Last year, we were give The Boys, an Amazon Prime adaptation of Garth Ennis and Darick Robertson‘s comic series, and it was great.
We waited and about a year later, we are given the second season of The Boys!
Amazon Prime is doing something different with the release of Season 2. Instead of getting all the episodes at once (a la Netflix), they released the first 3 episodes and 4 though 8 will be released weekly. I like this schedule. It gets the ball rolling and gives us something to talk about in this podcast and then we can do a wrap up podcast after episode 8.
***OBLIGATORY SPOILER WARNING***
There is a lot to talk about in just 4 episodes. We mostly talk about the revelations that happened in Episode 4 and compare them against the comic book storyline. I don’t want to say too much here but we talk about Homelander and Stormfront’s tenuous relationship on The Seven. How Butcher is dealing with the revelations at the end of Season 1. What The Deep is up too and much more.
We could have talked for 2 hours on just these 4 episodes but we stuck to just 1 hour. We are looking forward to the end of the season and doing the wrap up podcast.
This week we are talking about an original graphic novel that came out about a month ago that is part western and part crime drama. It is called Pulp.
This fantastic story was written by Ed Brubaker with art by Sean Phillips and coloring by Jacob Phillips. It was published by Image comics.
Here is the description from the Image website:
Max Winters, a pulp writer in 1930s New York, finds himself drawn into a story not unlike the tales he churns out at five cents a word—tales of a Wild West outlaw dispensing justice with a six-gun. But will Max be able to do the same when pursued by bank robbers, Nazi spies, and enemies from his past?One part thriller, one part meditation on a life of violence, PULP is unlike anything award-winning BRUBAKER & PHILLIPS have ever done before.
Jon and I really liked this story and we talk about it and other themes like: living through the Turn-Of-The-Century – witness the world change from riding on horses to riding in cars. Comic creators and their rights on the characters that they create – we go over some real comic history, and finally the rise of fascism in America – in the 1930s, some Americans thought Hitler was a great leader. How could so many people be so wrong?
Some spoilers in the podcast but we recommend you go buy the comic and come back to listen to the podcast.
DC Animation recently released a new movie called Deathstroke: Knights & Dragons. It features DC’s anti-hero Deathstroke and the movie was written by long time comic scribe, J.M. DeMatteis.
Here is a description about the movie:
Ten years ago, Slade Wilson-aka the super-assassin called Deathstroke-made a tragic mistake and his wife and son paid a terrible price. Now, a decade later, Wilson’s family is threatened once again by the murderous Jackal and the terrorists of H.IV.E. Can Deathstroke atone for the sins of the past-or will his family pay the ultimate price?
As I understand it, the movie originally debuted on CW Seed (free streaming service for CW) as a multipart web series and then it was collected and released as a Blu-Ray movie. I bought the movie but did not know about the streaming part.
If you would like to watch the first 30 minutes free, here is the CW Seed link:
Jon and I watched the movie and it is a retelling of the origin of Deathstoke but modernized and all references to the Teen Titans have been removed. I think the WB Animated Universe is trying to make Deathstroke into a viable IP as an anti-hero with this movie. Maybe this will lead to more Deathstroke miniseries and movies.
The first half of the podcast we go over the movie and plot points and the second half of the podcast, we discuss how often do comic companies retell and modernize the origin of their characters. How often is too often? Is it better to replace heroes with newer, younger versions then to retell the origin? What if you vary too many elements of the origin story that an older fan can no longer recognize a character?
A few weeks ago we did a podcast for the Netflix movie, The Old Guard. In that podcast, I mentioned that the comic and movie The Old Guard were both written by Greg Rucka. We went over some history of Greg Rucka’s past comic work and brought up that he did a Gotham Police comic with Ed Brubaker in 2003 called Gotham Central.
Fast forward to today. I was able to pick up the first book in the Gotham Central series so Jon and I read the first 2 story arcs: In the Line and Motive. We will talk about the comic and why you should be adding this to your “must read” list.
Gotham Central was written by Greg Rucka and Ed Brubaker with Michael Lark doing the art. It was published by DC in 2003. It ran for about 40 issues and was cancelled in 2006. It was nominated for Eisners for writing and art in 2003 and won an Eisner for Best Serialized Story in 2004.
So why did a well written police procedural comic with fantastic artwork have such a limited run? The answer is: no promotion. The comic started with hot but lost steam over the years. DC did not seem interested in keeping this comic going so rarely saw any ads for it and there were no crossovers in its 3 year run.
