And We Love You, So Come On, Come On, Come On (Ask Us Questions, I Mean)

Graeme McMillan

Dear Wait, What? listeners,

The problem with real life is that, when a friend such as esteemed co-host and editor and all-round-Mr.-Good-Guy Jeff Lester asks you to put up a post on Savage Critics so that everyone can leave comments that are actually questions for you to answer on the next episode of your podcast, and when you say “Sure, I can do that!”, several million other things will suddenly need to be done, and then it’s the end of the next day and you still haven’t posted said post and find yourself overwhelmed – overwhelmed, I say – by guilt.

Nevertheless: Jeff and I are going to be recording the next episode on Thursday, so you have until lunchtime Thursday (Pacific, for those who care about timezones) to leave questions for us to answer/ignore/try to answer and then get sidetracked and talk about something else instead/a mixture of any of the previous possibilities in the comments. Please be kind, and if you can’t be kind, at least push the meanness in the direction of someone who deserves it, like Magneto or someone (Yeah, like anyone is buying that “reformed” schtick, Magneto…).

Love,

Graeme

P.S., If you came here looking for the latest podcast, scroll down.

57 Responses to “ And We Love You, So Come On, Come On, Come On (Ask Us Questions, I Mean) ”

  1. Mr. Lester, how much longer must the world wait for your ‘Strange Tales of the Hobodin’ webcomic?

  2. I was interested to hear what you guys thought of the original HOWARD THE DUCK run (I believe Graeme has referenced that it’s not his cup of tea before) after you’re discussion of THE DEFENDERS. I recently read through the Omnibus and while I appreciated several of the story lines (especially Howard’s run for president) and the always fantastic Colan art, it mostly left me flat (including the endlessly annoying lisping of Winda Wester.) Is HTD just one of those things that is a product of its time and can’t be truly appreciated today because its tricks are no longer novel? I found it interesting that its absolutely ’70s-ness was a hindrance, as most of what I love about Marvel’s ’70s output is that they’re of a specific time and place (i.e., post Watergate malaise, with guys with mustaches driving cross country in vans.)

    Thanks!

  3. Magneto: Threat or Menace?

    How many waffles can you eat in one sitting?

    How many Fraction comics can you read in one sitting?

    Would the podcasts be any shorter if we stopped asking questions?

  4. I wanna know what you think of John Rozum’s blog post where he explained why he quit working on Static Shock (here’s a handy link in case you somehow missed the story http://johnrozum.blogspot.com/2012/01/why-i-quit-static-shock.html).

  5. What would recommend to someone who has never read Englehart but enjoys your talk about his work?

    Who will be the next artist Mark Millar will snap up for a big project? (he had a similar question posted on his website)

    Who will take over Avengers after Bendis?
    Who do you want to take over Avengers after Bendis?

    What line of comics should be brought back and completely remained by fan favorite indie creators, ala the Extreme relaunch?

  6. What does Graeme think of his dedicated following of haters on Spinoff and Blog@?

    Come up with a concept and creative team for a comic about waffles.

    Is the Vision the Martian Manhunter of the Marvel Universe and vice versa?

    Are there ways to make buying physical single issues more attractive to customers in ways that don’t involve things like excluding backup material from the digital and collected editions?

    What happens if, in September 2012, DC is in basically the same market position they were in September 2011 with mabye a few more titles in the Top 10 or 25? Does Warner’s just keep let them go as long as they are making money overall? Do they try something splashy again that isn’t a relaunch/reboot? Or does Warners give up on publishing comics? Would they keep Vertigo going as a boutique GN publisher if they did that?

    People having talking about 2012 as the “Year of the Creator.” Do you see this happening? Why or why not?

    Jeff has talked about not completely boycotting Marvel in order to support comics he thinks are good but is there a way to actually support those comics that doesn’t also support the publishing and business decisions behind them?

    Do publishers and creators like to push piracy, consciously or unconsciously, as the main problem facing the comics industry in order to not have to confront the possibility that there might be problems with the products they are putting out as being the main problem facing the industry and not their customers being assholes? (Mostly thinking about things like this – http://www.4thletter.net/2012/01/his-reasoning-is-askew/)

  7. thoughts on whether or not we’ll ever see Miracleman/Marvelman new/reprints?

  8. If digital books were a buck cheaper day and date, would you drop your floppies and go full digital?

    Graeme, do you have any idea why there has been no stories on DC books being unavailable on the Comicology app for Kindle Fire for over a month now?

