Friday, January 29, 2016


The other day I had a long conversation with John Siuntres for his wonderful Word Balloon podcast.  We covered Batman: Bad Blood, the new Augusta Wind series, Justice League 3001 and lots of other things.  It was, as always, a genuine pleasure talking with John.  Click here to listen.  Hope you enjoy it!


  1. Vigilante. Hitman. One of those is the new Dematteis series. You said it was surprising. Those would be the most surprising.

    These are the general ideas on your interview.

    To be fair, the average non-comic reader not knowing that Superman would come back... that is probably to be forgiven. I know that isn't quite what was talked about, but thought it should be said.

    You talked about the old school of cramming stuff in. Let me tell you a secret... me and everyone else who reads comics wants that back. We want our money's worth. The lack of that type of storytelling economics has driven me and others from books.

    Glad "For the Man Who Has Everything" was mentioned. I actually thought the cartoon was better. Though that isn't quite as good as you might think. That story was one of the worst Superman stories in my opinion. It showed me Alan Moore does not quite get the character, because Superman comes off as an ass. His ideal world is completely devoid of everything that he knew. His adoptive parents, his friends, his co-workers, his job, his loves, his life. It really comes off that he cares nothing for humanity or its people since he chose a place he never knew over us. The cartoon works better with the Lois/Lana combo and making him a sort of farmer... so at least some of Earth was in his head. I believe Moore's name is the only reason this is praised.

    I believe I suggested Court of Owls quite some time ago. I'm just saying.

    I'm sad you didn't mention the Lesley Gore-Batwoman theory. But it is understandable I suppose.

    Definitely agree about animation as a better for adaption. Drawings are more believable for the fantastic. You don't have to worry about what looks real, because it is harder for it to not look believable in a drawing.

    As for the big fights. As much as I like Winter soldier, most of the action was unnecessary and was a waste of potential thriller style. And I liked that film.

    Englehart and Starlin admittedly DID do acid in the 70s. It helped create... Master of Kung Fu. Englehart's words.

    You didn't even have faith in your own medium. ouch.

    Diversity. Great. But that include diversity of ideas and styles. And age Marvel and DC, AGE.

    I got half way through before I had to stop. Good interview.

    Don't forget shout those 4 points on how to save the comic industry from the rooftops.


    1. Thanks for the feedback, Jack. (Hey, that rhymes!)

      What's interesting is that John spoke at length about one of your four points—which is the price of current comics.

      Totally agree about diversity of ideas and styles, by the way. But I think you knew that!

    2. More feedback:

      A few days ago I had a desire to go watch one of the trailers Marvel used to do for their books. When I found it on Youtube one of the comments was, "does anyone know where I can download this for free." People wonder about all the problems with our creative fields.

      The point of price came up about 2 minutes after I had to stop last time. Everyone sees the problem. I brought this up at the comic shop to a few people on Wednesday as we all figured out which of our books were not worth the price tag this month. Every single person agreed with it, you agreed with at least a 3/4 o it.

      I really miss the economic storytelling though. Reading back issues of Creepy is so depressing, its something like 8 pages and I get a full satisfying story, and now 6 issues and only sort. of.

      It isn't that no story should be that long, it is just that some of the mediocre 6 issue stories could be really great 1 to 2 issue ones. You need to be able to feel the length of the story an act accordingly.

      For that matter, I think PKD may have been a better short story writer than a Novelist.

      I actually think that decompression is an attempt to be more cinematic. I'm relatively young and I prefer the old ways, it is hard to pin it on the growing up with it idea, since back issues are so available. I have dropped books (including one by a writer I like very much)recently after one issue because I burned through it.

      I think decompression became popular because there was a need to grab people and wanting the next issue, remember how rough it was for Marvel back in the day.

      As to you multiple episode on TV idea, I liked mad Men, but I often felt cheated. Meanwhile new X-Files filled it up. Point is, it isn't just you being an old man.

