diflucan 2 doses

Wait, What Question Time

Graeme McMillan

Yes, dear listeners/readers/Whatnauts of all shapes and sizes, it’s that time again: The time when Jeff and I invite your questions for us to attempt to answer before we end up getting sidetracked and talk about something else altogether by accident.

With only two podcasts left before the end of 2012 (We’re taking the last couple of weeks of December off for the holidays; sorry), it seemed like a good time to try another Q&A podcast to try and talk about what’s on your minds for once. Well, on our minds after you bring it up. You know what I mean.

You also know the drill by now: Leave questions in the comments section and we’ll try to get around to as many as possible and apologize profusely for the ones we can’t answer or somehow forget to even after we read the question out.

Thank you in advance!

74 Responses to “ Wait, What Question Time ”

  1. Thanks for doing this again gents. With Karen Berger leaving DC I’ve thought about the major changes DC has gone through recently. It was only a few years ago that in addition to the DC Universe and Vertigo you had Humanoids, CMX, Minx, and, on the web, Zuda. DC overall seemed to be servicing all aspects of the industry. Variety was a value.

    Why didn’t it work? Is it a matter of readers not showing up, therefore these initiatives not making enough beans for the bean counters? Is it impatience/short-sightedness on the part of the publishers? Which side shoulders the blame, and is it more than just one side?

  2. Do you think the role of the artist, artwork, and his or her visual storytelling are given the appropriate amount of consideration in online comics criticism, particularly in criticism of mainstream comics? Follow-up question: Do you think artists are given appropriate credit for a comic’s commercial success?

  3. Q. Why are you guys so negative on Mark Miller and Jim Shooter? (not trolling I’m new to comics).

    Q. (to Jeff re Marvel boycott) Why are you OK with buying/using Apple products to read comics when that company has arguably a far worse attitude to labour relations/creator rights/worker rights than Marvel?

  4. Q: What do you think victory is for Steve Wacker?

  5. Hahahaha you guys have been sidetracked away from talking about the internet already! And you had such plans. (In case you’ve actually forgotten, you wanted to talk about art has become produced at such a high rate that it’s cheapened the impact of all art.)

    For questions, I’ll echo something Dave Clarke said on the last thread:
    “Re: Leinil Yu overselling emotion in scenes.
    I was at a talk by Colleen Doran (comic writer and artist on a bunch of things) who criticized the comics industry as a whole trending towards this, because of the impact of Jack Kirby and Steve Ditko. You guys are all about Kirby, do you think this is a fair comparison.”

    I’d be interested to hear you guys talk about that, as a guy who loved manga and hated superheroes his entire childhood.

    Can’t think of any questions of my own right now, but I’ll be back, I’m sure.

  6. Q: What comics are famous and considered classics, when the writing was mediocre but the art elevated it?

    Likewise, name some comics where the art was pulled from good to great by the coloring or the inking.

    I’m more interested in that second question actually.

  7. “Waiters”
    Are
    Fans,
    Forgo
    Long
    Explanation

  8. Why is it so hard to drop books? I am heading into the shop today and realize I am reading 16 books – money-wise, that’s crazy and quality-wise, there are not 16 good books coming out this week. Or is this something I should address with my therapist instead?

  9. This has nothing to do with comics but I want to ask Graeme something I’m surprised it took me this long to figure out to ask. When you’re writing career started was it difficult to switch to the American spelling of words? Do you sometimes find your original education colouring your spelling choices, leading you to have to apologise to your editors?

  10. What’s the deal with Alan Moore and rape? No, seriously, I mean it – dude puts a lot of rape in his comics, to the extent that it’s probably easier to pick out the few Alan Moore projects that don’t have rape in them (which would be… um… Top Ten? Wait, no, there’s a bunch of child rape towards the end of that one, played mostly for laughs) than to list all the ones that do. Rape and sexual violence are repeated so frequently and so thoroughly in Moore’s work that it seems like either one of two things is true – either Alan Moore is trying to make some sort of point, although God only knows what that point is, or Alan Moore is kind of a huge creep.