  9. What will Jeff be eating this week during recording?

    ( Iinevitably caught out by a sudden question from Graeme that he can’t fumble through with his customary “uh-huh uh-huh”s but still with a mouthful of mallomars or somesuch )

  10. What is the air-speed velocity of an unladen swallow?

    What movie is that a quote from?

    Was the previous question grammatically correct?

    Wait, what?

  11. Marvel films have had vaguely interesting creative teams behind them, what would be your ideal writer/director/lead actor/gaffer/best boy/etc. for a future production? For instance, I long for the day that we see Louie CK’s War Machine or Woody Allen directing Ted Danson as Dr. Strange.

  12. It’s funny that you should start like that, because I was origionally planning to email or something about the last podcast, mostly to correct you about all the manga Jeff supposedly read, but I realized that would probably be a waste of time, and then real Life got in the way of me asking my actual questions.
    So, First off, since you brought up the shonen jump alha, and you obviously read manga, and Bakuman in particular, Have you ever noticed the weird sort of Discrepancy between how japanese comics(the ones in jump style magazines at least) really seem to put a lot of emphasis on the readers opinion, while on the other hand, American Comics seem to almost completely ignore them?
    On that note,while thinking of that, it brought to mind how you guys always talk about how you bought such and such a comic, and then feel ripped off, because it was X pages, and cost X amount. if, for example, instead of having to go out and by a Catwoman issue, batwoman issue, batman, etc, for four dollars each, you could simply buy an Eight to ten dollar book, that had all of those in it, would that still leave you feeling like you wasted money, if say, 2-3 out of the five comics in it you felt were worthwhile? Of course a book like that would probably have to become bi-weekly or something but, question stands.

  13. I meant Shonen Jump Alpha of course.

    Oh, and Jeff, If you like The kind of weird manga like you mentioned in last weeks Podcast, You should really look up HunterXHunter

  14. I would like to address one of the above questions because I don’t feel it would possible at this point to ever do Anthologies of Mainline Marvel comics without the price point being ridiculous. Anthologies are something that require much larger audiences so the profits can be split well, and in the current American climate of color and nice paper that format would never ever ever be cheap.

    My question would be are there any Manga creators you would love to see given a shot at American properties as a fun one off and vice versa. Secondly do you think anything like this is even possible.

    Me personally I would kill for Oda to do a Justice League Title or to see the Naoki Urasawa take on Superman.

  15. @Murray – Excuse my exasperation but “Holy Shit.”

    The Rozum post basically confirms my worst fears about…well, everything. The attempt at tokenism, the treatment of McDuffie legacy properties, the shortsightedness. I mean, if you’re gonna can the shit 8 issues in why not let him write Xombi style Static / build a world / whatever. Publishing (in this case mass pushing 52 titles into the market) should have some element of risk taking!

    On the plus side it points to creative types who are no longer willing to just stand there and take a gut punch from the clueless company.

    Also, Jeff, you certainly have a wealth of talented people throwing themselves at your feet. Might be a good time to look at direct digital distribution. I don’t even think it would cost you your entire retirement. Additionally, parody guidelines have never been more lax. You could totally get away with Analogues out the yang.

  16. Brad Meltzer: Threat or Menace?

  17. Why can’t I comment on your posts on Blog @? Rephrased, why does Newsarama hate me?

    Which comic book movie if any are you looking forward to this year, and if you could make a movie starring an existing superhero, who would you choose and what direction would you go in?

    What do you guys think of the introductions for comics collections? I think they’re pretty terrible and generally fail to do justice to or even engage with the text they introduce (thinking right now of Bendis’s intro to Incal), but on the other hand, there have been some good ones (e.g. for the 4th World Omnibi). What makes a good introduction and who in comics writes one?

    Will DC do an event this year? If so, over/under on Bane playing a major role? Has there been word on Multiversity -is it ever coming out? Finally, after the new 52 was announced last year, people seemed sure that certain titles would revert to their old numbering within a couple of years. Given how things have played out, do you expect this still to be the case? Will we be reading Detective #900 or #19?

    Aside (Not a Question): Because she overhears the name so often when I’m listening to WaitWhat? in my room, my cousin refers to it as “The Jack Kirby Podcast.” She has no idea who Jack Kirby is.

