0:01-4:00:  Greetings from Graeme “Gracious Winner” McMillan and Jeff “Suck It Up” Lester.  Are we complaining less in 2019?  It’s not just a potentially awesome American Voices topic, it’s also something we contemplate briefly before getting things underway.

Seal bitch-slaps man with octopus

4:00-47:51: “Look, I think this whole fight thing from last week was overrrated,” Gracious Winner declares.  “Mmm-hmm,” agrees Suck It Up.  And so we’re once again unified in our quest to talk comics, comics news, and comics media.  So, first up: Aquaman!  How has Jeff seen this but Graeme hasn’t?  We can’t work that out but Jeff does have some “damning with faint praise/praising with faint damnation” thoughts about the movie.  Yes, we have to admit upfront that it’s a shame that Aquaman is going to get much more mouth-time than Spider-Man: Into The Spider-Verse (unless we turn that around next episode) but, well, Jeff has thoughts and you know what that means.  (Cut to montage of calendar pages dropping to the ground one by one).  Also discussed: superhero movies where the weakness on the page becomes a strength on film; *spoiler of post-credit sequence at 20:28* if that’s a thing you care about. Also discussed: Justice League 2, Ben Whishaw as Bruce Wayne, Wes Anderson’s Batman movie (and now that I think about it, it should be a remake of Batman Returns with Lea Seydoux as Catwoman,  Willem Dafoe as Max Schreck (for double bonus in-joke points!) and Jason Schwartzbaum as the Penguin running amok in Gotham as The Kinks’ Father Christmas plays.  Come on!); Riverdale; Legends of Tomorrow; Titans; Trolls; and more.

47:51-58:54: Hey!! Kids Comics!  We talk about Aquaman #43 by Kelly Sue DeConnick, Robson Rocha and Daniel Henriques; Wonder Woman issues #58-61 by G. Willow Wilson, Cary Nord, Mick Gray, and Xermanico; Superman #7 by Brian Michael Bendis, Brandon Peterson, and Ivan Reis.
58:54-1:16:40: (Had to start a few seconds earlier so I could get Graeme’s “Oh!” included in this.  Speaking of DC Comics, there was a bit of news the other week about DC joining Comixology Unlimited (as well as bringing titles to Kindle Unlimited and Prime Reading).  We discuss that news which includes the 15% discount on digital titles; what’s available there as opposed to the DC Universe app; DC’s different approaches to its different readerships; the first volume of Immortal Hulk being on CU; Jeff’s pie-in-the-sky dreams for having these services as the openers of the way to readers and fans, and more.
1:16:40-1:18:42: Also in comics news: the passing of Ron Smith (Judge Dredd, 2000 AD) and Batton Lash
(Wolff & Byrdd Counselors of the Macabre, and Archie Meets The Punisher).
1:18:42-1:33:13: Since we were talking about 2000 AD, Jeff really wanted to talk about The Green Lantern #3 by Grant Morrison and Liam Sharp, which is simultaneously a love letter to 2000 AD, DC Silver Age comic book covers, and, uh, more? Less? We’re still not quite sure, but it may have some big ramifications for Hal Jordan…or not.
1:33:13-1:49:55:  We talk a bit about the most recent issues of Batman by Tom King, Mikel Janin and Jorge Fornes, Travis Moore, Mitch Gerads, and others, as well as Batman Annual #3 by Tom Taylor and Otto Schmidt. Also discusssed: Heroes in Crisis; ambition, politics, and Watchmen references; and more.
1:49:55-2:00:40: When is a comic we like not a comic that we like? Sadly, when it’s Friendly Neighborhood Spider-Man #1 by Tom Taylor, Juann Cabal, and Marcelo Ferreira. We pull apart what doesn’t work for us in a book we really wanted to work.
2:00:40-2:04:18:  We point out (mentioned above in the notes but not actually in the podcast) that the first trade of Immortal Hulk is on Comixology Unlimited.  We then go on to rave very briefly about the most recent issue, Immortal Hulk #11 by Al Ewing, Joe Bennett, and Ruy José.
2:04:18-2:19:04:  And from there, Graeme goes on to talk a bit about what he’s been reading, including:  trades of Action Comics: Rebirth by Dan Jurgens, Patch Zircher, and Tyler Kirkham; Young Justice #1 by Brian Michael Bendis and Patrick Gleason; Captain Marvel #1 by Kelly Thompson and Carmen Carnero; Uncanny X-Men by Ed Brisson, Matt Rosenberg, Kelly Thompson and Yildiray Cidar; the Shortbox releases of 2017; the Hilda graphic novels by Luke Pearson; the Asterix graphic novels by Rene Goscinny and Albert Uderzo; and a brief discussion about what constitutes new on Hoopla.
2:19:04-2:45:00: Jeff’s turn! He’s read and wants to talk super-briefly about Die Wergelder Vol. 2 by Hiroaki Samura; Vinland Saga by Makoto Yukimura; Conan The Barbarian #1 by Jason Aaron and Mahmud Asrar; Criminal #1 by Ed Brubaker, Sean Phillips, and Jacob Phillip; Outer Darkness #3 by John Layman and Afu Chan; Gunning for Hits (Music Thriller) #1 by Jeff Rougvie and Moritat; Keeping His Whims In Check by PI; I Moved to Los Angeles to Work in Animation by Natalie Nourigat; Go-Bots #2 by Thomas Scioli; and Man-Eaters #3 and 4 by Chelsea Cain, Kate Niemczyk, and Lia Miternique; and from there we talk about Chelsea Cain’s very problematic tweet from the other week.
2:45:00- end:  Closing comments!  Look for us on  Stitcher! Itunes! Instagram! Twitter together and separately: Graeme and Jeff! MattTumblr, and  on Patreon where a wonderful group of people make this all possible, including the kind crew at American Ninth Art Studios and Empress Audrey, Queen of the Galaxy, to whom we are especially grateful for their continuing support of this podcast.  And then we’re out!
NEXT WEEK:  Another episode of Wait, What?  Yes, somehow!

