Monthly Archive: July 2014

Mindy Newell Goes On A Binge

television-set-7188990Binge-watching is defined by the Urban Dictionary website as a “marathon viewing of a TV show from its DVD box set.” Wikipedia adds that binge-watching has become an “observed cultural phenomena with the rise of online media services such as Netflix, Hulu, and Amazon Prime.”

A lot of cable networks have gotten in on the act. Cloo includes on its schedule “marathon” showings of House, CSI, Monk, and Law & Order: Criminal Intent; yesterday (Sunday, July 27th) the channel brought on Burn Notice. The original Law & Order runs on TNT, Sundance, and WE, although I can’t figure out what it’s “thematically” doing on WE, unless it’s because Chris Noth is hot and Jerry Orbach is just so damn watchable. And Law & Order: Special Victims Unit is on USA right now.

Verne Gay of Newsday (yes, the paper at which Ray Barone of Everbody Loves Raymond toils as a sports writer is an actual real-life Long Island institution) recently listed 57 shows that are worthy of your couchpotatoing the weekend away. It’s all a matter of the viewer’s opinion and genre bias, of course, but here are Gay’s (paraphrased) qualifications for shows that are “binge-worthy,” with my examples.*

  1. A story arc, i.e., a storyline that continues throughout the season, notwithstanding one or two stand-alone episodes that nonetheless always contain either at least once scene related to the season’s overview or is in some way related to the overarching theme of the season. Examples: Breaking Bad, Angel, Orange Is The New Black, Scandal, Friends, Mad Men, Battlestar Galactica, Buffy The Vampire Slayer (you didn’t think I wasn’t going to mention BTVS, did you?), Dallas (original and new), Game Of Thrones.
  2. Characters that the viewer is invested in, i.e., whether good or bad, hero or antihero, starring role or a member of the “Scooby Gang.” Examples: Don Draper, Kara “Starbuck” Thrace, Sookie Stackhouse, Willow Rosenberg, Olivia Carolyn Pope, Rachel Green and Ross Geller, Buffy Summers, Sarah Manning, Jesse Pinkman, Spike, Rose Tyler, Frank Underwood, Angel, Monica Geller and Chandler Bing, J.R. Ewing (Sr. and Jr.), Cordelia Chase, Amy Pond, Rory Williams, Wesley Wyndham-Pryce
  3. A definite ending; i.e., questions raised during the course of the show are answered, the hero/heroine completes his/her journey. This does not guarantee a “happy” ending. It also does not guarantee that the viewer will be satisfied. Examples: Breaking Bad, Friends, Dexter, Buffy The Vampire Slayer (which actually had two endings – Season 5, in which Buffy sacrifices herself to save her sister Dawn and the world, and Season 7, in which Buffy realizes that she can share her power. For the record, I prefer Season 5), Battlestar Galactica. Two shows that were suggested were Lost and Angel. However, I can’t recommend Lost, despite its many excellent moments, because too many questions were left unanswered, and although Angel rocked its five seasons, The WB’s (very stupid, im-no so-ho) decision to cancel the series rushed its ending so that it felt too ambiguous – except for Wesley’s death, which was the only part that felt real. And it remains to be seen how True Blood, Mad Men, The Walking Dead, and Game Of Thrones handle their endings.
  4. It’s entertaining. Or as Gay puts it, “fun.” I hope you don’t need an “i.e.,” but just in case you do – you’d better enjoy what you’re watching, or you’re just wasting time. Examples: Dallas (old and new), Doctor Who, Firefly, Star Trek: Deep Space Nine, Star Trek: Voyager, Buffy The Vampire Slayer, Angel, Scandal, House Of Cards, Dexter.
  5. Gaye calls this one “informative,” but I’ll put it more simply – you learn something. You get excited. Maybe about the universe, or maybe, vicariously, about yourself. You can learn to appreciate great writing, or great camera work, or great acting. You can learn that you don’t really want to get an MBA and work on Wall Street, even if it does mean you’ll be rolling in dough and driving a Porsche; you discover that you want to work in an industry that allows you to key into your inner child, whether it’s as an actor or a writer or a director, a special effects artist, or a stunt man/woman, even if it does mean that most of the time you’ll be earning money temping as a receptionist or slinging dishes in a restaurant and depending on tips to make the rent. Examples: Cosmos, Band Of Brothers, Firefly, War And Remembrance, Buffy The Vampire Slayer, Battlestar Galatica, The World Wars.
  6. There ain’t no commercials. And you don’t want to hit the “pause” button. Meaning you hold it in for between discs or between episodes. Examples: Your DVD Boxed Set, Netflix Streaming, And Amazon Prime. As for Hulu/Hulu Plus – points off for the ads.