    Somewhat related to this, a second question: if all the horrible sexist shit in comics and comics culture were swapped out with horrible racist shit, do you think comics readers would take the same ho-hum attitude towards it all? Like, if Alan Moore put scenes of, I don’t know, Black people being lynched in all of his comics, would people just shrug and say, “oh well, that’s Alan Moore, when you read an Alan Moore comic you’re bound to get some gratuitous lynching” the way they seem to do with his gratuitous rape, or would they see some line being crossed? Is it the case that comics culture is grossly sexist and racist to boot? Or is there a reason why it’s sexist but not (as) racist?

  11. Okay, I asked this earlier, but can you recite the Four or so stock Bendis characters or voices that you mentioned two podcasts ago, and can you provide examples? I think the only one you got to was the “smart guy” character/voice.

    Also, do you think such a think as “house styles” still exist at the Big 2, either for whole companies (e.g. a “Marvel Style”) or for lines within companies (e.g. the “Vertigo style,” the 90s X-Men Harras house style, the Weisinger Superman house style, the Schwartz Bronze Age Superman House style, the Schwartz Silver Age House style), etc.

    If there are current house styles at the Big 2, what are they? Are they art-based house styles, like when people used to say there was a “cartoony art” house style in the Berganza Superman books? Is it a writing-based house style, like people claim Ultimates had in the beginning. Is it a comprehensive art/writing house style like the 90s X-books had?

    If there are no more things as unique house styles at the big 2 anymore, what do you consider to be the last example of a true, unique “house style” in the Big 2?

  12. Somewhat related to this, a second question: if all the horrible sexist shit in comics and comics culture were swapped out with horrible racist shit, do you think comics readers would take the same ho-hum attitude towards it all?

    Not to sidetrack the questions thread, but I find Frank Miller’s work from Daredevil through to Sin City to be as guilty if not more guilty of racism than of sexism, and 95% of his critics will still call him out on the sexism or misogyny than for the racism, so I’m not sure I quite buy the idea of comic fans being particularly more enlightened and progressive on race issues than gender ones.

  13. Oh, last question: Does the abysmal state of Jeph Loeb’s writing for the past year show that he’s gotten somehow much worse than he used to be, or is it proof that his earlier, praised work was overrated and is now due for critical reappraisal?

  14. Dammit, ok this time for real last question:

    Okay, Marvel or DC promises you they will hand over the reins of your all-time favorite character or concept to a certain writer for a guaranteed 100-issue run, and this run will not only be the only place to read about your favorite character or concept, but no one else will be allowed to write said character or concept during this duration, this 100-issue run will have zero editorial edicts and the writers will have total free rein over the concept and can do whatever they want. Also, if you don’t accept this deal, there will be no comics, adaptations, guest appearances, or anything with your favorite character or concept for a 10 year period. Yes, a 10 year moratorium, even if we’re talking Batman, Justice League, Avengers, or Wolverine. (Okay, so this is a far-fetched, impossible concept I know, but just go with it).

    Your choices are:
    1) Jeph Loeb
    2) Brad Meltzer
    3) Chuck Austen
    4) Mark Millar
    5) Brian Bendis

    Which one do you trust the most with your favorite character/concept?

  15. - What’s the deal with people acting like Alan Moore is the only writer with rape in his works? Isn’t he just working within the tropes/archetypes of the genres he works in? Isn’t it weird to ignore all the acts of violence in his works, to only focus on the sexual violence? Moore has a rep for writing about rape, despite that sex fills his works and is mostly shown shown as a positive life-affirming experience – I would say positive sexual encounters far outweigh the negative one’s in his works. Is it perhaps the fans/commentators who are in fact fixated on rape? Did JG Ballard have to put up with this shit?

