The List: 6/29/09 - Fresh Off the Stands, Stale from the 50 Cent Bins

Reactions to recently read comics. Not very timely - rather untimely for the bulk of this edition, in fact - but quick.

The New

Detective Comics #854
- I was going to pass this by and maybe check out the collection from the library some long distant day, but I saw a copy on the stand and that J.H. Williams III artwork - already great, true, but enhanced to the power of a bajillion by Cameron Stewart's coloring - called out to me like a Siren to Odyssius (Wait, is that too heavy an allusion? Like a cheeseburger to John Goodman, then?). This book is a thing of beauty to behold. I mean, come on, look at this:



Street violence never looked so purty... love how Stewart's reds just pop like that. And the story was good, too. Considering I've never read any of the previous Batwoman / Crime Bible stories, nor cared to in the first place, I was sucked into this one pretty quickly, and got a good feel for the character, her place in the world, and why I should care. But Greg Rucka's good like that, I suppose. Still going to wait for the collection to read the rest, I think, but this just got upgraded from "eventual library read" to "need to buy this so I can have pretty, pretty head kicking on my bookshelf."

The Old (or, "Wow have the 50 cent bins been outstanding to me lately.")

Batman #686 & Detective Comics #855
- Parts 1 and 2 of "Whatever Happened to the Dark Knight?," Neil Gaiman's post-R.I.P. fairy tale ending for Batman. It's a shame that the title was specifically chosen to harken back to Alan Moore's amazing Silver Age Superman ending opus, "Whatever Happened to the Man of Tomorrow," because it doesn't measure up, but as one of Gaiman's patented "stories about stories," it does its job very well in that its more about the idea of Batman than the man, and how no matter the setting or circumstance, that core concept of Batman will always remain the same. So metatextually, Gaiman is saying that Batman is pretty much writer-proof, and that if you don't like what's going on now, be patient and eventually you'll get the Batman you want.

Next Issue Project: Fantastic Comics #24
- Image's first stab at continuing long-dormant public domain Golden Age comics (are public domain Golden Age comics characters the new zombies, by the way?) is, like any anthology, a mixed bag. Some folks play it as straight-up GA tributes, others take a more post-modern revisionist approach, and one or two come right out and play it all for laughs. While on the one hand I wish they had taken just one approach and run with it (especially in the coloring... either they all need to look like aged and yellowing comics from the 40s or none of them do, you know?), it's still all pretty good, and it's hard to argue with a line-up that includes Erik Larsen, Mike Allred, Bill Sienkiewicz, Ashley Wood, Jim Rugg, B. Clay Moore, Joe Casey, and Fred Hembeck. Let's get the promised follow-ups out, Image!

The Core #1 - This was one of last summer's Top Cow Pilot Season books that I was always interested in but never managed to track down. Wish I had, because I would've voted for this in a heartbeat. Jonathan Hickman's story reads like a good sci-fi TV series - a galactic federation's black ops team gets its first human member, who quickly gets his trial by fire - with all manner of tight action sequences and intrigues and double crosses and such, and it's gorgeously illustrated by Kenneth Rocafort, the guy who managed to make Paul Dini's Madame Mirage more than just another cheesecake book. Maybe this will come around again, anyway, despite how the voting turned out, but given the Marvel assignments on both men's plates, I'm not gonna hold my breath.

Transhuman #1 - More Hickman, though this time it's more hard sci-fi as opposed to space opera blow-'em-up, beginning the story of human advancement through genetic engineering and cybernetics, told as if it were a PBS or cable documentary. It's an interesting approach to this type of story, and I wonder why it hasn't been used more often, because it works so well here. Definitely going to go back and read the rest.

R.E.B.E.L.S. #1 - I appreciate the attempts to link this to the threeboot Legion of Super-Heroes, but at this point, why bother? Also, Tony Bedard's run on LSH is what actually got me to drop the book for a while, so it's not like his use of the characters (well, two of them) harkens back to particularly good times for me. And lastly, I never particularly cared for L.E.G.I.O.N. or the Omega Men. Some folks I trust liked this, so I tried it, but yeah, it's not for me. At all.

Jersey Gods #1 - So the elevator pitch for this is that a guy who is basically Orion from the New Gods falls for a human woman from New Jersey, and antics ensue. It's an interesting premise, but we barely get even the beginning of that here - they meet, sort of, in the midst of the Big Fight, and come back next issue. Not a lot of "there" there for a first issue, you know? The art by Daniel McDaid is fantastic, though... channels Kirby without seeming like an outright pastiche. I'd love to see more from him - I'm really hoping IDW gets the rights to reprint his Doctor Who Monthly strips - so maybe I'll check out future issues, but I'm not sure right now.