I’d love to know your binge-worthy shows.

* Some are shows I have binge-watched; others are recommendations by friends and family.

 

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#SDCC: Zombie Walk Hit and Run, Crowd Attacks Deaf Family’s Car

John Ostrander: Where’s Johnny-O?

Well, John Ostrander wasn’t at the San Diego stock yards. And John Ostrander isn’t here on ComicMix, where one regularly finds him on a Sunday morning.

So… Where’s Johnny?

John’s at home, recovering from a particularly difficult photo shoot late last week. We’re not sure he’s sitting down yet. Wink wink, nudge nudge. 

John should be back here next week. But if you happen to run into him and he offers to show you his latest photos… you might want to give that a pass.

(Oh, and you can stop searching the artwork above for Sergio Aragones. He’s not there.)

 

Marc Alan Fishman: Captain America, Thor, Changes, Stunts…

black-captain-america-9085286Marc tips back on his heels, juts his chin out well beyond his neck and claps his hands together with a swagger like no other…

So have you seen the news lately? Seems like no one at Marvel can keep their race, gender, or sexual preference the same. It’s like Dormammu and the Living Tribunal decided to challenge Galactus and Eco The Living Planet to beer pong! I kid, I kid.

But yes, it seems that Marvel is making the dirt sheets and giving early Christmas gifts to fanboys who like to bitch online by shifting some major tentpoles of a few of their bigger brand-names. Of course, any comic book fan worth their salt saw the announcements of Captain America’s new epidermis tonal-shift, or Thor’s gender-swap as staying-the-course for modern comic bookery. Changing the face under a mantle is Sales-Spike 101 in Marketing for Muggles.

If I were to only discuss the House of Mouse with these shocking plot twist redirects, I’d still be buried deep in the publishing cycle. In the past decade we’ve seen a mind-swapped Spider-Man take to Manhattan, Bucky Cap, Professor X’s death / rebirth / paralysis / re-death, Ghost Rider choosing to inhabit a Latino street racer, Pepper Potts Iron Man, a Red Hulk, Rick Jones as the Abomination, and in Hickman’s Avengers books a brand new Smasher, Starbrand, and a few others I’ve long since forgotten about.

With all those cases, the comic-buying world looked over the rumors on Bleeding Cool, bitched about the atrocity of it all on CBR, and then posted a few selfies of them eventually reading the damned books when they came out. And given enough time, Peter Parker came back to the mantle, so did Steve Rogers, as did Tony Stark (though I guess he never really truly left the mantle… but you get my drift).

In short, a change of race, creed, gender, or underwear preference only shuffles the deck long enough to make some noise. And while creators will carry their changes as long as they hold the attention of the masses (the masses being the niche market of comic book readers), these shifts exist solely for the opportunity to tell a new story. And in my humble opinion, that’s absolutely why I think all these obvious sales ploys are great ideas.

As I noted last week: in the economics of pulp-and-paper, idea generation is the true value of the end product. As such, the clamor I’ve long heard (mostly from old farts and the old-at-heart) about how comics should just tell good stories about the core characters – never succumbing to epic events, or tawdry flights of fancy. Well, the epic event crossover thing… I get that. But if we chain the hands of our creative teams and force them to work within the confines of a limited universe, we’re removing the possibility of those teams then creating something truly memorable.

Of the aforementioned stunts, I personally was enthralled by the Superior Spider-Man. And while I knew that there’d be no way that Peter Parker would truly be forever removed from the 616, I was amazed (natch) at the balls Dan Slott showed by keeping Otto under the skin for as long as he did. He introduced us to a not-so-friendly neighborhood wall-crawler, who decided that proactive crime fighting beats the typical responsive nature of super heroism. Because of it, we were treated to month upon month of smart heroes outsmarting villainy instead of relying on dumb luck, pithy speachifying, and mindless punching. And sure, there were tropes (the manic-pixie girlfriend who sees through the cock-sure attitude, the hubris of the hero eventually being his downfall), but more-so there were stories I had not read. And that, kiddos, is worth its weight in mouse-approved gold.