    – What would it take for Jeff to end his financial boycott of Marvel? What steps do they need to take to get him back?

  16. It seems that the inevitable “Wait, What?” Drinking Game has to have a rule requiring listeners to take a drink every time Jeff talks about editing something out and then never actually doing so.

    But after the last episode, there needs to be a rule for times when he talks about editing something out and then actually does so (but still tells us something was cut). Is that a sip, a chug, or some other amount?

    (Also, as someone who listens to WW while walking to and from work, I can’t tell you how much I appreciate both A) your willingness to explain the context of news stories and plot spoilers so I have some clue of what you’re talking about and B) the shownotes, so I can go online later and see what comics I should hunt down.)

  17. Graeme, if you had to replace Jeff with another host from world of comics (writers, artists, editors, etc), who would you replace him with and why? Jeff, if you had to replace Graeme with another host from the world of comics (writers, artists, editors, etc), who would you replace him with and why?

    And together, if you had to take on a third person on this podcast, who do you think would fit into the rhythms of your podcast?

  18. If you were given free reign of What if, what would be the tit.es of your first 3 “What Ifs”? Also, if you were given free reign of Elseworlds, what would be your first 3 genre mash-em ups?

  19. I was curious if you guys specifically use a pull list for certain books or do most of your buying “off the rack”. Would you be buying less books if you did not have a pull list?

  20. In light of recent news what are some lost gems of Vertigo? What uncollected series should we be searching back issue bins for?

  21. If you could put together a Marvel Now! creative team (using the current Marvel talent pool or plausible freelancers) who would it be and on what book?

    I’d like to see Dan Slott doing Fantastic Four with Marcos Martin or Paulo Rivera.

  22. Also, coming from the generation who entered comics when the Wolfman/Perez Teen Titans and Claremont/Byrne X-men were the two biggest books, I had this notion.

    Have DC horribly mishandled the Teen Titans franchise since Wolfman/Perez or was it just a product of it’s time and it doesn’t have the same conceptual vitality and depth as the X-men?

  23. What comic book by Matt Fraction is most like a Waffle Cone? What Matt Fraction comic book is least like a Waffle Cone? Please elaborate on both.

  24. Where should we, as comic readers, be hoping Karen Berger lands? At an existing mid-major (IDW/Dark Horse)? At an existing “art house” (Top Shelf/Koyama)? At a major publishing house (Random House/Penguin)? Or do we want her launching a startup?

  25. I really don’t want to sidetrack this thread by replying to testy replies to my question, but seriously: the reason I’m asking the Alan Moore rape question is precisely because comic readers don’t really talk about Alan Moore and rape – in my experience, they really just talk around it, without talking about it.

    Again, it seems like the only explanation for Alan Moore putting sexual violence in every single major project he’s ever done is that he’s either trying to make some deliberate point – in which case, we should probably try to make some attempt to unpack what point could possibly be – or he’s indulging in something creepy and exploitative, in which case that aspect of his work should be strongly and roundly criticized. As it stands, right now neither of those things happens – every time another Alan Moore project comes out, there’s yet another gratuitous instance of sexual violence, and for the most part we seem to stand around coughing nervously and hoping nobody says anything about it.

    (And T., I’ll readily concede that Miller’s comics are easily as racist as they are sexist.)

  26. Is it fair to say that half the appeal of superhero comics is getting to talk about (and/or bitch about) them with your friends?
    Points to consider:
    1) people like me have been tuning in for over 100 episodes to hear you to gentlemen do it’s despite not having read the books in question.
    2) it”s hard to speculate/argue/write fan fics about series that while great are fairly short (Phongram, King City, We3)
    3) has Walking Dead built up enough backstory to allow this kind of fan discussion?

    Can loyal What Nauts look forward to more 2000AD discussion in 2013? I’m getting a digital subscription for myself for Christmas and would love to get occasional commentary from you guys aswell.