  18. How is it that Jeff doesn’t know that Abhay has actually made comics?

  19. Nexus. What do you guys think of Baron and Rude’s Nexus? (It’s returning in Dark Horse Presents, so this is kinda topical)

  20. “Graeme, do you have any idea why there has been no stories on DC books being unavailable on the Comicology app for Kindle Fire for over a month now?”

    Great question – how come nobody brings this up? It’s unbelievable how badly someone – DC, Amazon, Comicology??? – shit the bed on this.

  21. Question for Jeff:
    i know you bought the Amazing Spiderman and Fantastic Four comic DVDs, how far did you get in actually reading them?

    Questions for all:
    now that the new 52 is a few months past, how many new52 titles are still on your pull list?

    Are there any books that you’ve recommended that, upon rereading, you really wish you hadn’t.

  22. With the Celestials popping up all over the Marvel Universe, do you think that Alex Ross’s Earth X series will become what Kingdom Come was to the DC a few years ago when it seemed like that was the direction they were taking (i.e. JSA/Kingdom Come crossover, Red Robin, Magog)? Or are these all just Jack Kirby and Silver Age love letters?

  23. Hickman has already been heavily mining the Earth/Universe/Paradise stuff in Shield and Secret Warriors that I have seen.

  24. What should have been Marvel’s response to 52? I remember that when 52 was announced, you mentioned that Marvel is usually the one that goes bat-sh*t crazy and DC is the calm one. What were you expecting Marvel to do that would be crazy enough to trump DC’s 52? Or is Marvel doing the only right response to the 52 launch with their Avengers/X-Men?

  25. Fact: According to the box, Mallomars are made in Canada by Kraft Foods. In Canada, these are known as “Dream Puffs.”

    So Jeff: are you worried about a trade embargo on your favorite food unless Marvel brings back Alpha Flight?

  26. If you could “John Malcovich” a comics creator/producer/distributor’s brain for a day, whose brain would you hijack and what would you do?

  27. This is probably not quite as negative as typing it out cold makes it seem. A little compare and contrast-

    Now that we’re nearly six months into “The New 52,” do you find yourselves liking it (the rebooted DCU) more than what we had previously (I guess by that I mean the Post-Crisis DCU)?

    Would you have liked to see a more strict, more true reboot or would you have preferred something less drastic where previous continuity was not (mostly) forgotten?

    What were your personal best aspects of the Post-Crisis DCU that were swept away (i.e. something like the Giffen/Dematties JLI or the Wolfman/Perez Titans)? What are the things you like the best about the New 52? Does the new stuff you like make up for the stuff that doesn’t “count” anymore?

    Just interested in your takes…

  28. What is the marvel stunt after Avengers vs. X-Men?

    Do you think consolidation of the 52 under less and less creators (Liefeld, Jurgens, Jones, etc.) is a financial decision to churn out more material with less creative talent cost?

    What books do you hope for in the third wave of the new 52 (after Earth 2 and Dial H) and which creators would you like involved but have not been involved so far?

  29. I’m curious as to what kind of results you think DC has to have a year or two after the reboot in order for the reboot to be considered a success. I personally am 100% convinced the reboot simply can’t succeed because of the Didio brain trust behind it, the exact same people who drove the company into the ground with their shortsightedness, but I’m curious about when and by what metric we can consider the DC experiment to have failed.

    (I’m not anti-reboot in principle, I just think this particular one was poorly planned and rushed and as a result was a blown opportunity.)

  30. - What Marvel B-character should get his/her own movie next? Not “will,” but “should.”

    - Should movie superhero costumes be reasonably more like the comics and not all that black ninja crap?

    - Do gay or alternate sexual lifestyles belong in superhero comics? What company/writer handles them well, who does not?

    - Should DC trash the New 52 and go back to last year’s continuity?

    - Why does DC think hiring mediocre Marvel writers from the ’90s and giving Rob Liefeld three books to write is okay? Do they honestly think this will sell more books and bring in more readers?

  31. Graeme, did you pick up those issues of 2000 A.D. with Indigo Prime? I read Jog’s TCJ piece about it and picked up a couple issues and I really enjoyed it. I’m not sure why I haven’t picked up the rest. It looks like this might be my first ever digital comics purchase; back issues of 2000 A.D. are cheap!

    I don’t have a question for Jeff…

    Here’s a waffle. http://i1.trekearth.com/photos/4991/waffle.jpg

  32. Both of you clearly love many comics from the 70s. Are there any comics from the 80s that are as near and dear to your hearts? [Aside: Nexus! Yes! And Dreadstar!]

