The SPIDER-PUNK minis are so much fun that Cody Ziglar’s got my vote to be the next AMAZING SPIDER-MAN writer. Should probably get around to picking up his MILES MORALES run, too.
TSBMR/0001 :: WHITEOUT No. 1 (Rucka / Lieber, 1998/2007)
First episode of a new, audio take on my erstwhile Wednesday Randoms of eras past: welcome to THE SHORTBOX MEMORY REVUE, in which I pick a comic from the 32 shortboxes that constitute the comics bit of The Collection at random, re-read it, and talk about it - and my sordid history with it - here. Very much ironing out the kinks, but I think I’ll enjoy myself. New episodes probably every Friday. Let me know what you think in the comments!
TOKYO VICE, s2 (2024)
If the narrative and temporal catch-up to Jake and Katagiri's meeting with Tozawa's right hand from the (MIchael Mann-directed) pilot in one of the last episodes of this season is any indication, I'll be more surprised if there's a third season than if there isn't – but what a fantastic ending to a great, underrated show and/or season: more amped up than the first, a steady, pulpier unfolding with great characters (this season belonged to Show Kasamatu's Sato and Rinko Kincuchi's – still one of my favorite actors, her role in Rian Johnson's THE BROTHERS BLOOM being a favorite – Emi and, to a slightly lesser extent, Rachel Keller's Samantha) whom I'll miss – yes, even Engelgort's Jake, whom, like nearly every other character at one point in the show, I wanted to punch (Engelgort's still the weak point of the show; I wish they had kept Daniel Radcliffe in the role from the unproduced film version) – dearly. Great show: if you didn't watch it, give it a binge. (**** / *****)
Apologies for the morning’s disappearing and reappearing posts: I fucked up the dates and my OCD wouldn’t allow me to leave them alone. All good. It’s 04 April. Did you know that? I clearly didn’t.
Cullen Bunn's INVASIVE joins the similarly otherwise excellent DEER EDITOR and OUR BONES DUST in ending in disappointment: like the other two, the ending wasn't bad, but felt rushed, as though everyone holds their breath after three issues and can only hold it for one more, maybe. I'm all for tight storytelling (and vehemently against unnecessary decompression) but this is a worrisome trend: seems especially prevalent in comics from smaller publishers (can we consider Image to be a small publisher?) and is undoubtedly at least partially a money issue though perhaps starting the story a little later might assuage the problem?