Now they're dead and they haven't done anything that they want. Or are they still alive and there's nothing left to do?


Ed McMahon was, of course, the Top Banana of all Second Bananas, a position he so rightfully earned at Johnny Carson's side, but I'd be lying if I said I didn't know him better as Dick Clark's co-host on TV's Bloopers and Practical Jokes.

Farrah Fawcett, well, she was one of a handful of stars who absolutely typified the 70s, wasn't she? That poster, that hair, that smile... she was iconic, though again, I'd be lying if I said I wasn't actually a bigger fan of Cheryl Ladd when you're talking about who filled the blonde role best on Charlie's Angels ("Angels in Chains" notwithstanding).

Michael Jackson. Brilliant performer, and Thriller still holds up astoundingly well (even the part on the title track when Vincent Price raps). But I have a hard time reconciling my appreciation for his music with the whole "allegedly did bad things with children" rep... and let's be honest here, whether he was some sort of monster or literally a man-child who had no concept of the full reach or meaning of his actions, they were still bad things. Allegedly. If anything, I think what I've learned most from his death is how quickly both the media and the public at large will forgive, even canonize, someone who they would have vilified just the day before.

And just a little while ago, I read that TV's loudest infomercial pitchman, Billy Mays, died, which is weird because just last night Erin and I were watching him on TV and wondering aloud why he yelled so much when he could have just brought the mike in a little closer.

No point to all this, really. Just kinda parsing out what's in my head after a truly strange week of celebrity endings.

And now, a woman playing the theme song to The Edison Twins on a ukelele in her kitchen.

Consider it a post-Morrison palate cleanser.



And if you're unfamiliar with The Edison Twins, you obviously never watched Canadian TV or the Disney Channel in the early to mid 1980s, and boy did you miss out on some quality edu-tainment (I'm being sincere here, I loved this show when I was 9). More info here and here. And here's the original opening for purposes of comparison and/or mockery:

(Kinda Sorta) The List - Batman and Son, The Black Glove, and Batman: R.I.P. (Mostly R.I.P., though)


I read all of these in about a week (thanks, RI public library system!), which is either the right way to do it or very much the wrong way, because my brain is buzzing from all the Batman craziness Morrison hyperloaded into these. I mostly enjoyed the first two books, which both lead off with strong arcs (the title story for the former, The Club of Heroes for the latter), but kind of dipped a bit in quality toward the end. Not thay they were bad, they just couldn't hit the heights established in their respective beginnings.

R.I.P., on the other hand, was a bit of a chore for me to get through. Lots of interesting metaphor at play, and some truly inspired reconceptualizations of some of the more bizarre bits of Batman lore, but as a story, I never felt it really came together for me. Amidst all the crazy, in the end it still seemed like just another "push the hero past the breaking point and watch him try to bounce back story," and not even a storyteller with Morrison's chops can always breathe new life into every old trope. Everything felt rushed and awkwardly transitioned, like either he had problems fully expressing the ideas in his head on the page, or Tony Daniel had trouble translating them into art on the page, or even that maybe - just maybe - the story wasn't quite as clever as The Morrison himself thought. Whatever the reason, it didn't work for me, and brought the run to a bit of a thud.

I had similar problems with his X-Men and JLA runs. I thought the beginnings were all strong, but the endings disappointed. Maybe it's the result of editorial trying to rein him in? I've never noticed this sort of thing in his creator-owned work, All Star Superman, or even my favorite Morrison work of all, Animal Man. But of course, in all of those cases, he was pretty much given the keys to the kingdom, wasn't he? Working on Animal Man at a point when the highlight of the character's history was being in a group of also-rans actually called The Forgotten Heroes is a much different situation then working on one of the two or three most recognizable superheroes in the world at, well, any point ever, isn't it?

I can't say I was bored, though. It certainly made for compelling reading, so there's that. So by all means read it if you haven't yet. Read all of them, and be prepared to enjoy the hell out of certain parts. I mean, there's Ninja Man-Bats, a club of international crimefighters "inspired" by Batman, and a fight centered around the creative placement of Pop Art word balloons. That's some great comic booking right there. And Alex Ross covers where Batman doesn't look like a painting of some embarrassed neighbor or mailman Ross conned into posing for him. That has to count for something, right?