We recommend picking this book up and giving it a read. It starts with Detective Marcus Driver and Detective Charlie Fields following a lead for a missing persons case and then having the worst day ever…
Detective Driver survives his encounter with Mr. Freeze but his partner did not. The reader follows Detective Driver as he works with the Gotham Central to track Freeze down before he hurts someone else. Driver wants justice for his partner so he wants to find Freeze before the Batman does.
Jon and I really enjoyed this book and characters and we highly recommend that you pick it up. I am not a fan of police procedural books but this one held my interest. There is a buzz that this may get turned into a TV series and I hope it does. This book really deserves a chance at a bigger audience.
Last week, we covered the 2020 Eisner Award Nominees and Winners. In the category of Best Limited Series, Writer Bobby Curnow and Artist Simon Gane were nominated for Ghost Tree. I recently purchased the trade for Ghost Tree so I thought it would be a great time to cover it.
The podcast for this week will be Ghost Tree by Bobby Curnow and Simon Gane with colors by Ian Herring. The comic was published by IDW Publishing. It originally came out in 2019.
I was not familiar with Bobby Curnow’s writing before Ghost Tree. I found out that he has worked on other IDW books like My Little Pony and Teenage Mutant Ninja Turtles. This is my first time reading his work and I hope he puts out many more books like this.
I was already familiar with Simon Gane’s work. I was reading a comic called They’re Not Like Us from Image that he was working on. That was a great book and the art really sold it for me. I was looking forward to see what he was going to do with Ghost Tree.
Ghost Tree on the surface is a tale about ghosts and the 2 men that have the ability to communicate with them. Below the surface, you get a story about relationships and what you have to do to make them work. Jon and I really like this miniseries and we highly recommend that you pick it up.
***Minor Spoiler Alert*** – we talk about some plot points but we did not give away the major revelations in the comics so it is fairly spoiler free.
The 32nd Annual Will Eisner Comic Industry Awards were presented at a virtual ceremony on Friday evening, July 24.
Normally, these awards are held at the San Diego Comic Con (AKA The International Comic Con) but due to COVID-19, the Comics Con was cancelled. Luckily, the ceremonies were held virtually which you can watch here.
I believe this is our 6th Eisner Award review we have done on the Comics Misremembered Podcast. We like to cover the awards like Best New Series, Best Continuing Series, Best Writer, Best Artist but we don’t cover all the awards. If you want to see the list of categories and winners then go to the Eisner Awards website here.
Jon and I talk about the series and creators that we have read and which series that we are most interested in checking out.
We have been watching the CW show: Star Girl – which is set on Earth-2 and references the heroes and villains of the Golden Age of DC. The show does a good job of using the Golden Age villains and heroes without being too hokey or corny.
While watching the show, I was reminded on how I got to know the Golden Age characters as a comic reader. It was back in the early 90s, DC has a JSA comic series and I was enjoying it. Getting to become familiar with the Golden Age version of Green Lantern and Flash while learning about new characters like Hour Man, Wild Cat, Starman and others. Remember, we had no internet back then so I only had back issue and new comics to give me backstory.
In 1993, a relatively unknown writer, James Robinson pitched an Elseworlds story (The What If? equivalent for DC) about most of the JSA heroes called The Golden Age. It would feature art by the awesome Paul Smith and had colors by Richard Ory. DC would publish it as a 4 part prestige series between 1993 – 1994.
The Golden Age is an awesome mystery story that helped me learn a lot about the Golden Age Heroes. Did you know there was a Robot Man before Cliff Steele? Did you know there were multiple speedsters in the Golden Age like Jay Garrick, Johnny Chambers and Libby Lawrence? Did you know the Golden Age Atom was called that because he was small not because he became small? All this and more will be revealed to you.
This series does a great job at making these Golden Age characters feel believable while introducing them the the problem and politics of the real world in 1940 – 1955. It takes on issues like World War II, Communism and McCarthyism (Not McCartneyism – that has to do with Rock n Roll and screaming teenage girls).
Jon and I talk about the history on how this book was made and then go over plot points and characters. We don’t spoil the final act of the book but we do go over most of the story.
We highly recommend reading this story. It has some ties to the Star Girl series and will bring you up to speed on most of the Golden Age heroes.
We are covering a comic related item this week – the recently released Netflix movie called The Old Guard.
This is based on a comic series written by Greg Rucka and art by Leandro Fernandez. It is published by Image comics. In fact, Greg Rucka wrote the script for the movie.