      I think it is all a rigging idea by networks.

      Also, a problem with the new generation theory is, what new generation? Its the same generation for the past 16 years. There is almost no one under 40 writing mainstream comics anymore, and even fewer under 30. I think the hope is to get a movie made on my more cynical days.

      If you liked Court of Owls, his story before that "The Black Mirror," is even better.

      The trans thing was interesting. I just thought that it was just the idea that Guy was always super-sexist and misogynistic, so the joke is that he is in the last body he would want. That was the joke.

      I never considered it as being trans-anything. It is sort of like When Ted Cruz recently talked about New York values and people assume he meant Jews. I seriously doubt he meant that, and I am not exactly a huge Cruz supporter.

      Being part Jewish the mention of media and Wall Street did give me pause, but over all I know that wasn't what he meant at all.

      I do think that understanding goes both way. It may sound like I am being a dick, (and I really hope not) but while it is important to realize when you have insulted someone unintentionally, it is also important to know when someone meant no harm. Two-way street otherwise you just get anger.


    3. HEY! I remember the Creature Commandos... and I always will.

      I love that movie idea.

      I was admittedly hoping to get your views on my "For the Man Who Has Everything" belief.


    4. Yes, Jack, understanding has to go both ways and I have to say that the people I directly interacted with around the "Gal" Gardner issue were all very open. As I noted in the interview, it was uncomfortable at times, but sometimes growth can be uncomfortable.

    5. I'm ready to write the CREATURE COMMANDOS movie when WB is ready to make it!

    6. Re: "For the Man..." You make an interesting point. That said, I see it as Clark/Superman longing for a world he never knew. It's like an adopted kid from Russia or India, brought up in the U.S., fantasizing about what life would have been like had he/she been raised in his/her country of origin. And perhaps the inevitable explosion of Krypton is Clark's psyche realizing that his life is fine just the way it is.

      THAT said, I know the SUPERGIRL TV show is adapting that story soon and, since, on the show, Kara was older than Clark when she left Krypton, and has clear memories of her life there, the story may fit her better. Or at least more directly.

    7. I assume they would have to have been understanding about you. This was the first I heard of it, and with the way things travel now, if they felt you didn't give them the deserved I would have.

      Yes, it makes since for Kara, I think. I haven't seen the TV show, but if it mirrors the comics I get it.

      However, my grandmother was adopted (in 1917/18 around the time Supes would have been) and actually to a couple who were past usual child-birthing years.

      I can't imagine any scenario where her idealized world would be without the people who raised her. She even moved from Chicago where she was raised and loved, to a small town in northern Michigan to help them when they retired.

      Because that is the essential problem with the story, it is the idealized world. He could have had Krypton survive and his family be an ambassador to Earth, or his parents survive with him and the Kents take them in, and act as an aunt and uncle.

      In fact there is something that Ostrander, intentionally or unintentionally, hit on in The Kents. Often times when a child is adopted and has no way of meeting their birth parents will throw themselves into the customs and history of the adopted family in a way to feel less foreign.

      Of course they will always be curious about their birth family, and may even try to adopt the customs they would have been raised in. However, when the family that raised them is a strong loving one, "just fine" probably wouldn't be the word to describe it, and certainly wouldn't view a world without them, as perfect.

      Now my grandmother has been dead for over a decade so I can't ask her any of this.

      In all honesty, it probably came from certain very old views from Europe and specifically England. Adoption is not as socially accepted there, and it is often viewed that where and who you are born to that matters. That is why the class system is so strong there, and part of why the continent has so much trouble with assimilation and immigrants, and the rampant xenophobia, racism, and antisemitism, that may have cooled but is still there don't kid yourself.

      That is also an issue I had with the movie UP. Don't get out your pitchforks I did enjoy the film quite a bit, I just wondered why the didn't just adopt a kid if they wanted one so bad.

