Best & Favorite of 2017!!!

This is a bit belated but I think you will find a nice overview to 2017 and pointers to 2018 in the ramblings below.

Favorite movies seen in the Theater in 2017:




I only saw two movies in the theater in 2017, so looking to improve on that in 2018. Nothing in January had me jazzed to pay theater prices for, however I am looking forward to the following in 2018:

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The one two punch of AMAZON PRIME and HULU gets this award. NETFLIX that was riding high in 2016 with LUKE CAGE and other shows, had a disappointing 2017. With a non user friendly interface compared to Amazon Prime and a selection of shows and movies that weren’t as interesting or well curated as either HULU or AMAZON PRIME, I cancelled my membership at the end of 2017. The last straw being the overhyped and ultimately lackluster PUNISHER series, as well as news of the studios pulling their content from Netflix.

In 2018 the TV shows that I am or will be watching are:



TAKEN (I think the new showrunner made a mistake getting rid of most of the cast from season 1, but hopefully he can course correct and fix it)

STRIKE BACK and ELEMENTARY return after long hiatuses

LONGMEYER went out with a bit of a whimper, so looking forward to YELLOWSTONE







And lastly looking forward to Season 2 of what, without question, was the best, most inventive TV show of 2017, Noah Hawley’s LEGION.

And for those keeping score… LUKE CAGE tied with FARGO Season 2 (Also by Noah Hawley) were the best TV shows of 2015, and DAREDEVIL Season 1 was the best TV show of 2014.



I loved everything binaural in 2017, adding many great CDs to my collection. THE HEAVY and GREGORY PORTER remained in heavy rotation. Gregory Porter being my favorite live performance of 2017. And I added new interests RAG N BONE MAN, Andra day and Brian Ferneyhough. With Spotify to allow me to try before I buy, I’m looking forward in 2018 to discovering more great music, both old and new.


I didn’t read as many novels, or listen to as many audio books in 2017 as I did in previous years, so I definitely hope to turn that around in 2018.

I did do substantially better with Art Books, Graphic Novels, Reference Books, and comics in 2017. Some of the standouts:





ARTIST EDITION BASIL WOLVERTON (This and the other two previous books having to do with Basil Wolverton, I went all in on him in 2017. Still absorbing these three books here in 2018)




In 2018 writers I intend to go all in on are Percival Everett, Victor Lavalle, Colin Whitehead and Walter Mosley, as well as revisiting work by Ligotti, Lebbon, Ellison, Stephen King, Clive Barker and Bennett.


In 2017 Marvel had a great POWER MAN AND IRON FIST series I was reading, the only thing I was buying monthly from Marvel Comics. And Marvel letting greed get in the way of common sense, killed a series everyone was loving, with a creative team everyone was loving, David Walker and Brian Stelfreeze, to instead both dilute audience attention and oversaturate the market with multiple books, almost all of which are ready to be canceled. So going into 2018, with Marvel sticking to their insane $3.99 price point per book, there are no titles I pick up from Marvel Comics.


In 2017 DEATHSTROKE by Christopher Priest was the only DC Comic I was getting on a monthly base. It’s arguably the one series that you can just pick up and enjoy without having to read any other title, or care about any other title. Priest has been able to just do… what he does best, create a fantastic read; month in and month out. So it is the only DC book I’m reading in 2018. However, greed rears its ugly heads and the idiots who get paid to make stupid decisions have decided to add DEATHSTROKE to their floundering team book… JLA,  basically gutting the standalone nature of the comic that allows Priest, to do his magic. Basically the same poor decision making that happened last year with POWER MAN AND IRON FIST.


I figure the conversation went like this… ‘man everyone is talking about this book, let’s put the characters in multiple other books, and then they will be talking about all those other books too.’ No, you EFFING morons! The reason people are enjoying POWER MAN AND INRON FIST or DEATHSTROKE is because it is well drawn and well written and not part of your insipid crossover infested universe. Your very attempts to duplicate that success, without understanding it, will kill the character in the new book, and kill interest in the character in the original book.

So yeah here’s hoping someone with brains over at DC, vetoes the horrible idea to put DEATHSTROKE in the JLA, because I’m not going to read the JLA, and you’re editorial interference will create a character that no longer works in his solo book. You have therefore killed the golden goose and have nothing to show for it.


The good news is when you get sick of the stupid decisions and overpriced ad laden product at DC and MARVEL, you have great content from other publishers to enjoy. Publishers that give you more for your money. Publishers such as IMAGE, AFTERSHOCK, DARK HORSE and many more.

As far as where to buy new comics from, a lot of people will steer you to DCBS. I personally in terms of pure customer service and ease or ordering prefer LONE STAR COMICS. You can order comics in advance from the at at a discount.


