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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. 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?

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

  3. 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?

  4. “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…

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

  6. 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).

  7. 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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