We normally like to read the comic that the movie is based on and then do a comparison of the movie to the comic to see if it is true to the source material or does it stray… *cough*Last Days of American Crime*cough*.
Unfortunately, we could not get a copy of the 1st trade paperback – it was sold out everywhere I looked. We will still try to pick it up and do a review of it later. For this review, we focus on the movie.
Jon and I did not read the original comic so all our knowledge about Old Guard comes from the movie. We talk about the story and the world building it does to explain how The Old Guard comes into existence and operates in the world. We both give our final opinion at the end of the podcast. The movie has been getting good to excellent reviews on Rotten Tomatoes. Do we feel the same way? Listen to find out.
As always – SPOILERS are in the podcast so watch the movie and come back to dissect it with us.
I know it was hard to wait a week for our review but thanks for coming back! We continue with our examination of the Wolverine miniseries written by Chris Claremont and drawn by Frank Miller. It was published by Marvel in 1982. We also compare the miniseries to the 2013 The Wolverine movie and show you how much they used from the miniseries in the movie.
Some things you can expect to hear in this podcast:
We continue to spoil a comic that came out almost 40 years ago and has been recapped in issues of Uncanny X-Men, X-Men and The Wolverine regular series so it’s not much of a spoiler.
I call Yukio the wrong name for half the podcast and Jon does not pick up on it until I correct myself.
We know our 80s American Asian cinema – we go off on a 10 minute tangent to talk about how Asian culture influenced media during the 1980s.
Jon and I try to piece together why Storm has her “punk rocker” look on the final 2 pages of issue #173 of Uncanny X-Men.
All this and more hilarity with this podcast. Thanks for listening.
A new week and a new comic. This week we are talking about Chris Claremont and Frank Miller‘s collaboration on the 1983 Marvel miniseries Wolvervine.
We recently read the trade paperback of the 4 issue miniseries and took some time out to watch the 2013 The Wolverine movie. There are many moments the movie uses which is directly taken from the miniseries.
At the start of the podcast, we go over a interview that Chris Claremont told Sean Howe about how he trapped Frank Miller and forced him to work on the miniseries with him.
This chance encounter lead to an epic miniseries that all the fans demanded. 1982 was when the Uncanny X-Men were at the height of their popularity. The character that everyone wanted more of was Wolverine. He was the mysterious, animal bad boy with the shadowy past. The miniseries was a way to add more dimensions to him. Everyone expected a hack and slash tale (and they got that) but they also got to know the sensitive side of Logan.
We are talking about the entire Wolverine miniseries and the movie so we will be spoiling all of the plot points. The miniseries is almost 40 years old so some of the original story has been retold in other comics so if you are long time follower of Wolvie, then you know most of this story.
This is it – the final installment of our Dystopia Futures run on comics. This does not mean that we won’t talk about Dystopian Futures in… the future, but it mean next week will not be a Dystopian Future theme.
We are continuing were we left off last week – we are concluding our discussion of Frank Miller’s Ronin six issue prestige format miniseries that was published by DC from 1983 – 1984.
*** MAJOR SPOILERS THIS WEEK***
Ronin is set in the near future and has a massive twist at the end of the comic that you don’t see coming (we debate it’s validity) but we want to warn everyone up front – if you do not want the comic’s ending spoiled, stop listening when we tell you in the podcast. You can listen to everything else but stop listening and go read the comic.
Reflecting back on Ronin, Frank Miller was in an experimental mood when creating this comic. He tires several different art styles (cross-hatching, negative space) and we also pushes the limits of dialogue and censorship with the way some of the characters speak. It was ground breaking, especially for a DC comic, at the time and still holds up today.
We are at the final comic we will be covering for the #DystopianFutures theme and it is Frank Miller’s Ronin. This podcast is so epic that we had to split into two! We will be posting part one today and follow up with part two next week.
Ronin was published by DC in 1983. DC’s Editor in Chief, Jenette Kahn lured Frank Miller away from Marvel to publish this original story as part of DC’s Prestige format comics – all glossy pages, 48 pages per issue and no ads. DC offered more creative control and Miller wanted to do a more mature comic so he agrees to write and draw the six issue miniseries.
This was one of the many great things Jenette Kahn did to modernize DC and make the comic content more contemporary. One of the other great changes she made was to hire graphic illustrator, Milton Glaser (who passed away today) to design one of the greatest comic company logos of all time. It is known as the DC Bullet and here it is:
There is a funny story behind why DC cannot use this logo anymore and I am sure we will talk about it in a future podcast.