They are highly recommended, and I use them myself, and this is an unpaid recommendation. Tell them Heroic Times sent you.


And wrapping this up, favorite podcasts of 2017:




WTF with Marc Maron




To name a few. Okay that is it for my 2017 Pop Culture overview. Thanks for bearing with it and if you enjoy, spread the word. Enjoy WEEK #6 of 2018!!!







On DC Comics New york Comic Con 2010 News! Zuda Comics and Milestone comics! Price changes and more! Pt 1 of 2!

Well had hoped to be partaking of New York Comic Con goodness today, I had even prepped a nice itinerary of panels and events, but some last minute snafus got in the way. But (hopefully) that just means I get to bring you the Sunday perspective rather than Saturday, and with Sunday typically calmer, it should allow me to bring you some interesting coverage.

Plan is to head out in the AM so I can crash the Sunday Convention doors when they open. We’ll see how well that plan pans out. 🙂

But what I can bring you in the interim, is a bit of feedback on the first 2 days of the New York Comic Con (coverage/news has been surprisingly light), and following that offer a slightly sleep deprived, yet heartfelt questioning on what’s going on with DC Comics. Okay… onto the ranting 🙂 :

Home and the Grace of God

ComingSoon.Net– Has a 5 page gallery of pictures from the con. Uhhh— don’t know who their photographer is, but you are at one of the nations biggest cons and all you can think to take pictures of is toys and props???? Wow. Either that’s the most boring con ever, or ComingSoon needs a new photographer. :). Judge for yourself.

Newsarama- True to their name is on the ball with coverage of various panels. Though the bit of news that got my attention was DC’s price drop, dropping their price from the insane $3.99 price point back to the nearly as insane, but just this side of acceptable $2.99 price point.

Now the following stance is primarily regarding the physical form of comics. But drop a $1 off the pricing and the stance is valid for the digital form of the product. For more on my take on tangible versus digital, go here.

I guess their shrinking sales figures woke them up to the fact (a fact that just about everyone told them before they embarked on the path) that $3.99 (ie $4!!) for a couple dozen pages of paper that will take you ten minutes to read… is not good value for your money.

Ideally I’d like to see the big two comic book companies (Marvel owned by Disney and DC owned by Time-Warner) pick up and run with Warren Ellis’ Slimline/Fell model of pricing… $1.99. That’s the price-point you need, particularly in this economy where the Average person’s salary is stagnant or decreasing, to not only maintain existing reader interest, but to create a viable entry price point for new readers.

Now I’m not crazy that DC is cutting 2 pages of story, 20 rather than 22 pages, to bring the price-point back to $2.99. So they are pretty much screwing the people who were just getting $2.99 books, which was pretty much everybody. So to look at this another way you’re still forcing an across the line price increase by reducing the content for the regular $2.99 books, while still asking a $2.99 price tag for them.

Crap! That makes me mad.

Leave it to DC, to make a necessity, lower prices or lose market share, yet another way to screw the consumer.

I think it reeks of unhealthy quibbling from one of the more public faces of a multi-billion dollar conglomerate. I mean seriously, you’re going to stiff us across the line for 2 pages.

Johns, Dido, Lee, Wayne… (a company with entirely too many titles, and too few people really willing to steer the ship), are you watching this?! Great Caesar’s ghost! If we’re losing 2 pages across the line, kick the darn price down to $2.50!


I was taken in by this announcement until I really started thinking about it.

I mean don’t get me wrong it is a start. It’s a start… an underhanded, devious, greedy, backstabbing, slimy, smarmy, odious and stinky start. But it’s a start.

Now all they have to do is publish some books worth buying, and I might jump back on the DC bandwagon.

Oooh, riled a few of you huh?!

Here’s the thing, I’m not a DC basher. I like DC.

While Marvel was the comic company that, like most kids my age, galvanized my attention in my youth; heading into my teenage years it was DC who had picked up the coming challenge of the direct market and a more mature customer base and gave us a very sophisticated and yes literate body of work, in an amazingly short amount of time.

Wolfman and Perez’s NEW TEEN TITANS (look at that great cover! We’ll discuss in a minute how current day DC comics have a hard time producing great covers), Paul Levitz and Keith Giffen’s LEGION OF SUPERHEROES, Moore, Bisette and Totleben’s SWAMP THING, Miller’s DARK KNIGHT and YEAR ONE, Baron and Guice’s THE FLASH , Englehart and Joe Staton’s run on THE GREEN LANTERN, O’Neil and Cowan’s THE QUESTION, DeMatteis and Giffen’s JUSTICE LEAGUE, (preceded by the equally good run by Gerry Conway and Luke McDonnell on the closing issues of the JUSTICE LEAGUE OF AMERICA) and of course Wolfman and Perez on CRISIS ON INFINITE EARTHS. All those books in relative spitting distance of each other and in many ways they still define what is best in this medium we call comics.