    I’d like to second the suggestion to talk about Rozum’s blog post, specifically whether or not you think it was a good idea to post it for the reasons he laid out (that it was affecting others’ perception of his work/ability.)

    Also, do you think that DC’s (good or bad) use of the Milestone characters is due to lack of effort (in taking the time to make good stories, for example) or a general cluelessness (as in “we own them, now what?”) in how to use/develop/market them? [Personally I think DC lost track of the diversity in the new 52 in a drive to make them on time-- it seems like "make it sell" overrode "make it good/different" at least in the case of Static Shock. And that trick never works.]

    I really liked your comparison of Uncanny X-Men to Teen Titans, and how the Titans didn’t really “franchise”- for lack of a better word- as well. Do you think that was because of the characters/story or because of the marketing?

    What do you think the odds are for Simonson taking over on Avengers after Bendis? (I’d sure like it.)

    The Vision/Martina Manhunter question above kinda broke my brain. I hope you get to it.

    More lists! (after that Omar from The Wire vs Superman (!!!) you have me sold on any ideas you come up with.)

  33. Suppose the Museum of Modern Art gave you a multi-million dollar budget to make acquisitions for what it hopes will be a definitive collection of original comics art. What do you buy? Do you go deep in 2-3 artists (e.g. Kirby, Eisner) or do you go broad? Do you focus on covers (which command the highest prices in the original comics market) or individual pages or stories (which might best demonstrate innovations in sequential art)? What are three original comic art works that you’ll target as centerpieces for MoMA’s collection?

  34. I’ve liked what I read of Al Ewing’s Zombo, and his Judge Dredd stuff was pretty good too. I might have to check out his stuff from Dynamite at some point.

    And on this thread, why do you think 2000ad has never really succeeded in North America? (Not even with collections.)

  35. Oh, here’s another one. Do you think any of the problems of DC’s New Teen Titans staying power in comparison to the X-Men had to do with being portrayed as wimpy? It seems like the only character Wolfman was interested in portraying as a badass was Deathstroke, the actual main characters spent more time losing fights, crying over emo shit and hugging it out with each other and even bad guys. Their victories were usually lame, like rubble collapsing on the bad guy. At least when the X-Men got punked by a single guy, it would usually be Magneto or Proteus, not a guy like Brother Blood.

    Whenever people discuss why it lost so many more readers than X-Men, few people are willing to consider the crying wimps factor and instead discuss everything else.

  36. http://www.comicsbeat.com/2012/01/25/are-cartoonists-doomed-to-die-poor-and-homeless-while-pirates-dance-on-their-graves/#comment-168247

    http://www.thefialkov.com/?p=2412

    http://www.4thletter.net/2012/01/his-reasoning-is-askew/

    thoughts?

  37. What real world landmark would you like to see in a comic book universe? For example, I would like to see the Marvel Universe Bronx Zoo with animals from Monster Island and the Savage Land (or the ascent of man at the Marvel Museum of Natural History).

  38. Greg Land has a career. Is this despite the pandering porn poses he contorts his female characters into or because them?

    Of all the second tier comics companies existing in the shadow of DC and Marvel which would you most like to see break out and compete with the big two?

  39. - Who did the best Superman ever?

    - A few months back there was a omnibus of John Byrne’s Fantastic Four. What do you guys think of his run?

    - What character didn’t Kirby work on, which you wished he worked on?
    (Let’s include the proposals we’ve seen in the Jack Kirby Collector that never went ahead, if you like)

    - Steve Englehart wants to get back into superhero comics. Which character, and with which artist, do you want to see him do?

    - Eric Shanower’s Age Of Bronze. What do you reckon?
    (I think comics has the best telling of Troy ever!)

    - What’s the deal with Rick Jones? Marvel have tried absolutely everything with that guy – there seems to be no reader demand, yet he always pops up. What’s that about?

  40. Why was Gambit more popular than Longshot? They’re both slutty men who throw things at people.

    Did Moon Knight “fail?” If so, why? Also, if so: were you surprised it failed?

    Where is Steven Grant lately?

    Eating meat off of an animal bone– what’s the appeal? There’s a chef with a knife– he can cut the meat off the bone. I’ll pay him to do that. What am I missing?