Miller was experimenting with different art styles in this series so that first 3 issues feature plenty of cross-hatching. If you are not familiar with that style, it is a technique used ti create tonal or shading effects by drawing closely spaced parallel lines. The first issue of the miniseries features cross-hatching on the cover:
Cross-hatching is very time intensive so this style is used in the first 3 issues and abandoned for more of a traditional comic style in the last 3 issues.
Jon and I talked about Frank Miller’s Eastern influences in the podcast. I mentioned a scene in the comic that is straight out of Akira Kurosawa’s Yojimbo. Here is a trailer for that movie:
The story from Yojimbo has been remade several times. One of the most recent remakes was 1996 Last Man Standing (whose name I forgot in the podcast). This movie stars Bruce Willis as the “body guard ronin who just blew into town”. Here is the trailer from that movie:
We covered some history, some influences and we start to talk about the comic in this podcast.
We will be spoiling plot points from the comic in next week’s podcast so we recommend reading it this week and coming back to listen and discuss it with us.
We are getting close to the end of our Dystopian Future comics. This week we are talking about Sweet Tooth written and drawn by Jeff Lemire.
You know Jeff Lemire as the writer of great comics like Black Hammer, Gideon Falls, Hawkeye and many more. He started his career as an independent writer/artist and was able to get more mainstream attention thanks to Sweet Tooth which was published through DC’s now defunct alternative, mature imprint Vertigo back in 2009.
Sweet Tooth is an tale of a young boy who sees his mother and father die due to a pandemic that is impacting most of the people on the planet. The young boy named Gus (who looks like a deer) is able to survive the oppressive environment thanks to the help of a human named Mr. Jepperd. He has sworn to protect Gus and take him to a safe place where all the “hybrid” children live called “Sanctuary”.
Jon and I review the first story arc that covers meeting Gus and Mr. Jepperd and their journey to Sanctuary. We go over the art style, characters, motivation of those characters and what happens at sanctuary.
We were very interested to talk about this series. I feel it is not well know but people will find out about it due to the Netflix series that will be coming out soon. We want you to go out and read all the issue of Sweet Tooth. It is a great story about humanity in the post-apocalypse. It is a quick read too – only 40 issues.
It is Jon’s birthday today (wish him a happy one), I gave him the opportunity to pick what ever comic related item he wanted to cover for the podcast. He kept the Dystopian Futures theme going by picking Akira – the anime movie to review.
For those that are not familiar with Akira, here is a little background on the material. It is based on a 1982 Manga series by Katsuhiro Otomo. As it was published in Japan, Marvel picked up the rights to distribute it in America under their Epic imprint. In 1988, Katsuhiro Otomo directed the anime version of the movie. At the time, it cost $5 million dollars to make and was the most expensive animated movie to date. Akira is an epic tale about teen angst, political corruption, family and friendship that ends in a giant psychic battle.
This may be one of the most influential movies of all time. You can see elements of the movie being emulated in other animated shows. Here is a quick clip of Kaneda sliding on his bike how many other shows pay homage to it.
There was talk of an American live action version of Akira in early 2000s but this never happened. Here is what it would have looked like…
Akira is a great movie (and even greater manga) but it does get a little convoluted in the end. I have seen the movie multiple times but still cannot figure out the ending. Jon and I still highly recommend watching it because it still holds up.
Another week and we have another vision of a dystopian future in the 2007 comic The Last Days of American Crime. It is written by Rick Remender with art by Greg Tocchini and was originally published in 2007 as a 3 issue miniseries from Image Comics. This creative team has given us great stories like LOW and Uncanny X-Force. They come with the good stuff in this near future bank heist comic with a twist: the crew has to rob the bank the same day the government starts broadcasting a “anti-crime” signal which “makes it impossible for anyone to knowingly break the law in any way possible”.
The story begins with our main character, Graham Bricke (which is a combination of 2 units of measurement of drugs: Gram and Brick) finding out that one of the dafecracker in his crew has ratted him out to a rival mob. He deals with the problem but several new problems have bubbled up: he needs to find a new safecracker and he only has a week to do it before the American Peace Initiative renders all crime in America obsolete.
The Last Days of Crime in America tells a fast, tight heist story that is full of twists and turns that you don’t know who to trust by the end. It reminded Jon and myself of great heist movies like Thief, Ronin and The Grifters. We highly recommend the comic.
The reason we read the comic was that a movie version was recently released on Netflix. Here is the trailer…
We compare the comic to it’s movie counterpart. Listen to the podcast for the details.