So let having Falcon take a turn with the most recognizable shield in comics. Let Thor enjoy earning only 80% of the wages an equally powerful male version of herself would. Heck, let Dr. Strange turn into an asthmatic asexual narcoleptic quadriplegic Aboriginal with crippling psoriasis!  If it shakes up the character, and allows the creative team to tell a story we’ve never heard before, then it keeps the ball rolling.

It’s only when we let our prose live in the predictable status quo that we stand the most chance to lose any momentum we gain in the era of the comic book blockbuster.

 

The Law Is A Ass

THE LAW IS A ASS #303: MILLIE BECOMES A MODEL PRISONER

millie_the_model_by_hectorrubilar-d6x3eq7-2081963Blame my friend Hurricane Heeran for this one. I do.

He wanted me to write about the legal aspects of Models, Inc. # 2. I told him that I hadn’t read the comic, as the series didn’t sound the least bit interesting to me. Here’s how Marvel Comics described Models, Inc. “Fashion Week is always a hectic time for models, and this year is no exception. Between escaped wolves, robbery attempts, and overly friendly police officers, Mary Jane Watson, Patsy Walker, Jill Jerold, Chili Storm, and Millicent (Millie the Model) Collins are testing the limits of their endurance. But when a brilliant young set designer [Todd Speers] is found murdered with three bullet holes in his back, and Millie proves to be the prime suspect, the models are forced to play detective in order to save one of their own.” Here’s how I described it: “It doesn’t sound the least bit interesting to me.”

But Hurricane was persistent and had a little spare cash to blow. So he blew that cash by buying a copy of Models, Inc. # 2 and sending it to me, so that I could write a column about it. Which puts that whole “my friend” thing into serious question.

The problems Hurricane had with the comic that he wanted me to explore started after Millie the Model made bail. As she was leaving jail, Captain North Norrell, the investigating officer in the Todd Speers murder case asks Millie to stick around, while he talks to the press. She and her lawyer agree.

Is there anything wrong with this? Of course.

Oh, it’s not wrong from a legal standpoint. But no lawyer worth his salt, or even his caraway, would permit his client to participate in such a staged police force publicity stunt just in case the police wanted to do something like, oh I don’t know, accuse his client of committing another murder while on camera. Lawyers tend to care a way lot when bad things like this happen. Especially when they’re bad things the lawyers could have prevented but didn’t.

Did I happen to mention that Captain Norrell uses this staged publicity stunt to accuse Millie of murdering philanthropist Devin Perlman while on camera? Did I really have to?

Actually, there are problems with what Captain Norrell did from a legal standpoint. The only connection between the two murders is that the same gun was used. The gun was Perlman’s, which was taken during a robbery of his home in which he was killed. It was then used to kill Speers and was – in classic Perry Mason cliché – found in Millie’s hand while she was standing over Speers’ body.

Other than the fact that the same gun was used in both crimes, there was no connection between the murders of Perlman and Speers. So by publicly accusing Millie of Perlman’s murder and connecting it up to Speer’s murder, Captain Norrell has significantly hurt the state’s chances of getting a fair and impartial jury to try Millie. Prosecutors don’t like grandstanding policemen, who go public and jeopardize their cases. Especially prosecutors in fiction stories. Prosecutors in fiction stories are always running for governor so want to do the “going public” themselves.

Prosecutors also don’t like it when police captains take the main suspect aside for a private conversation and ask a defendant who already has hired an attorney – “lawyered up” as NYPD Blue used to call it – to confess so things will go easier on them but do so without the defendant’s lawyer being present. See, if the defendant does happen to confess, the whole confession might be thrown out of court, because the police captain spoke to the “lawyered up” defendant without the attorney being present; a strict no-no. Annoying how those pesky little constitutional rights keep getting in the way of shoddy police work, isn’t it?

Do I have to mention that Norrell took Millie aside without her lawyer to try to get her to confess, too?

Hurricane was also bothered by the fact that Captain Norrell was able to acquire a search warrant to search the townhouse of well-known multi-millionaire Kyle Richmond, because Millie was staying there. I don’t have a problem with that, per se. Cops can, and do, routinely obtain search warrants for the places where murder suspects were staying to look for evidence.