      I don't know why DC is dragging their heels on Creature Commandos the Motion Picture - It takes a monster to take down THE monsters. They just don't see the potential.


    8. Well, now that we've got the movie's catchphrase, they have to make it!

      Thanks for your thoughts about "For the Man..." and the psyche of the adopted child, Jack. Very much appreciated.

      UP, by the way, is one of my absolute favorite Pixar movies.

    9. I like UP just fine, its just a weird plot hole. My favorite Pixar movie actually angers me, The Incredibles. It is the best Fantastic Four movie, and it isn't even the Fantastic Four.

      And now you'll never be able to look at the Man of Tomorrow the same way again, let alone that story. Everyone gets hung-up on the "last son of a dying world" that they forget about the "kindly old farm couple."

      I think another reason why is the fact that so many people want to view it as an allegory for immigration they forget that adoption is a real thing.

      I bet now you want to go and write a story about that, don't you?

      I even largely reject the idea that Siegel was drawing on immigration as an inspiration, or being Jewish. I think it was more from him being a dork. but, that's neither here nor there.

      I actually have some thoughts on diversity in comics along the lines of, the problem is not that they are doing it, but how. It's a fine idea, but Marvel and DC are being dumb about it. I'll get to that later though.


    10. Noe last thought on Clark and adoption. I don't get why that isn't explored more. It is a great story hook, with infinite potential. Not the least of which is that THE American icon is who he is because of a random act of kindness by two passersby. The fact that they raised a child that wasn't theirs. That in his first origin said they came back for him from the orphanage because they couldn't get him out of their mind, and that their death is what pushed him into becoming Superman because of what they taught him and that their death quote, "greatly grieved" him.

      Remember, The Kents first appeared in 1939, Jor-El not until 1948.

      In fact what annoyed me most about Man of Steel is that Jor-El is why he became Superman, and Jonathon Kent kept him from it. It was Jon's advice in the '78 Superman film.


    11. The diversity issue is that Marvel and DC do it so... lazily these days.

      There are several ways it happens.

      Take Sam Wilson a great character, and like most people to me Steve will always be Cap, but Sam is a good stand-in if there has to be one. part of why is because of a rich character history.

      That was all thrown a way to turn him into a straw-man for the political world of now.

      Similarly Captain Marvel, formerly Ms. marvel as a really interesting backstory including alcoholism, time-space rape, trapped in someonelse's body, close friendship with two rather goofy when together characters, and a burning desire to fly since youth.

      That got boiled down a woman with no flaws who talks down to Captain America and says he doesn't deserve his title.

      Midnighter way gay since day one, and it was a fact about him. Just a fact, no different than Superman or Spider-Man being straight. BNow it is almost the whole of his character.

      John Constantine was only mentioned as bi in one panel of one issue of Hellblazer with a throwaway line.Now it's the biggest part of it with him in a Romcom with a guy. Nevermind if you are going to expand his field he should be far more... dismissive of long term relationships.

      Then when they create new characters to fill voids they are often portrayed as having no determinable flaws. They are put upon, with the only thing to make them shy of a 50s DC character is an unlikable attitude geared towards lectures... which is probably an unintentional flaw.

      Somehow the 70s stories of minority and female characters were more rounded out with Shang-Chi, Falcon, Valkyrie, Hellcat, Luke Cage, and white Tiger, than they are now. Even Betty Banner (especially under Peter David) and Mary Jane Watson were active particpants with their own problems and acted strong in the face of adversity, despite being side characters.

      So what this leads to is books that sell better than many being cancelled for PR purposes, and comic fans being looked at as bigoted. I don't think very many of us care if the character is female, Black, gay, Asian, Hispanic, trans, or anything else as long as the character is developed well. However, when that doesn't happen, draw your own conclusions about what the non-comic reading world may think.

      Also, feel free to add a fifth thing companies need to do to save the industry that you will be rooftop shouting, issues you can feel complete with one issue, even if it is a chapter of a bigger story. If you read just issue two of the original Galactus saga, you would still feel you got a complete experience.