  27. Please forgive typos in my post above, typing it up on my phone.

  28. One last post and then I promise I’ll stop

    Would you ever do a crossover episode with House to Astonish? I asked them the same thing and the seemed up for it.

    Which is better: Glamourpuss or Holy Terror?

    Last time you guys did a question episode Jeff promised to describe more things as ‘chill’. Is there anything Jeff has read/seen/tasted lately that he would describe as ‘chill’

  29. @moose n squirrel: Although my question was definitely in reply to yours (I thought it would appear straight after, but T moves fast!), it wasn’t just to get testy/snarky, but to try rephrase the question as a debate, and providing some talking points for the opposition, which I’d find more palatable to listen to than “Yeah, that Alan loves a good rape scene, what a beardy-weirdy pervy-wervy he must be”.
    (Heck, go back to the archives, they did an episode of that after Neonomicon #2, which was a bit like reading ‘Alan Moore’s I Spit On Your Grave”, only without the revenge aspect, and the fellas discussed Alan’s regular use of rape as a plot point. People on the train must have thought I was having a fit I shook my so much during that one!)

  30. – Waffles. Can the concept fly in other parts of the country? Or is it Portland specific for some reason — and why? I’m trying to convince my buddy to turn his food truck into a mobile waffle window (currently it’s espresso and grilled cheese-centric). SoCal.

    — I’d like to know what comics media you guys generally consume daily/weekly/monthly (of course, Graeme reads 16 sites by only reading his own stuff, right?). Obv. you read Bleeding Cool at times; what about TCJ online? Etc.?

    — Would you consider humoring us with a “favorite books of 2012″ list?

  31. What surprised you (positively or negatively) in the comics industry in 2012?
    Any predictions for 2013?
    (Unless you were planning to cover that sort of thing in your last podcast this year or first one next year anyway.)

  32. Opinions on best inkers for Kirby and Steve Ditko inking Kirby.
    And… damn. I can’t think of a waffle joke.

  33. In light of the Sean Howe book and the brief discussion here a few podcasts back over just what it is that a comics editor does these days, what do you two consider a good or effective example of comics editing for Big Two corporate superhero IP? Keeping in mind that there’s always gonna be a tension between creator ambition, the company need to police and maintain a character’s brand, and a primarily nostalgia-slash-event-driven market. Is it even possible these days to navigate through all the competing demands and end up with something like “art”, or should we just write off the idea of lofty ambition for the genre at this point?

  34. “it seems like the only explanation for Alan Moore putting sexual violence in every single major project he’s ever done is that he’s either trying to make some deliberate point” — all writers, artists have themes that they revisit. I forget who was talking about movies, but they were like “Spielberg– childhood. Scorcese– Italians and Jesus.” I always liked that– “Italians and Jesus.”

    For Moore, he’s had a career-long fascination in power structures, how the powerful victimize the weak, etc. That’s the running thread to his entire ouvreau, however you spell that, whether you’re talking about From Hell or V for Vendetta or … For the Man Who Has Everything maybe…?

    Factor in his interest in deviant sexuality generally. Plus: he’s a horror writer. How much rape is in horror stuff, generally? I don’t know– don’t really read the stuff much, for years now, and was never a huge fan, but I imagine it comes up. Anyways, factor all that in and it doesn’t seem all that unusual. Neonomicon was terrible though…

  35. What do you think of the new Ke$ha record?

  36. “For Moore, he’s had a career-long fascination in power structures, how the powerful victimize the weak, etc.”

    Right, but if Moore were really interested in approaching sexual violence from that angle, one would think he’d make some attempt to analyze it – the effects of rape on rape victims, the way that a more pervasive normalization of rape within our culture terrorizes women in general, etc. Instead, rape is just a thing that happens in Alan Moore comics (and, weirdly enough, it’s sometimes a thing we’re meant to laugh at, as it is in LoEG volume one when the Invisible Man’s string of sexual assaults is essentially played for laughs).