I do have a problem with Captain Norrell’s publicly admitting that the search was basically a “fishing expedition” to see what evidence they might find, “because that’s a good way to catch fish.” Judges issue search warrants when the police can convince them that they have probable cause to believe that evidence of the crime will be found in the place they want to search. They don’t like to issue search warrants when all the cops can do is say, we want to poke around in a fishing expedition and see what we might turn up because that’s a good way to catch fish.

Search warrants issued for those reasons have been known to be held invalid. Even by the Rehnquist Court.

And judges especially don’t like to issue search warrants when all the cops can do is say, we want to poke around in a fishing expedition and see what we might turn up and the search is for the town house of a prominent multi-millionaire, who could help finance the campaign of the person who’s running against said judge come re-election time.

Now my personal favorite scene in the book was when Johnny (The Human Torch) Storm and two of Millie’s model friends break into Todd Speers’ apartment and search it for evidence. The apartment is a sealed crime scene and they steal evidence that they found hidden in the apartment, so what they’re doing is all sorts of illegal in all sorts of ways. Before they committed this highly illegal act, Johnny Storm and the two models told Millie they were going to do it, but also told Millie she couldn’t come along, because, “if she was found here breaking into the sealed apartment of the man she’s accused of murdering, it would look… bad.”

Riiiiight, cause it looks soooo much better when her friends do it for her.

Well, that’s all I’ve got to say about Models, Inc. # 2 except this: I have to issue a

SPOILER WARNING!

because I’m about to reveal how Models, Inc. # 2 ends.

 

 

With the words “…To be continued!”

Hey, this was the second issue of a four-issue mini-series, how else was it going to end?

Author’s Note: This is another column I wrote for Comics Buyers’ Guide which was never published before the publication ceased operations.

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How Marvel Became the Envy (and Scourge) of Hollywood

Ike Perlmutter and his legendary, ah, frugality…

Martha Thomases: Superheroes Attack New Markets

female-thor-5105611This is a great time for the business side of American comics. Sales are higher than they’ve been for decades, at least in terms of dollars.

(It’s true that in the 1940s many titles sold millions of copies apiece. Those were different times.)

According to the article cited in the link, only titles featuring Batman and Spider-Man consistently sell more than 100,000 an issue. It’s true that Spider-Man and Batman star in a lot of titles, and comics cost a lot more than they did in the 1940s. Still, superheroes are not the monolithic force in the market that they used to be, and single-issues print copies are no longer the biggest part of the market. Graphic novels account for almost half the sales. Digital is estimated to be at least ten percent.

(I know that these categories overlap. My point stands.)

In any case, I think this is good for the medium. I think more kinds of books, available at more kinds of stores, will attract more kinds of readers. More readers mean more money, and more money means more books. Yay!

By their announcements these past few weeks, Marvel demonstrated that it notices changes in the market and will at least pay lip service to them.

The more high profile story of the two is this one, which Joe Quesada announced on The Colbert Report. Captain America will no longer be Steve Rogers, but instead will be his pal, Sam Wilson, who until this point has been The Falcon. Also, up until this point, he’s been African-American, which I assume he will remain while he is Captain America.

This is not the first time a comic book character has changed his or her race. My first experience was when Lois Lane literally went from white to black. We’ve also had John Henry Irons as one of the possible Supermen, come back from the dead.

For that matter, we’ve had a black Captain America before. I love this book. I wish Marvel’s lawyers had been able to work out the deal for the sequel before we lost Bob Morales.

Does this bring in non-white readers? I have no idea. I don’t even know how they could find out, unless comic book stores now have NSA technology that lets them secretly photograph every sale. However, I think one of America’s great shames is the way we handle race relations, and therefore, this is a rich subject for fiction.

Speaking of difficult relationships, Marvel’s other big announcement is that Thor will soon be a woman. One of my favorite story lines of all time was from back in the 1980s, when Walter Simonson made Thor a frog. To me, this epitomizes what’s great about comics, because in any other medium, this would be ridiculous (and, if filmed, really expensive), but in Walter’s hands, it made perfect sense. Therefore, I hesitate to denounce this new development, although that is my first impulse.