Those runs are memorable touchstones to a lost holy grail, that to this day, companies are still mining for, still trying to recapture. Not least of all DC itself.


Here’s the thing I’m aware from podcasts that DC has quite a few talented creators out there, and some are doing good books. Some are doing FANTASTIC books! DC has one of the best creators, in my opinion, working in comics today in Mark Chiarello, Art Director (as of this writing) of DC Comics. His SOLO and his WEDNESDAY COMICS, in a time where the height of creativity or thinking outside the box in comics, was Zombie variant covers, or killing/resurrecting characters, are two projects, that continue to blow my mind. Just inventive, thinking out the box audacity. And that he’s also am amazing writer and artist (His Negro League cards are STUNNING!) in his own right, just makes it all the more odd that DC doesn’t just turn over the keys to him.

But they don’t.

Instead DC seems to be retreating from very innovative concepts and growth, growth that seemed to have been building up to a watershed of creativity perhaps akin to that 80s period I mentioned, but seemingly forestalled in what can only be seen as a homogenization of what was becoming an ethnically diverse line.

DCs problem today is the same problem that has always been an Achilles heel of comics. Braindead marketing, and over-saturation/flooding of the market.

“Oooohh. One Batman book is good. That mean’s 16 Batman titles would be great!” No you stupid, stupid men. Multiple titles of the same character introduces confusion into your consumers and into the brand. While you will always capture the one moron, with too much disposable income, who will buy, and probably not read, all 16 titles. Historically, and today currently, what happens instead is for that one who will buy into your gouging ploy, you have 600 people like me who will look at these 16 different Bat titles, scratch their head, and say I can’t be fucking arsed to figure out what title is the ‘good’ Batman title.

And I understand, that with so-called 2nd string titles not selling as well, the impetus is to go with a name, go with a name, go with a name. The problem with that is at $4 a pop, no one is going to experiment on a 22 page comic. At 60cents and 75cents I could take a risk on something called SWAMP THING or $1.25 on something called THE QUESTION. But DC, all comic companies have largely priced themselves out of the impulse buy market. At $4 the book has to offer a definite great experience for the reader’s money. In terms of both story, art, character, and payoff. And typically that’s a lot to ask of a new character where the first several issues is about building the character. And that’s a lot to ask of Dc, in particular, because DC cover artiist, for the most part, not very good. Anytime DC gets a halfway decent artist, Marvel swoops in and steals him away, till you look at today, and DCs covers for the most part look like garbage. The tradedress, the actual art, it’s just not something that wouls impel me to stop, pickup the book, and flip through it. If the cover artist sucks, I can only imagine how bad the interior art is.

I refuse to believe Mark Chiarello is signing off on these covers. But whoever it is, needs to tighten up the ship, because fault Marvel for what you will, but their books, their cover artists… are AMAZING! Like I said, I don’t even buy Marvel Comics with the exception of Brubaker’s CRIMINAL, but if I did I would be drawn to these marvel books.

Why is CRIMINAL the only Marvel/Icon book i buy?

Well, because I don’t buy individual issues that don’t come with a letterspage and/or backmatter/ additional conversational type material. One of the reasons I was such a huge fan of books such as FELL and GUTTSVILLE (Holy Hell I miss that book! Two of the most innovative, beautiful and brilliant books of the 21st, smothered to death by that little flooding the market thing I’m talking about) is because they offer this deeper insight into the material. in the case of Brubaker’s CRIMINAL it’s even more amazing material.

So yeah that’s why. If you can’t be bothered to put together a Stan’s Soapbox style bit for your readers, or do a letters page, I can’t be bothered to pay for your effing book.

However all things being equal, if Marvel and DC were to reinstate letters-pages/back-matter, and get the ads out tof the story, based on the quality of the Marvel artists and to some degree writers, I would clearly be buying Marvel comics.

While it’s inane to let a cover be the sole judge of a comic, this is a graphic medium, so the cover means a bit. It’s the resume that gets you in the door, or the hands of the reader, and it should impress.

Marvel Comics, from trade dress to actual artist, typically rocks.

DC typically sucks.


Damn take your pick of nearly any DC comic released this month. Such as:

This is your flagship title, right? You couldn’t tell it by this cover. You could barely tell this is a JLA title. You make the title all but invisible? Really? It’s just piss-poor trade dress design. And the central image conveys and illicits no interest what so ever. No art director should have signed off on this.