    If he is trying to make a point, it seems like a point that he’s wildly failing to communicate here, and I’d like to see someone other than me take a crack at it and talk about what’s going on (which, again, is why I asked the question).

  37. 1. Spider-Man: Ditko or Romita?

    2. Do you buy $4.00 comics? What is the highest price you would pay for a 22-32 page floppy?

    3. Karen Berger as head of creative development at Image Comics. Please consider and comment.

    Thanks, love the podcast!

  38. @ I think Alan Moore’s talking more about desire and how complicated and messed up that desire can be. From Hell is all about that desire. Rape seems to be a part of it, in a sick and twisted way. But I do think this is his weakness…like Grant Morrison writing African Americans or Warren Ellis writing about teenage problems.

    – G

  39. This is not a Question! It really isn’t! Move on, Graeme McMillion$!

    I’d just like to chime in and offer a slight defence of the saucy sorcerous scapegrace himself (even though I burn with the fires of hate for him!) Obviously it’s not my place and I wasn’t asked but I’m a rude bugger. Anyway, this…
    “…the effects of rape on rape victims…” this is one of the things Moore is analysing with Mina in LOEG, her initial “rape”/rape being that perpetrated by Dracula upon her in the source novel. He’s been writing that character for some years now. He seems quite committed to exploring this issue, I think.

    “…pervasive normalization of rape within our culture terrorizes women in general…”
    Moore has written many strong female characters who survive despite the horrors the society they inhabit chucks at them. I think Alan Moore’s work acknowledges women have got the sh*t end of the stick society-wise. Yes, in LOEG nasty men would visit zombie strip clubs. This does not mean Alan Moore thinks zombie strip clubs are smashing since women can now be defiled even after death.

    “…rape is just a thing that happens in Alan Moore comics…”
    I don’t believe that is true. Take out the “just” and it is true, I think. Put the “just” back and you are talking about Mark Millar.

    “…the Invisible Man’s string of sexual assaults is essentially played for laughs…”
    Yes, in the context of taking the rise out of the seedy tradition of schoolgirl smut of the period. I found it creepy. Like I find On The Buses creepy. Something may be played for laughs but it doesn’t mean you have to respond in tune.

    Also, Griffin certainly gets his comeuppance in Vol.2, yes? Jimmy in 1969, also? William Gull, Gargunza, (poor, poor) Johnny Bates etc. There are usually consequences to sexual violence in Moore’s work.

    Alan Moore loads the dice (sexual violence won’t be perpetrated by someone you are supposed to warm to) but draws short of telling you how to react. I found the kiddy fiddling end of Top Ten to be an effective volte face in tone which brought home the evil of the situation quite directly. MnS thought it was funny. Is that Alan Moore’s fault? Should he wag his finger more about what is Right and Wrong in his work? How much of a writer’s job is it to control the audience’s reaction? I don’t know. That’s not occurred to me before. Hmmm.

    I think Alan Moore uses sexual violence to address many points. Sometimes he fails sometimes he doesn’t. And sometimes he writes NEONOMICON and we all wish he’d not bothered this time, thanks Alan.

    Looking forward to Jeff’n’Graeme’s answers!

  40. The internet – the future of comic books or comic strips? It seems to me that the web is not really a delivery or economic format that lends itself to producing a blob of words and art once a month/two months/whenever lazy ass pros or guys who have to work real jobs to support their comics hobby can squeeze some work out.

    Mike

  41. “MnS thought it was funny. Is that Alan Moore’s fault?”

    I didn’t say I thought it was funny. I said it was clearly played for laughs – in the same sense that Moore plays, for example, Pollyanna being raped by the Invisible Man for laughs in LoEG volume 1 (I didn’t find that funny either, but it was pretty clear that Moore seemed to think it was damned near hysterical).