I’m not really up on my mythology, but Thor is, after all, a god. The Norse gods, like the Greek gods, and probably like a whole bunch of other gods, are personifications of primal human emotions and experiences. The only reason Thor has gender is that the Norse decided that thunder and lightning were masculine.

Like the Greeks, the Norse often had male and female deities representing different aspects of the same thing. Ares and Athena, for example, were both aspects of War to the Greeks. Baldur and Freya represented beauty to the Norse in different ways.

In other words, there is no real reason for Thor to be female. And if he’s going to now be she, I would find the storyline more appealing if the character was represented as a woman with a build that is a reasonable counterpart to the masculine representation. The only artwork I’ve seen shows a woman with gigantic breasts (or, at least, a gigantic breastplate) that would be impossible with the muscle mass I assume she has.

Maybe gods get free implants when they transition. Maybe she’s using the space in her armor for snacks.

Marvel has said they want this new female Thor to appeal to women readers. I don’t know why they think women want thunder goddesses with implants. Marvel says women readers will like the strong female protagonist Thor now represents.

This woman reader would prefer a version of female strength that isn’t derivative of a male character. I’d prefer something new and different, something that reflects the kinds of modern experiences that women have. Marvel already does this well with Captain Marvel and Ms. Marvel.

Maybe they don’t have enough snacks.

 

TWEEKS: Making the Tough Decisions for #SDCC

harley-quinn-invades-comic-con-international-san-diego-1-300x234-9397356We know this is totally a #FirstWorldProblem, but getting one’s schedule set for Comic Con is really stressful.  With the SDCC app and an Excel spreadsheet in hand, we’re scurrying around the San Diego Convention Center right now in search of scoops (of probably both ice cream and news), but here’s a look at hard tween geek choices that had to be made and some very cool activities downtown.

Dennis O’Neil: Happy, Happy Batday Baby…

batday-1748179So look! We have a new holiday. I don’t know exactly where to slot this one in the holiday calendar (and surely such a thing must exist) – probably somewhere south of all those presidents among the feasts that don’t actually embody a human need but are celebrated because someone said they should be. Not up there with Christmas or Easter, which are actually about something.

I refer, of course (of course!) to Batman Day, celebrated on July 23rd. The cynic in me opines that Batman Day is probably the brainchild of some marketing guy hunkered in one of those mid-Manhattan skyscrapers But I’m not certain and… I don’t know – maybe there was a St. Batman.

The character is arguably popular enough to merit his own holiday, which might lead us to a question I’ve been asked once or twice: why?

I shrug, and smile, and admit that I don’t know. Let us table the matter until somebody smart can attend to it.

Or take a clumsy-ass shot at answering it.

Begin with the iconography. He looks evil, with the dark and scalloped cloak and the horned skull. Squint a bit and can’t you see an avatar of he damned? He inhabits the night, the traditional realm of bloodsuckers and soul stealers and the unfortunates forced to confront him encounter someone or something cold and ruthless and implacable. Nothing warm and cuddly here, nothing you’d want to take home to mom, unless mom lives in an asylum.

But these darkling creatures, inhabitants of areas devoid of even a glimmer of light…they fascinate us. We respond to villains, maybe because they can’t really hurt us; watching them is a bit like riding a roller coaster: the thrill of danger that isn’t dangerous.

Or maybe – and now we descend into murk and psychology – maybe we see in their villainy fragments of ourselves; cruelty and selfishness we relegate to our shadow selves where they hide from everyone, including us. Maybe especially us.

Which brings us back around to Batman. (We will continue to assume that he hasn’t been canonized.) He looks mean and pitiless, someone given to ripping out hearts, but he’s on our side. His bleak self is at our service. Demonic though he is, he’s our demon. We get to hero worship and, at the same time, enjoy whatever pleasure we get from contemplating evil from a safe distance.

There is a fairy-tale aspect to the Batman mythos and that, too, may be an element of his popularity. At the center of the Batman saga is a story that presents a child’s most horrifying nightmare, witnessing the slaying of parents. By experiencing this trauma vicariously, though the psyche of the Batman-to-be we, are able to face it, process it and finally integrate it. We identify with Batman’s survival of the tragedy and that reassures us. See?You can get through the nightmare. If this theory is valid, the Batman tale is a specialized instance of what the psychologist Bruno Bettelheim says often happens when children interact with stories.