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4 comments on “Wait, What? Ep. 262: Shiznit.

  1. Jeff Lester Jan 13, 2019

    Okay, and here’s the link for cut and pasting purposes (although the player for our main link in our post may not be working so maybe everyone will need this?):


  2. I’m on episode 7 of titans and am processing it not as a Young Justice-generation thing, but as a really pretty weird hybrid between the original comics and Zack Snyder’s Watchmen, with crappier special effects than either. Suffused with a weird semi-horror vibe and a bit of wry humour. It doesn’t quite work all the time (quite a lot of the time) but on the whole I’m enjoying it way more than I thought I would. Script’s quite lively, plus Anna Diop as Starfire is kind of awesome. And Brenton Thwaites has more or less won me over as Dick Grayson, though it took a while. All in all, it gets kudos for at least trying something different (even if I haven’t quite worked out exactly what different thing it’s trying yet).

    But I’m with Graeme: somehow find it hard to imagine it really being Jeff’s thing. Unless for some reason the idea of semi-psychopathic (but not quite as semi-psychopathic as Jason Todd) Dick Grayson and Starfire in bed while Gar is running around naked in the background, waiting for an excuse to turn into an unconvincingly CGI-rendered green tiger, appeals to him. If that’s case, this might just be the show he’s been waiting for …

  3. Nate A. Jan 16, 2019

    I think there was a last minute artist change on that Spider-Man book, which supports Graham’s speculation about a time crunch.

    The overall quality of the Shortbox catalog is really something else. Zainab Akhtar is doing some editorial work for P.E.O.W., so I’m looking forward to seeing what she does there.

  4. Voord 99 Jan 16, 2019

    Jeff Lester’s discussion of Aquaman really nailed down for me what I think about it, especially the bit about it being like a comic that you read for the art.

    I mean, it’s a terribly written film — just awful. Plodding. Spoiler warnings would be meaningless, because there is not one scene in the film that you do not know is going to happen before it does. But somehow, even though I was sitting there noticing just how dull and unimaginative the plot is and how paper-thin the characterization is — and I was noticing them; it wasn’t one of those cases where you’re just swept away by the visuals in the moment and only think about the writing later on — it didn’t *feel* terrible.

    I suppose it was sort of like some musical theater — the film was trusting you to accept that the writing was just there to be a structure to which to peg the images, like big musical numbers.

    I have a vague impression, based on nothing very systematic, that Aquaman benefited in critical response from the fact that traditional film reviewers still have that lingering presumption that all films in the genre must be this badly written, and so that Aquaman is astonishingly badly written even for a superhero film does not register as much as it would if this was, e.g., a conventional action movie.

    But rarely have screenwriters done so little to earn their cocaine compared to direction, cinematography, visual effects, etc.

    Also, what is Arthur Curry’s day job, exactly?

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