    And again – again, again! – I had no intention of derailing this thread; I really only wanted to get Jeff and Graeme talking about this because I think Jeff and Graeme are smart people who would actually explore it and discuss it in interesting ways. And I think the fact that just asking this sort of question sets off a wave of oddly prickly defensiveness might indicate that maybe – just possibly, maybe – it’s a subject that the comics-reading community could stand to talk about a bit more.

  42. The “make your own waffle station” at the hotel complimentary breakfast: Good idea or bad idea?

    What’s your opinion on Bagels? Are frozen bagels out of the question? Fruity cream cheese or regular cream cheese? Describe your ideal bagel (if there is one.)

    What was your most successful “cleanse?” Can we organize a “Wait, What: Cleanse Week?” Because I would like to see the comments after that week.

    Are you looking forward to a podcast where you aren’t answering questions, possibly sometime in 2014?

    What was your favorite Dave Clarke question? Least favorite?

    You guys are the best, thanks for podcasting.

  43. Where do you stand on:
    1) Vodka And Coke
    2) Christmas Crackers
    3) Dennis The Menace vs Dennis The Menace And Gnasher
    4) Big sacks with ‘SWAG’ on them vs Big sacks with ‘$’ on them
    5) The ‘aggro style’ UK comics of the late seventies
    6) Hi-style design-heaviness in US superhero work – could the design sensibility of a David Aja or a Johnathan Hickman replace the hem-hem ‘design’ sensibility of bendy spines and porn poses and upskirt angles if we all wish really really hard?
    7) Bad Machinery/Girls With Slingshots/Dinosaur Comics

    Thanks!

  44. 1). If you could put together an Avengers/Justice League style team comprised of Kirby characters, who would make the cut?

    2). What are your thoughts on series 4 of Misfits?

  45. QUESTIONS!

    1) A revival of Quality’s BIG BEN – The Man With No Time For Crime by Al Ewing and J Bone – Yes or No? QUICKLY! Yes or No?

    2) Biggest Loss to Comics’ archive: ROM, ATARI FORCE or MICRONAUTS(original runs, natch!)

    3) Who really owns Marvelman (in less than 10 words)?

    4) a) Was “Jimmy Broxton” the artist on KNIGHT & SQUIRE a pseudonym? b)If so, who for?

    Cheers and my hunks of burning love to both of youse!

  46. 1) Have the first six issues by Ennis, then the rest by Ewing completely ripping Ennis to shreds.

    2) Micronauts, though it’s really hard to decide, because AF has Garcia Lopez and Rom has Buscema and Ditko. But Micronauts has Kane, Ditko, Golden, LaRocque, Giffen, Guice, Jones, Chaykin…

    3) Dez Skinn.

    4) a)yes. b) James Hodgkins, sometimes inker of John McCrea.

  47. @Dan Coyle:

    1) Ho! Ho! Ho! You’re frisky today!
    2) Correctamundo! A fine answer. (I bet Graeme goes for ROM but Jeff will opt for MICRONAUTS as Mantlo’s poetry will swing it for him.)
    3) Heh. Now that would be funny.
    4) Not that I doubt you but I had a looky loo and…that is “unconfirmed” which means you are…right! I have learned something new today, cheers!

    You always answer my questions so well, Dan Coyle!

  48. What’s your take on this Jonathan Hickman quote:

    “Most of the talent creating books at Marvel are fairly progressive, so generally we all want diversity in the abstract,” he said. “The problem comes from the fact that the catalog of Marvel (and DC) characters are predominantly straight white male because of the era they were conceived in — and it’s the basic building blocks of what we have to work with. Which begets the question: Well Jonathan, if this is really one of the root causes of the problem, if you really feel that way — if you’re not a fraud — why don’t you just go create some new, more diverse characters?