    Are comics still an outlet for weirdos, losers, oddballs? Arguably they used to be– e.g. if you watch that Comics Britannia documentary, it contextualizes the various British cartoonists as being reflections of punk, acid house, etc. I grew up on Claremont, and got to find out as an adult, oh, he was not exactly writing about teen angst that whole time. Let alone when you go outside the mainstream to Sim, Chester Brown, etc. 70′s Marvel maybe makes more sense when you know about drugs, than when you don’t. Et cetera. Do you look at comics now as a home to non-mainstream voices or have they been taken over by dull careerists, milktoast adorable webcomic moppets and people who think playing videogames constitutes being a part of a subculture? Or am I merely glorifying the past, or picking out isolated examples? Also: does it matter?

  41. Ben: Has Englehart actually said he wants to get back into superhero comics (I thought he was happy doing the novels), or is that a hypothetical question?

  42. Ben asked;
    - Steve Englehart wants to get back into superhero comics. Which character, and with which artist, do you want to see him do?

    Second that, and answer it myself with:

    The Avengers #151 by Englehart and Perez – marketed exclusively to aging fanboys (like myself).

  43. @Abhay: I’ve always thought that the X-Men were the sticking point for cultural trends. Claremont’s X-Men were punk/homeless/class wars (Hellfire Club, Storm with Mohawk, wandering X-Men), The 90s X-Men were about Grunge and Generation X (Rogue and Iceman on the Road with Daddy issues, everyone was angsty, Jim Lee with obscure Anime Shout-outs in design), The late 90s/Early ’00 X-Men were techno and nouvous hippie/rave (Mutant Drugs, X-Men as gay, militaristic day-glow outfits), mid-to-late ’00s X-men were about even though they had awesome powers and cool tech, they were very fearful of the future (decimation, mutant island, general paranoia with everyone).

    X-Men, for better or worse, tends to be the one that shows off the trends…even the bad ones (The Goth Ultra-Mutant guys).

  44. Allow me to be a bit of a fanboy here, but…

    How is the Avengers vs. X-men even a competition?
    Isn’t the X-men full of ridiculous psychics who can mentally disable people? (Emma, Xavier, cant Hope do something like that too, Quintin Quire in a pinch)
    And they have Magneto, so you can count Iron Man out, and Cap’s shield is out. Not sure how Thor’s Hammer works with Magnetos powers. And even if Wolverine is on the Avenger’s side Magneto has him locked down surely.

    Who have the Avengers go that the X-men need to watch out for? Hulk? Dr. Strange?

  45. @dacl Ironman vs Mags is actually pretty easy to get round with a bit of “here’s one I made earlier” gizmology. He’s already made armour Mags couldn’t affect directly and if you look at the recent Wonderman debacle you’ll see Bendis has no problems resolving things with a massive anticlimactic plot device. Also bear in mind that Marvel crossover fights haven’t been about showing clever use of powers for a long time. The action is almost always of the punch people in the face and forget about it variety.

    The bigger problem is that Bendis can’t write a decent fight scene anymore and fight scenes are what this crossover is all about. They really need someone like Kirkman to sub in for the action, assuming he can tone down the gore. Recently his obsession with showing characters intestines has only been matched by John’s love of cutting peoples arms off.

  46. What are your thoughts on Moore/Campbell’s A Disease of Language?

    How about an in-depth discussion [career overview] of Warren Ellis? Scalped?

  47. Happy 2012 Guys! I have a couple of questions.

    1). Members of Graeme McMillan’s cult already know about his thoughts on Valiant comics through his Robot 6 post (http://robot6.comicbookresources.com/2012/01/the-middle-ground-86-x-o-manosnob/). I would like to know about Jeff’s memories/thoughts on Valiant titles during the ’90s.

    2). Which Downton Abbey characters could you see in a prequel comic book series or one-shot? Who would be your ideal creative team(s)?

  48. Someone in my comics shop brought up the fact that Jim Shooter is one of the few writers who created a lot/edited alot of material for enough independent projects to warrant the creation of a line of comics based on his older properties similar to Kirby’s Kirbyverse or Kirby Genesis.

    I don’t even know if this is a question, but what would/should a “Shooterverse” (or, if you prefer, Shooter: Omega) of comics contain?

  49. What is the best “homage” comic you have read to a previous author/writer/comic book? (example: Curt Swan’s Legion of Superheroes memorial issue where the LSH are transported to the 1950s and are part of Swan’s anatomy class).