      I really do think companies want decompressed writers and seek them out.


    12. Re: diversity. First: I haven't read any of these comics, so I can't comment on them directly. That said, I understand what you're saying about something being a natural part of a character vs. turning it into a BANNER HEADLINE. There's wisdom in what you say and I prefer to write that way. At the same time, sometimes you need to banner something when the theme of your story, or the need of the times, calls for it. So, despite the fact that I prefer the former, I understand the need for the latter. But, even then, you want a well-rounded human being, warts and all, not an advertisement for a particular point of view. (Again, I haven't read any of these books, so no criticism is intended. I'm talking in general terms.)

      Also—as a guy who pondered making Sam Wilson Captain America way back in the 80's, I'm delighted that he's stepped into the role. I'm also certain that Steve Rogers will eventually be back.

    13. I don't think there is ever a need for a flat character. Coming up with a character like that is bad writing most importantly, and secondly bad business to create a character no one wants to read.

      Even if a writer does decide to create a character who is, fill in the blank, just to increase the numbers of such characters they have to be made readable. People aren't perfect, and as such they hate reading about people who are. Especially because in the end of the day it is still a job, and the job is to create the most enjoyable stories possible.

      And there is no excuse in my book for taking an interesting character and turning them into less than so intentionally.

      As for Sam... I actually thought he was the more logical choice back when Bucky took over.


    14. To completely change the subject:

    15. Thanks for sharing. I knew about and heard Defenders awhile ago. As I understood it, only two stories made it to radio. The others must have come tater by fans or something.

      One more thought on diversity and response:

      James Robinson recently came under attack for things said in Airboy, which he was using to tell a sort of autobiography.

      The whole point of what he wrote, as he said in his apology, was that it was part of the point. The scene was showing that at that point of his life he wasn't always that nice of a guy. It was supposed to be a bad thing to say.

      That type of reactionary moment seems strange to me, especially since he had already gotten a n award once for his representations of the LGBT community.

      When Archie Bunker said vile things, we all got that it wasn't an advertisement.

      Sorry to double back to such an uncomfortable place.

  2. I downloaded it to listen to later. I'll tell you what I thought in March. :)

  3. You know that JLD anecdote was the perfect opportunity to mention your hero... me.

    Great interview. You'd be surprised how many bad interviewers there are out there, this guy is not one of them. You were okay too.


  4. Interesting thoughts about "For the Man Who Has Everything." I read it less as Clark rejecting his human heritage, and more as a tale of survivor's guilt. In the context of the dream world he creates with the Black Mercy's help, Superman's 'final' act is to save untold billions of lives by never coming into existence.

    Sure, he could have incorporated earth in some way, but that would crack the illusion. In fact, that's exactly what happens when 1980s earth politics bleed into Clark's dream, at least that's the way I read it.

    I also tend to see it as a very primal, childlike fantasy, similar to the way in which Bruce Wayne imagines his eight year old self beating up the robber instead of, you know, never going to the theater that night at all, or a cop showing up. For Clark, that would mean exorcising himself of the guilt of destroying Krypton. Of course it's silly for Clark to take any responsibility for Krypton's explosion, but hey, people (and especially children) feel guilty for all kinds of things they can't control.

    Anyway, great thoughts as always!

    With regard to content, I think comics are less dense than they once were because of the changing way in which we view art. I think writers are more aware now than in the 1970s and 80s of the ways in which they can let the art 'breathe' and tell the story when words will only get in the way. You know, instead of getting word balloons where characters say things like, "Oh, no, I've been hit by a brick and I'm fading into unsconsciousness!" Followed, of course, by their teammate saying, "Oh, no, that brick knocked X unconscious!"

    JMD had a funny anecdote in the Spider-Man creators book to the effect that Tom DeFalco once added a line like that when he felt the picture told the story just fine.