    “Which is where things get tricky,” he continued. “In light of numerous historical examples, contractual realities, and the shelf life of creators, is it really in a creator’s best interest to be making brand new IP for the big companies on the cheap? I mean, we still do it sometimes, because, frankly, we can’t not…it’s in our DNA as storytellers and problem solvers — but is it the ‘right’ thing to do? Would it be right for people to ‘expect me’ to do that? I don’t think so. But that’s just one example — There are others (some even more negative, plenty positive).”

    From here: http://www.comicbookresources.com/?page=article&id=42517

  49. 1) I have never read an Avengers comic. If I were to read one issue of the Avengers what should it be?

    2) I have never watched or read any Dr Who. What is a good place to pick it up? Other than 1966…

  50. 1) Which Marvel and DC characters that headline their own books or are members of a team should be put aside for a year or two? Which Marvel and DC characters have been poorly-written the longest?

    2) If the Big 2 super-hero comics were redesigned to be more all-ages- and woman-friendly, do you think sales would increase? Has the new readers ship already sailed?

  51. No way you’ll have time to answer all of these, choose one!

    1) What’s the single issue of a comic that you love best?

    2) I’ve been loving Journey Into Mystery From Gillen and Immonen. Once Immonen’s Sif run is finished, what team should tackle the Warriors Three?

    3) Are there any current comics that would benefit from a JiM/BPRD style spinoff?

  52. George T:

    To get into Doctor Who is easy. Just watch The KLF’s “Doctorin’ the Tarids” on a constant loop: http://www.youtube.com/watch?v=bdTELokKfCk

  53. Should Marvel bother with covers?
    They print them on the same stock as the pages, the books are ordered months in advance and sell to an audience that actively seeks them out. Why not save the price of more pages/art and just have the title sit above the first page?

    Is FATALE becoming an ongoing series a good thing?
    I enjoy it though it’s not their best, but was looking forward to Bru and Phillips moving on to something else.

    What was the best and what was the worst comic you read for each decade you have read comics?

  54. This isn’t a question Graeme, just skip over it.

    @ Ben Lipman
    I kinda love the idea of covers being the first page of the comic. I’m making a mental note to try it with my next project.
    I don’t see Marvel ever doing it though. Perhaps Fraction and Aja may sneak something through, but all the Barcode and Tradedress stuff is subject to change at any moment, it cuts off variant cover insentive schemes and it’s just going to cause headaches for people who repackage the stuff (trades, hardcovers, though crazy anthology mags they sell in Europe, digests, online collections). It’s entirely possible covers are stored somewhere differently to the main story in marvels files.

    Also covers sometimes need to finished before the script is finalized.

    When you need to churn out 80 comics a month the process gets very streamlined, and changing that process cos someone wants to be cute can be a pain in the ass. You could theoretically change the entire process to do cover as first page, but you could never prove to the business that it’s worthwhile.

  55. What happens to Ross’ moustache when he turns into the red-hulk?

  56. Oh man, I like that Apple question bunches. Let’s just add that they would also sue Kirby because they invented stapling paper in the middle.

    But I guess if people took a stand on everything they would have to live in trees like Berkeley students and then what a world we’d be left with. The stink, good jesus.

    How about…

    A) Has anyone, ever, done more for a comic than Eddie Campbell did for From Hell?

    B) Could we expect a modern reader to get anything out of the big 2 comics “masterpieces” of our youth? I am thinking of in continuity stuff here, something like Simonson’s Thor here, a book that pretty much ruled my world growing up, yet something I will ever be able to properly explain to my son, even if he had the issues in front of him. I don’t have the same doubts about Romita’s Amazing or other earlier runs, there is just something about those eighties books that seem stuck in time.

    C) If you gave 100 people on the subway issues of Bill Sienkeiwicz’s New Mutants (with the lovely painted covers removed) how many would tell you it was the worst looking comic they have ever seen?

    and

    D) What would happen if Robert Kirkman decided to spend his next month’s income and buy the publishing arm of Marvel? Not the IP, just the right to publish Marvel comics the way he wanted…which characters would die each month and by which blunt instrument? How sad would the Punisher be while he used his slowly diminishing appendages to get the rest of the Marvel U killed, one 100 issue spectacular at a time?