How's Who #2: The Robots of Death


TARDIS Crew: Fourth Doctor (Tom Baker) and Leela (Louise Jameson)

The Plot: The Doctor and Leela materialize on an enormous desert mining craft (it looks a bit like the Jawa sandcrawler in Star Wars) run by a group of surprisingly upper class workers and their disturbingly even-keeled art deco robots. As is usually the case, the murders start almost immediately after the Doctor's arrival, so of course he and Leela are considered the chief suspects and apprehended. The Doctor suggests that maybe the robots have something to do with the rapid decrease in population, but the crew - obviously unaware of the story's title - insist that's impossible, since with any decent post-Asimov bot, harming people is counter to their programming. However, the robots and their bizarre master are quickly pointing out the flaws in that particular argument.

The Thoughts: This could have been just another "base under siege" story, like any number of Who stories before and after it. "The Robots of Death" works on an entirely different level, though, as a rather gripping murder mystery story, an Agatha Christie novel with funny hats and a lot of eye make-up. It's a very well-made whodunnit, full of high class people with secrets to hide, a number of convincing attempts to throw suspicion on to others, some surprising plot twists, and killers who leave a calling card of sorts with the victims. Swap out the house party for a mining excursion and what you've got is "And Then There Were None... IN OUTER SPAAAAAAAACE!"



And it helps that the robots are creepy as hell. Their artful designs, the serene look of their immobile faces, the calm and emotionless tones of their voices... this lot ventures well into "uncanny valley" territory. The more helpful and human-like they seem, the more terrifying they become, an idea that's even given a fair amount of play within the script, the fear of robots becoming a bit of a plot point later on. The aluminum foil shoes and glowy red eyes of the "infected" models do diminish the terror a bit, I must admit, but they're effective overall. I can definitely understand why British children of the 70s would want to scramble behind their sofas in this case, and it's easy to see why they're still so well remembered by fandom despite being one-off monsters. The production designers did a great job with these guys.

(And there's lots of other fantastic design elements at play, too, that really give you a feeling of the sort of world these people inhabit when they're not off getting killed on a mining trip. The lavish rooms, the ornate outfits, even simple things like computer consoles and the Laserson Probe logo... wonderful flourishes all. But let's be honest here - we're really only interested in the robots, right?)



Baker plays the detective role well here in his usual "equal parts surly and friendly, egotistical and caring" style, solving the problem at hand while alternatingly alienating the crew and slowly gaining their trust. It's a very Holmesian outing for the Doctor, all the more appropriate when you consider that in the next story, "The Talons of Weng-Chiang," he more or less is Sherlock Holmes. Jameson, though, could have played up the "fish out of water" aspect of Leela a bit more. The Doctor has just whisked her away from the tribal warrior woman life she knew and now she finds herself on a far distant planet dealing with high technology and mechanical men (as she calls the robots). Maybe a hint more culture shock in there would've been nice? She does have a couple of nice moments, though, as she discovers she can't solve every problem with her knife, one robot fight being particularly memorable ("Okay, now you're just showing off.") But bear in mind I've never been a big Leela fan. I know I'm in the minority there, but coming in after Sarah Jane and before the Romanas, well, she has a lot to live up to, you know? She has her moments as a character (particularly in "Talons of Weng Chiang"), but not a lot of them here, I'm afraid.

Overall: What could've been a fairly typical Doctor Who story is elevated into something really special thanks to clever writing and design. Worth checking out if haven't seen much of Tom Baker's time as the Doctor, and worth re-watching if you have.

Happy Father's Day


Hope all you dads (and single moms pulling double duty!) are having - or, depending on when you read this, that you had - an enjoyable Father's Day. Me, I'm spending the day at work, but I'll have Chinese food and a copy of Professor Layton and the Curious Village for the DS waiting for me when I get home tonight, so I can't really complain.

And while we're at it, here's a cartoon of the above-pictured Augie and his dear old dad, one that marks the debut of Snagglepuss, to boot:

Pretty Sketchy: Katie Cook asks 'Why so Blue, Beetle?'


Box-top doodle of the second Blue Beetle, Ted Kord, by Katie Cook.

Hey, BOOM! Studios, if you're at all considering a Fraggle Rock book, give this woman a shout!