    The problem that comes with this greater awareness, at least the way I see it, is that even the best artist can only produce around 22 pages of quality content a month, a bit more with some lead-in time. Now I'd be perfectly okay with telling fewer stories and having, say, a 50 page standalone story every two or three months. Maybe some backups by a different artist.

    I know that's not necessarily what you're talking about, Jack, so much as not getting a complete story every month, and on that we're totally agreed. To take a recent example, the first two issues of DARK KNIGHT III read better as one issue. The first issue, while good for what it is, just feels like a really long teaser setup for the real action.



    1. Interesting point about Superman and survivor's guilt, David. About fifteen years ago, I wrote a one-shot called SUPERMAN: WHERE IS THY STING? which dealt with the question of survivor's guilt and the huge impact it had on Clark's psyche. I think I was the first writer to ever touch on that.

      Poor Tom DeFalco: I've never let the poor guy live that down—and he's one of the best editors I've ever worked with!

    2. I'll have to see if I can find that Superman story, JMD. Sounds intriguing!

      And yes, Tom is one of the greatest editors and writers to ever grace comicdom--which is probably why the anecdote is so funny!


  5. BTW, it's recently been announced that Sam Wilson and Steve Rogers will BOTH be Captain America, with each having their own books. I really like the concept, as I feel they both have radically different (but equally valid) spins on the American Dream.

    I remember enjoying the way Gruenwald alternated back and forth every month between Steve Rogers as "The Captain" and John Walker as the new Captain America, with their stories finally intersecting in CAP #350. After that, he had John Walker in some backups as US Agent.

    Talk about getting bang for your buck!


    1. Interesting. It's getting back to what it was in the 90's, when you had Thor and Thunderstrike, Iron Man and War Machine, etc.

    2. It always comes back around, doesn't it? I think it's a smart approach. I guess the modern spin comes in the way that Sam Wilson and Steve Rogers are co-equals now, instead of one of them getting a different name. So we'll be getting CAPTAIN AMERICA: SAM WILSON and CAPTAIN AMERICA: STEVE ROGERS books coming out at the same time.


    3. When you add in all the different spider-characters crawling around the Marvel Universe, it really does look like the 90's all over again!

    4. David, I'm going to have to disagree with you, and twice no less. After all the agreeing this feels weird.

      Survivor's Guilt rarely f ever effects someone who survives at that age. It is an emotional concept not an intellectual one.

      It is usually made because the person knows people that they feel were more deserving of life than them. It is hard to make that connection when you are an infant. It is really more akin to say The Punisher. It is a bout personal loss as much as anything.

      What's more the brain often times has trouble contemplating those types of numbers for such events. That is why 150 people shot in Japan has less of an effect than seeing a single stranger shot.

      Since we are talking about a character launched from a planet as a baby and is still one after crossing God knows how many solar systems, it may not be best to base everything o that.

      I actually recently purchased and read the DC Comics presents with Swamp Ting written by Moore. He is clearly writing a Kryptonian living on Earth.

      In will grant Superman from Kingdom Come is probably suffering from Survivor's Guilt over the Daily Planet.

      As for decompression, I'd first like to say that exclaiming someone is hit by a brick after they are isn't that weird. I'm pretty sure if that happened to someone next to me I would probably say something like, Holy God, that guy was just hit by a brick? Who throws bricks?"

      People announce when it rains after it was predicted for three days.

      More importantly, I have recently read some Marvel Masterworks, and the difference is more how they use the drawings. The used to use fewer images to the same point.

      An argument in a 70s comic might take a page and 5 pages today. This is despite perhaps the exact same dialogue used. This is because comics today are more inclined to show movement.

      Greg Rucka's most recent book had a page with five or six panels of a character walking to a door, no dialogue.

      Much of it has to do with a different view of the economics of space and storytelling, you know how you use stuff.

      In the end I do truly believe it stems from a n attempt to make things more cinematic, even before comic movies became a big thing.