This is a good artist, however the central image doesn’t really convey much. The Rebel’s title and trade dress doesn’t help to give any kind of interest to the cover. It’s the type of cover that in the old days would have been saved with a word balloon or caption, but evidently DC can be bothered these days with little things, like making their covers sell-able.

Honestly do I even have to point out how bad this cover is. And me not reading DC comics, this is my first time seeing the costume all the podcasters were talking about. I really have no stake in the character, so change away. But make it good, that costume is utter garbage. Beyond that the art just looks… awkward. I’m not sure if she’s preparing to fight or having some type of hemorrhoid attack. :).

Here are 3 more cover images, that just don’t cut it.

The DOOM PATROL central image is actually good, but the trade dress just does nothing to make it exciting. It’s just floating in a sea of boredom. The FLASH image is busy, but busy in a bad way, it’s just not engaging or interesting, but at least the Trade Dress, typography brings some interest to the image. Just not enough to overcome the weakness in the central image.

THE FLASH has some of the best covers ever, it has to do with artists with a great sense of design and placement, as well as a great color scheme, and finally fantastic typography, captions, and word balloons, a life and energy that is mostly missing from this modern issue.
So DC has only itself to blame that it’s new characters find a steep slope to acceptance. Even at $2 I’m open to dropping $5 and picking up 2 books a week. But when $5 will barely get you one book/story, and typically that $5 experience of piece of story is unsatisfying at best.

SUPERGIRL- I’ve heard nothing but good things about this Super-Girl run, but based on this cover alone, I would never pick up the book. Again the central image itself isn’t particularly bad, it’s just not particularly anything. And once again DCs lack of trade dress, typography, just calls attention to the fact that something is lacking.

How is it with nearly 80 years of comic covers to learn from, people still can’t get it right?

Marvel however, really has not only great artists, but as importantly they understand typography and the effective use of typography and cover organization. Bendis was well known for this with his POWERS work. Some examples of Marvel getting it right? (these are from the same month as the DC ones above):

The above Marvel images speak clearly for themselves.

Marvel just kicks ass on these covers (and this statement comes from me Heroic Times, someone who for the most part has turned his back on Marvel monthly comics)! Marvel has those stunning, painterly artists, such as Simone Bianchi that DC simply can’t hold onto.

Marvel is no less culpable than DC with their 6 THOR or 8 AVENGERS titles, but each issue looks orders of magnitude better than their DC counterparts. And Marvel seems, to come to each cover witn a sense of design and layout, for the most part lacking in the DC titles.

George Perez is still cranking out some masterpieces for DC. Relative newcomer Sami Basri , is knocking it out of the park with POWER GIRL (And if DC doesn’t pay this guy, I predict he’ll be the next artist Marvel takes away from them. He’s that good. Look at his cover to issue #16 of POWER GIL, a great use of negative, a great understanding of creating images that speak), as well as Alina Rusa’s attention grabbing cover to BOP.

But these are exceptions to DC’s rule of rather tired, boring, uninspired covers. Marvel on the other hand, while no less event heavy, and just as guilty of flooding the market, you get the sense it’s a rather cohesive vision driving the Marvel machine, and for the most part it really is creator and quality driven. With DC you get the sense it’s mostly editorial mandates, that tend to be a scattershot approach, and that quality across the board is more miss than hit.

Yet given all this, DC still looks to the consumers for the reason their books aren’t selling. The books aren’t selling first and foremost because they are too expensive. And two because, the DC comics I’ver read in the past few years, individual issues, just aren’t very good, even if they were $2, for giving you a good reading experience. The JLA is supposed to be the flagship title for DC, and in the last few years, they’ve been unable to get anyone excited or interested in these comics.

Part of this, most of this is, particularly with Dwayne McDuffie… editorial interference. I have yet to interview Dwayne McDuffie, but the sense I get was he was courted by DC, following his HUGELY successful JLA UNLIMITED series (which got the JLA absolutely right and is the best they’ve been in any medium in years) and given JLA, mainly to weasle the rights to MILESTONE away from him (more on Milestone in a bit). And once that was done he was pretty much saddled with crippling editorial interference, and a less than stellar art team, until he was pretty much shooed off the book.

So when a company’s flagship books are saddled with high prices, and poor, unsatisfying story and art, very few are going to risk dollars with secondary characters or untried characters from this company. It’s why I think ideas like Chiarello’s SOLO and WEDNESDAY COMICS, somewhat of a reinvention of the company’s SHOWCASE roots, are potentially the future of the medium. A monthly flagship title, containing a mix of classic and new characters, with letter pages, and back matter, and a real conversation like comics of old, with popular characters being spun off into their own titles.

The alternative is the diminishing returns model of current comics.

To be continued….