Comics Outreach Done Right: Comicopia at Boston's Pride Parade

Boston comic book shop Comicopia had a float in this year's Boston Pride Parade, with the employees dressing up as comics and cartoon characters to hand out comics to the crowd (the Rainbow Lantern-themed Blackest Night #0, appropriately enough, according to this article). Here's a video:



Open-mindedness and public outreach? They do know they're in comics retail, right?

(They do. And Comicopia is an awesome shop. Check them out next time you're in the Kenmore Square area of Boston.)

Preview Review: Parker & Lieber's Underground


I think I've made it pretty clear that I'm a big ol' Jeff Parker fanboy, so I was pretty psyched to find a preview of his new Image mini with Steve Lieber, Underground, in my inbox the other day. And if the rest of the series is as good as this first issue was, this book is going to be a fun ride.

It's the story of two Kentucky park rangers trying to prevent a local cave, and a genuine natural wonder of one at that, from being turned into an attraction by the government. It's a thorny issue, since although the cave requires protection to maintain its delicate environmental balance, the depressed community could really benefit from the tourist dollars. And naturally, the local entrepreneur spear-heading the effort stands to gain the most. So when some folks begin unauthorized blasting in the cave, it's probably safe to say that there's some skulduggery ahead.

It reads quite a bit like a movie (though not like a failed movie pitch reworked into comic form), and the scene is set in subtle, effective ways. We get some background thanks to the good old "expository news report" chestnut (which is handled in a clever way, and not the usual "FLASH! The Harlem Globetrotters have been lost at sea in the Pacific!" sort of way), and we learn a lot about the main characters in the best way possible: we see them for who they are, through how they act, what they say, what they don't say. Lieber here has a knack for facial expression that I think is only matched by Kevin Maguire and Terry Moore. Just wonderful stuff.



Parker's script really surprised me, too. Coming into this having read a lot of his Marvel work, Mysterius the Unfathomable, and The Interman, I was surprised by just how down to earth this was. I knew he'd be able to handle the action elements well, but wouldn't you know it, he can write reg'lar folks, too.

Long story short (too late), this is a great book by talented creators. If you like some of your comics in the Queen & Country / Whiteout / real-life adventure vein, you'd do well to check this out. Check out the website for more info, including a preview.

Look for it in the July Previews catalog, Diamond order code – JUL090341

Stephen Fry needs to be made king of something.

If you're as big a fan of the English language - or the very concept language in general - as I am (and I am, despite the regular beating it takes within the confines of this very blog), then you need, need, NEED to listen to Stephen Fry's podcast on the subject (make with the clicky on the image below).



Even if you tend to think of words as only the things that let the person behind the Dunkin Donuts counter that you would like coffee, it's fun to listen to an incredibly talented and intelligent British gentleman pontificate on the very nature of communication itself.

And if you cannot find joy in that, well, your life is sad and I hope things work out better for you next time around if there is indeed such a thing as reincarnation.

How's Who? #1 - The Mind Robber

This is the first in (hopefully) a series of posts in which I review classic Doctor Who stories, because that sort of thing's my bag, baby. These will have no semblance of chronological order whatsoever, since so much has yet to be released on DVD, I don't currently have a VCR hooked up anywhere in the house, and if I subject myself to that many William Hartnell stories right out of the starting gate, I'll never want to continue (sorry, Bill). And so, The Mind Robber.



TARDIS Crew: Second Doctor (Patrick Troughton), Jamie McCrimmon (Frazer Hines, but also Hamish Wilson!), Zoe Heriot (the adorable Wendy Padbury)

The Plot: The TARDIS is right in the path of an oncoming volcanic lava flow and yet again isn't working properly, making a hasty escape impossible. As a last resort, the Doctor transports the TARDIS to a white, formless void outside of time, space, and reality itself. Jamie and Zoe are lured out into the void, since companions never stay put when their told, and the Doctor must follow them out into the expanse, which develops into a surreal landscape where the forests form giant words, fictional characters are real, bizarre puzzles impede your progress, and the rule of the Master (not that one) is enforced by giant toy soldiers and White Robots. The Land of Fiction's Master lures people there in the hopes of finding a mind capable of replacing his own so that his work may continue long after he's gone, and he thinks the Doctor might finally be the person he's been seeking.