      I also believe many fans feel cheated by that at times.


  6. When I was watching and enjoying the X-File last night, I had two thoughts beyond that.

    1. How is this not a Steve Gerber story already

    2. Which brings us here, every writer and aspiring writer ( myself included) has to be kicking themselves for not coming up with that great yet obvious idea.

    I also had two other thoughts.


    1. Re: X-FILES. The truth about the monster reminded me of SHREK, when we found out the truth about the princess. Same basic idea.
      Looking forward to seeing how they wrap this up. Then I want an X-FILES/FRINGE crossover.

      Re: survivor's guilt. I totally disagree. But that's fine.

      Re: James Robinson. Never read the story so I can't comment...beyond the fact that James is a very nice guy.

  7. Jack,

    I haven't really studied survivor's guilt, but it certainly seems possible that someone could experience that even if they were too young to remember the event. Sometimes children struggle with the idea that their birth parents gave them up for adoption, for instance, even in adulthood.

    I don't think we're THAT disagreed about story economy. I'm not a big fan of stretching stories out past their natural length, especially given the fact that solicitations spoil the conclusions months in advance. Breaking up stories in 22 page chunks can make for awkward pacing, which is why I think it might work better to see 48-50 pages of content every other month or so as opposed to the current format.

    But for all I know, that format would sink the comics industry altogether! I'm sure there are very intelligent people considering all their options, and they have credible reasons for going about things the way they do.


    1. I agree, David. We may not always be on board with the decisions being made, but I know that the people making those decisions care passionately about comics and want to see the industry thrive.

    2. Maybe its because I like Steve Gerber and not Shrek, but it definitely felt more Gerber to me.

      There was no lesson to learn about being different, he liked being different. The message was that people are messed up.

      What really sold it as a Gerber style to me were things like calling the psychiatrist a witch doctor, talking about the need to find a job and then hating it but unable to quit, lying about sex, and saying the only way to be happy as a human is to spend time with as many non-humans as possible. Right down to the terminology all felt very Gerber.

      I'm not entirely sure how it works in comics, but often times such decisions come from higher ups, not editors, or even editors in chief, I'm talking guys like Ron Perilman, who notoriously didn't care about comics.

      If trades sell well, then it may be a bottom line issue. What's more I'm not sure that different format would work. Price would go up and in the end of the day people very likely could still feel cheated when they breeze through it.


    3. As for, "For The Man Who has Everything,"well:

      While yes it is true that adult adoptees struggle with that, Superman doesn't have to, he knows why he was given up. I'm admittedly fuzzy as to how seeing as how it keeps changing every few years.

      It is especially unlikely if the adoptee decides to dive into the new culture, which I think even taking out Ostrander's "The Kents," I think there is a significant amount to back that up. that he feels more human than Kryptonian and he considers himself a Kent not from the House of El.

      As I said at first, yes there are always question about where you came from and what ifs, but it all comes down to where your emotional center is.

      "Why was I given up?" a very real and very legitimate question does not equate or really have much connection to, "I shouldn't have been the one to survive." And it certainly doesn't connect to an idealized world without the loving adopted parents.

      If one does accept that it actually opens up the door to even more interesting stories. For instance, flashbacks to people saying Clark isn't a real Kent, or a desire to prove himself worthy... of being a Kent, learning as much as he can about his Ma and Pa, fears he isn't human enough in a flashback to his first fighting an alien. For that matter he is so often called the greatest hero, with morals beyond those of average humans, how does that effect is mind? Does he feel he should be more flawed? Is the goofier Clark Kent moments attempts not only to hide but to blend in and feel normal?

      Facts are facts and opinions are opinions. I hope I explained my points i a measured and understanding way


    4. one more thing to add... assuming my last post went through, and with my computer that is a big assumption.