Finally, there is the matter of the mask. Batman wears one and so do most of us and we have ever since we figured out that mommy will give us a treat if we behave one way and a frown if we behave another way and, hey, doesn’t this make Batman our (gloomy/saturnine/grouchy) brother?

And a happy Batday to you, bro.

 

Mike Gold: Comics Without Pictures

honey-west-2514199Honey West and T.H.E. Cat: A Girl and Her Cat, by Win Scott Eckert and Matthew Baugh • Moonstone Books, 180 pages • $6.99 paperback, $5.99 digital

Way, way back in the early-1960s, the Chicago Sunday Tribune had a separate section devoted entirely to books. Books, as Craig Ferguson explains frequently, are bound collections of sequentially numbered pieces of paper called “pages” that are, in fact, extremely long tweets. In that book section of yore, there was a “paperback books” columnist. Paperback books were collections of sequentially numbered pages, each in a size smaller than the original, bound in soft cardboard. At the time, most of these paperbacks cost thirty-five or fifty cents.

Stop shaking your heads, Boomers, and go back to finding nibs for your fountain pens so you can sharpen up your cursive. Yes, we are old. Just deal with it. Being a ComicMix columnist, I am honor bound to digress. Ahem.

As I was saying, the Tribune’s paperback columnist was a fine writer and a sincere gentleman named Clarence Peterson. He passed away three years ago after living long enough to see his hallowed newspaper turn to shit. He devoted one column to explaining why the heroic action paperback series of the time – he cited as examples Matt Helm and Travis McGee (and maybe Shell Scott) – were the comic books of the day. We’ll forget the fact that, in that day, there were real comic books: they were few and, in those days before the Marvel expansion, it seemed as though their numbers were dwindling. Compared with one decade before, they most certainly were.

That was cool. I was about 12 at the time, a voracious reader who had already read most of Edgar Rice Burroughs and James Bond novels and was looking for more… and better. So I picked up a Matt Helm book and a Travis McGee book, and I was not disappointed in the least.

Now I am a full-fledged adult (according to my driver’s license) staring at a near-future social security check, but I am doing so from underneath a pile of comic books so high the Empire State Building would cross its legs. I’ve been checking out some of the “new pulp” stuff that is being published these days, mostly due to affordable print-on-demand and electronic publishing. And I’ve liked a lot of what I’ve been reading.

Case in point: Moonstone Books’ Honey West and T.H.E. Cat: A Girl and Her Cat, by Win Scott Eckert and Matthew Baugh. Moonstone is the comics publisher that handles a lot of licensed properties as well as a smattering of original material and has branched out to paperback originals and anthologies: The Avenger, Kolchak, The Green Hornet, The Spider and many, many others. But when I saw the character names Honey West and T.H.E. Cat, I hit my Amazon account with curiosity and enthusiasm. Once again, I was not disappointed.

This is not Moby Dick, and if you thought it might be, what the hell’s wrong with you? This is Honey West, the (allegedly) first female private eye, teaming up with a teevee original, T. Hewett Edward Cat. His show only lasted a year and, for some stupid reason, NBC Universal has yet to release it on DVD, Blu-Ray, or digital download… the last time I checked. The digital streaming and download field is expanding like spring snakes out of a peanut brittle can. It gave the world a regular home to Robert Loggia, as well as to a slew of fine writers and directors. I loved it, and I’ve resented NBC for its cancellation for over four decades. Those bastards!

A Girl and Her Cat is a fast-moving action thriller at the top of the form, complete with foreign agent bad guys and a buxom Asian villainess with… wait for it… jade eyes. Ah, tradition! Honey is hired to find a serum that could cause a plague that would wipe out two-thirds of humanity, and some of the bad guys (there are several different groups) bring T.H.E. Cat in to help Honey out… as well as other stuff that would fall under the heading of “spoiler.”

A chunk of the action comes from the guest appearances from a whole slew of mystery, movie and television characters – each quite recognizable, but never fully named lest they invoke the fury of the Intellectual Property Police. Hey, it’s an homage, guys!!! This folderall funfest never gets in the way of the story. If you get it, it’s a value-added experience. And if you get a certain couple of them, then we want you to write for ComicMix.

This may be the most unpretentious, straight-forward heroic action piece I’ve read in any medium in a long time. Kudos to all, and I’m looking forward to the sequel.