The Thoughts: The low, low budgets for classic Who, as my wife is so fond of pointing out, tend to make everything look pretty cheap, and that's especially true for this story. And for once, that's actually a strength. The Land of Fiction is a place where stories come to life, and from the look of things, mostly the sort of stories that would appeal to children - adventure stories, fairy tales, Greek mythology, comic strips, etc. (it's geared this way because Doctor Who is, of course, a family program, but still) - so the obvious matte paintings, backdrops, and flimsy sets that give the land the look of a matinee children's theatre performance (or a low-budget TV show) make sense within the confines of the story. So if Troughton has to steady the wobbly letter-tree while Hines climbs it, or if the muscle suit of Germanic super-hero The Karkus is hilariously unconvincing, for once you don't have to write it off as "well, that's just part of the charm of the show, isn't it?"




That's not to say they didn't spend what money they had wisely, though. The Master's lair, for being a generic computer consoled control room, is at least as good as any of the TARDIS sets of the era. And the tin soldiers and White Robots patrolling the grounds look convincingly like giant toys, and are all the more menacing from it. The sound of their clanking footsteps, which can be heard from quite a ways off, inspires a little bit of genuine dread in what is otherwise a pretty goofy story.

Okay, probably a very goofy story. Instead of Daleks or Cybermen or Zygons or whatever, our heroes are instead faced with the likes of Lemuel Gulliver, a pack of riddle-spouting Victorian children, creatures of myth, and the afore-mentioned ridiculous German super-hero. British soldiers wander about with guns capable of turning people into faceless cardboard cut-outs. And Rapunzel doesn't mind people using her hair to climb up or down whatever obstacle needs traversing, but she does wish they wouldn't tug so hard. So yeah, not your typical Who serial, even considering at this point we're only a few years removed from the obviously-people-in-bad-insect-suits Zarbi.




But the cast is clearly having fun, with Patrick Troughton especially getting to shine. If William
Hartnell was the grandfather, Troughton was the uncle that children love best, the one who knows all the good songs, games, and stories. He riddles with the children, he frets and fusses over his companions (as well as laugh at them when the situation gets too ridiculous not to), and he meets the Master's challenges with his patented mix of panic and righteous indignation. In short, this whole story is Troughton 101: Intro to Second Doctor Studies. I might like Tomb of the Cybermen better as a story, but of the existing Troughton material I've seen, I think this is his best performance in the role. His reactions to reconstructing faceless cardboard Jamie's face incorrectly (leading to an entire episode of Jamie being played by Hamish Wilson instead of Frazer Hines) and being later called on the mistake by Zoe are priceless.

Overall: Admittedly, there aren't a lot of complete Troughton stories out there for you to see, sadly, but I'm very happy that this is one of the ones that survived, as it is somehow both atypical of the series and an effective encapsulation of this era of the show thanks to the performances of the leads. Check your brain at the door and enjoy.

A final word about Wendy Padbury: Sigh... Wendy Padbury was so cute, wasn't she? A lot of the, um, let's say affection I have for bookish girls is due to seeing Wendy's portrayal of Zoe on PBS Doctor Who reruns as a kid, since she basically invented "future librarian chic."


They managed to saddle her with some terrible costumes, though, all in the name of being "futuristic." The bubble wrap & tights she wore in her brief appearance in The Five Doctors is probably the worst of all, but some of what she wore during her time as a series regular wasn't much better.


But that being said, you'll get no complaints on the sparkly catsuit out of me.

The List: 6/7/09 - DCBS, FCBD, and Stuff Picked Up Along the Way

Quick reviews of the comics I've been reading. Not always timely, maybe a bit SPOILERY, but at least they're brief.

Batman and Robin #1 - I was a bit apprehensive, since I had read Prodigal the first time around and hadn't read any of Morrison's recent Batman run except for the Club of Heroes 3 parter, but I loved me some All Star Superman so I felt obligated to give Morrison and Quitely a shot here, and what do ya know, I loved this, too. I got all the backstory I needed in quick, subtle ways (for instance, I know all I need to know about Damian from his short interaction with Alfred) and was able to sit back and enjoy the (Mr. Toad's wild) ride... in a fab flying Batmobile, no less. And I am alternately looking forward to and dreading seeing more of Mr. Pyg and his creepy creepy CREEPY doll-faced minions. Who cares if this isn't the "proper" Batman and Robin? It's damn fun comics, and DC needs that right now in a big way.

