en la página, son piezas fundamentales de la narrativa al marcar la relevancia de las acciones (o reacciones) de Nick y las consecuencias. También me gustaría señalar la impresionante portada de Darick, en la que vemos a un Papa Noel destrozado, con ropa vieja y sucia que carga una bolsa que no está llena de regalos sino de niños secuestrados (y de hecho, podemos ver el ojo asustado de uno de los niños a través de un hueco en la bolsa). Originally Published at http://artbyarion.blogspot.com/2012/12/happy-2-grant-morrison-darick-robertson.html
But it's not for the reason you think. Spoilers, BTW.