    What is the best “parody” comic you have read to a previous author/writer/comic book? (example Grant Morrison’s Doom Force Special that makes fun of Liefeld art and Claremont writing or Chris Claremont’s send-up of INVASION in the X-Men with the “Jean-Bomb.”)

  50. Where is episode 10.2 on iTunes?
    I’ve listened to every podcast you’ve done apart from that one because it isn’t there!
    By the way, I think I prefer having the episodes released in one chunk because, lets face it, your chats are hardly the most structured to warrant splitting up (not that I find that a problem).

  51. Having just read back my comment above it does make me sound a little ungrateful and demanding so I’m replying again to say thanks for all the hard work you put into these podcasts. I genuinely look forward to new ones and get a little giddy when I see them pop up on iTunes.

    Questions!
    - If manga was released in colour and at the size of an American comic, priced like an American comic, would you prefer to buy that over the regular smaller black and white volumes?

    - Did Jeff ever get around to reading X-men Forever and what did he think?

  52. Can you go over Graeme’s blog post @ newsarama, the one where Eric Stephenson eviscerates Marvel?

  53. I consider myself a Kirby fan, and yet I realize I’ve really only read his Marvel work.

    What would you say is the best of his latter-day (post-Marvel) DC work? (Let’s see, there was Fourth World, Kamandi, OMAC, The Demon … anything else?)

    It seems like, for all of these, I’ve vaguely always heard that they’re interesting and promising but in the end unsatisfying because of editorial interference, cancellation, or simply Kirby leaving or what have you. Is this fair? Are any of them satisfying as complete works, or are they all just tantalizing might-have-beens?

    Frankly, even his Marvel work, which I love, mostly ends with a whimper rather than a bang. I can’t look back on any complete run of his and feel like it’s satisfying from start to finish (like I can with, say, Simonson’s Thor or Claremont’s X-Men (ok, the latter has its ups and downs, but it still ends very well I think, and makes for a satisfying whole)). Do you think there’s any Kirby run on anything that makes for a satisfying whole? Or are all of them, and I’m just completely full of shit?

  54. “Can you go over Graeme’s blog post @ newsarama, the one where Eric Stephenson eviscerates Marvel?”

    I don’t know– I don’t know anything about Manhattan Projects, never heard of it, but Brubaker-Phillips and Casanova tend to be hard-R rated. Saying sales of that are less than sales of Captain America, that that’s any kind of indictment seems hard to parse. Casanova has dongs in it.

    Granted, Millar Millar’s creator-owned stuff was all r-rated but it was kind of in the same vein as the Ultimates, in some way, or his Authority run before that…? It just feels like his audience was maybe primed somehow for Wanted in a way that maybe an Iron Man fan isn’t for Casanova– e.g. Casanova doesn’t have completely shitty drawings. And his audience maybe wasn’t as primed for Chosen…? I don’t know if the sales numbers would back me up on that, though.

    I don’t know– I go in circles when I think about this topic because … you know, I’d rather read Bendis doing Scarlet than Brilliant, but… he’s built his audience for Brilliant; he should totally do Brilliant. It gets into that weird talk of “branding” which I despise– I completely hate hearing artists use that word, but… You know, I’d rather read Criminal than that super-lame Incognito book. But like, Incognito is sort of that weird thing of “when you finally have a chance to do anything you want, all you can think to do with that freedom is just ever more superheros because, what, have you dulled every other part of yourself? how sad is that??” vs. “yeah, do more superheros because that’s the audience you’ve built for yourself, and you can be vital in creating a stepping stone to take that audience somewhere else.” You know?

    I’m sure people think they’re doing things for genuine creative reasons (incognito was supposed to be “pulp” somehow in some way I was completely unable to notice) so this is probably-definitely just a debate that totally exists in my own head…

  55. @Troy Wilosn – It’s just a hypothetical. I have no idea on his current plans.

  56. More an observation – I rewatched Undercover Brother and I couldn’t help but think that would have been a much more enjoyable way to do a Mr Terrific series.

    How would you thematically change the remaining books in the 52? (Saying deVertigoing WW doesn’t count).

  57. Super super late here, but I just thought of this and had to ask-

    is there a good jumping on point for 2000 AD? Can I just pick up a random issue and jump right into the mayhem, or would you recommend a specific recent issue as a starting point and catching up? Or should I start with the collections, and if so, which one?

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