Doctor Who: Time Machination - IDW's Doctor Who books have been a mixed bag, but I'd have to say this was my favorite one yet. Tony Lee's story sets up an interesting set of circumstances for the Doctor, tieing in elements from the current TV series, a beloved 4th Doctor story, and almost universally loathed 6th Doctor story, and Torchwood (old school Torchwood, back when they were still hunting the Doctor). And he even manages to get in a joke about one of David Tennant's previous acting gigs, too. Funny stuff. And if Paul Grist wanted to draw every Doctor Who comic from now on, I'd be perfectly fine with that. This was something I ordered on a whim, and it ended up being a highlight of my comic-readin' month. Gotta love that.

Plan 9 From Outer Space Strikes Back - This, on the other hand, was a real low. I don't expect a sequel to an Ed Wood movie to be good in the classical sense, but I want it to be fun. This ended up being just another witless zombie comic. And the idea of intentionally putting in publishing "mistakes" to replicate Wood's, shall we say, attention to detail in his films... that got old fast, and I'm wondering if one of those mistakes was leaving out the sequences toward the end that would have made the action make sense. A truly bad comic book, and not in the way it was intended.

Love & Rockets: Free Comic Book Day 2009 - Sadly, Fantagraphics missed the boat with this one. I realize this was supposed to draw our attention to the L&R: New Stories series, but this doesn't do a particularly good job of showing potential new readers just what makes Love & Rockets the beloved cornerstone of the indie comic book world. This is certainly representative of Jaime and Gilbert's current work, but there's not much in here to give it any sort of context to either the past or the present. I haven't read all of L&R, but I've read quite a bit, and even I had a hard time following.

Captain Britain and MI13 #13 - There was a lot going down in this issue. Enough so that I think I need to re-read it to make sure I caught everything. But if everything that happened in this book actually happened, and wasn't some sort of mass illusion / delusion, then holy flurking shnit.

The Unwritten #1 - I think the basic premise - the real basis for a Harry Potter-type character feels trapped by his literary alter ego, but his life might not be what it seems - is sound, I thought the story by Mike Carey was decent (I especially appreciated that he calls himself in-story on the similarity to both Potter and Books of Magic), and the art by Peter Gross was great, but it didn't strike me as being anything other than yet another Vertigo book about magic. Maybe, like most other Vertigo titles, it'll read better in collection.

Power Girl #1 - I appreciate that folks at DC have made a concerted effort to make Power Girl more than just "the chick with the huge knockers, even by superhero standards" over the past few years, and I think writers Jimmy Palmiotti and Justin Gray do a fairly good job of continuing that trend here, even if I do think they overplay the misogyny card a bit in attempting to give PG some "secret ID workplace strife." But let's be honest here, the real star of this book is Amanda Connor's artwork, which is spectacular, and I wholeheartedly believe that this book should exist for as long as she wants to draw it. She brings everything to the character she needs: action, strength, energy, fun, and yeah, a little bit of the sexy. I might not follow this monthly, but I'd consider picking up the collections.

Atomic Robo and Friends: Free Comic Book Day 2009 - There are three stories in this, but the only one that really matters is "Why Atomic Robo Hates Dr. Dinosaur," which is essentially a Bugs Bunny / Daffy Duck showdown with bigger guns. If you haven't read this, you really, really need to.

The Unknown #1 - A lot of the pre-release press about this Mark Waid book compared it to his earlier detective series, Ruse, and having read this, I can see the connections. Cat Allingham isn't quite the bastard that Simon Archard was, but both sleuths have similarities: they're generally miles ahead of everyone else in the room, they don't suffer fools gladly, and their cases have elements of the supernatural. Thankfully, though, this isn't just a reworking of Ruse, and the ending of the first issue definitely has me excited for the rest of the mini. And yeah, I realize how vague I'm being here, but I'm not spoiling the mystery for anyone. Go see (and enjoy) it for yourself.

Lazy Sunday YouTube Blogging: The Powerpuff Girls, Bullwinkle style!

The Powerpuff Girls do their best Jay Ward imitation in "I See a Funny Cartoon in Your Future"

NPR asks why Captain Marvel isn't more famous?

Great article by Glen Weldon over on the NPR.com blog Monkey See about the history of the original Captain Marvel, his sad lack of public recognition in this day and age, and just why that might be.



Weldon echoes some thoughts I had on the subject a few years ago, so I was happy to read an article from such a right-thinking individual. The moment I see or hear a writer talk about how the Big Red Cheese is so very much like Superman, I know they're entirely wrong for the job.

(Yes, I know that opinion reeks of fantitlement, and no, I do not care.)