      A lot of this is hard for non-adopted people to wrap their heads around. Remembered, I am not adopted, my grandmother was. It took my years top wrap my head around a lot of this stuff, and it was connected to someone I really cared about. I never understood why you wouldn't be happy someone chose you t first. Even after all that interest and research into it, I'm still no expert... and probably never will be sine I am an adult an will never be adopted.

      I say this not to devalue what you say or raise myself up, but rather say that perhaps that lack of understanding in the main populace has caused some problems when writing the world's most well known adoptee.

      That being said, I still think Moore misunderstands the character (along with superheores as a whole) and wrote him as a jerk. i also think he did the same in that DC Comics Presents.


    5. Thanks for sharing this in a very open and honest way, Jack. Lots to think about and it's very much appreciated.

    6. Jack,

      You explained your points very convincingly.

      BTW, I think we're agreed that Superman sees himself as Clark Kent. I don't think the fantasy world he creates for himself is, by necessity, his 'ideal' world, beyond the simple fact that billions of Kryptonians live where they once died.

      There are multiple possibilities as to why Clark dreams the world he does, one of which being that he WANTS to escape the illusion. If he creates something too close to home, its grip on him might be too strong, especially when you consider that his parents were already dead when the story was written.

      I think Moore's "Whatever Happened to the Man of Tomorrow" might help to balance out your concerns with "For the Man Who Has Everything." Clark abandons his Superman role and lives an anonymous, very 'human' life with Lois Lane. The stories fall at opposite extremes, which suggests that maybe Moore's feelings about Superman are too complex to be limited by either story.

      You might be right that fans would feel cheated by the 50 page format I've suggested.

      At any rate, some authors work better with 'trade' format than others. Scott Snyder, for instance, seems to write stories that read really well in TPB.

      And the Giffen/JMD JL3001 is a nearly flawless example of an old school kind of story with a lot of meat on the bones that just keeps snowballing into bigger and better adventures.



    7. What do you mean a NEARLY flawless example. David? Are you insinuating that Giffen & DeMatteis have flaws?!

      But, seriously, folks: Thanks for the kind words about JL 3001 and, as always. the keen insights.

    8. I actually typed 'the Giffen/JMD JL3001 reigns supreme as the only completely perfect monthly comic on the market today' but something got messed up along the way.

      Stupid autocorrect!:)


    9. Well, at least now I know what you REALLY meant.

  8. Jack,

    JMD posted this link on twitter, and I thought it worth re-posting here because it covers the point you've made about allowing 'diverse' characters to embrace their flaws, with an emphasis on how gender is treated in Giffen/Dematteis' JLI:

    It's a very well written piece, and if you haven't seen it yet, LEGENDS OF TOMORROW might be the most fun live action comic book show out there right now.

    And JMD, thanks for putting that on twitter!



  9. After a month of zero internet it warms the cockles of my heart to come back here and read so many interesting comments. I did listen to the podcast and it was amazing. I could have listened to another hour with no problem. The recent issues of JL3001 have been fascinating to read and I do like the new team configuration. Finally, Legends of Tomorrow is a great show. I especially like Heatwave and Captain Cold in it. I was pleasantly surprised to see that DC will be doing an anthology book with the same title with an 80 page count! I loved the old 80 page giants so this is definitely a blast from the past. Good to be back.

    1. Welcome back, Douglas. Hope you enjoyed your internet vacation.
      And very glad you enjoyed the podcast. I love talking to John. A good interviewer and a good guy.

      I've been enjoying LEGENDS, as well...although a part of me would love to see a solo Rip Hunter show, a kind of American DOCTOR WHO, really getting into Rip and his mythology.

  10. I had a great vacation! I kept notes everyday and am busy forming them into some kind of narrative. A friend of mine is illustrating it and we will be releasing it as a book. Tentative title; InterWHAT? I got a lot of reading done and did four or five mini comics that month. Very productive. I also liked writing all of my notes in longhand. A good skill to keep sharp.

    1. Must been like living in 1999! : ) Glad it was fruitful.