    Who would he think was calling him while he cried into a disconnected telephone and would he still have the beard? Would Aunt May be the big bad?

  57. What current artists are the best at comics storytelling? I don’t mean the best illustrators or the best frozen pose/cover artists, I mean, from panel to panel, who can carry the story, draw your eyes across the page, and not interfere with the story being told? It seems to me that comics are blessed with many a good illustrator, but there aren’t many competent cartoonists. Is this the fault of the artist or the writers who don’t know how to script for them?

  58. I was wondering if you guys have read either of Harvey Pekar’s final books, “Not the Israel my parents promised me” or “Harvey Pekar’s Cleveland” I think they’re great, but I’m a lifelong Harvey fan a Clevelander as well. Could I get some non-homer perspective from you guys on the books if you’ve read them?

  59. By what rationale does Jeff continue to buy DC Comics? Under the new management structure, hasn’t DC proven itself to be Marvel’s equal (at least) in lack of respect for creator rights, poor retailer relations and overall creative bankruptcy?

  60. If I’m being greedy asking another question feel free to skip me. If not then I ask Graeme this: inspired by John K mentioning On the Buses, if you could put Jeff in any classic British sitcom which would you choose?

    Would it be “Jeff is On the Buses”?

    How about “Is Jeff Being Served”?

    Would you watch “Dad and Jeff’s Army”?

    Or would you choose something else? Only sitcoms, we of course know you would prefer to put Jeff in the cast of Blake’s 7. We all want that.

  61. Last question, I swear, but since you guys read novels, I’m curious what you consider are the best superhero novels not related to the big two. I’ve read WildCards, Superfolk and Soon I will Be Invincible, and that weird Stan Lee superhero book, but I’m not sure what else is out there.

  62. By what rationale does Jeff continue to buy DC Comics? Under the new management structure, hasn’t DC proven itself to be Marvel’s equal (at least) in lack of respect for creator rights, poor retailer relations and overall creative bankruptcy?

    This is a great question, especially in light of all the creators from DC, both before and after the reboot, talking about how badly DC editorial under Dido micromanaged and made life miserable for creative (Jim Shooter, Chuck Dixon, Rob Liefeld, the War Games creators, Sean McKeever, and many, many others)

  63. Whose portrayal of Emma Frost is better: Finola Hughes in the Generation X Tv movie, or January Jones in X-Men: First Class?

  64. This is a question, but not one for the actual podcast: Do you guys have a cutoff for questions, as in when you reach question #50 or comment #150 or something. Because I remember how out of control the last question thread got and I figured maybe you wouldn’t want to go through that again.

  65. @T: That’s a great point. Let’s call THIS the cut-off for questions, based on how far we got in recording yesterday (Spoiler: Not very). Sorry, everyone who would’ve asked something later…!

  66. WHYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY?

  67. I know its late but if you can squeeze it in my question is – Brian Michael Bendis, yes or no ?

  68. Mustasches on superheroes, has it ever worked?

  69. If you want real, well-thought out questions you’re going to have to set some sort of limit per questioner (well, per questioner’s unimaginative pseudonym, but still). All i see here is a bunch of jokes by the same five dudes and a couple of attempts to derail the thread.

  70. My question about the Ke$ha record was not a joke, bad wolf.

    Not…at…all.

  71. I LOVE House to astonish – any chance of a cross-over?

    Should it be Graeme and Al/ Jeff and Paul? or vice-versa?

  72. oh…just thought of another one…

    Emma Frost is based on Diana Rigg, except for Chris Claremont and Grant Morrison,why can’t other writer ‘get’ that ?

  73. I’d never accuse you of wasting our/their time, Smitty!

  74. I am just curious what Monkeybrain comics you are reading. I’ve heard you both plug Bandette, but what else are you enjoying?

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