I Am The One Who – Hey, Someone’s At The Door: Francesco Francavilla’s Breaking Bad Posters

Last night was the premiere for the first episode of the final (half) season of Breaking Bad, and we celebrated like any fan: by being in southern Florida, no more than three minutes drive in any random direction from a meth lab.

We did not, however, celebrate it by watching the new episode. We are among the latecomers to the show, thanks to a TiVo that recorded the first season and, before we could watch them, fell apart like, well, Krazy-8 in an acid-filled bathtub. So we are still catching up (we are, as we speak, watching season four episode Bug, so no one tell us how Walter beats Gus. We are assuming Walter beats Gus, since there is a fifth season. Unless the fifth season is about Badger watching a lot of Ice Road Truckers, but even if it is, do not fucking tell me), but that doesn’t mean that we can’t enjoy some of the ancillary benefits of the show’s fandom.

You know, like Crisis On Infinite Midlives personal favorite pulp artist Francesco Francavilla’s episode posters for the show. Posters that have been collected and given as gifts to the cast and crew of the show.

Home Office Team Travel Day: Check Out Game Launch Rock

The Crisis On Infinite Midlives Home Office is currently in transist through the hinterlands of deepest, darkest Florida. While we make our journey back to what we hope will be air conditioned,  beer heavy climes, please enjoy this School House Rock inspired video that warns of the dangers of buying a new gaming console at launch.

Meantime, pray for us.

Via The Mary Sue

No One Can Pick A Nonexistent Lock: Detective Comics #23 Review

When it comes to Batman continuity in the post New 25 / Grant Morrison world, DC Comics really needs to get its shit together. Because for an editorial division that seems, based on constant hirings and firings and reports of last-minute story changes, to want to keep their hands on their creators’ throttles (assuming “throttles” is what we’re calling them now), they really don’t seem to know what’s happening in their own books at any given time.

Just last week, Morrison completed his story arc on Batman Incorporated. That series, as you might be able to tell somewhat by its title, is ostensibly about Bruce Wayne’s public financing of not only Batman, but an army of regional Batman around the world. The events of Batman Incorporated are, at least in part, considered canon throughout the DC Universe, given the sheer number of recent issues I’ve read about Batman moping over the death of Damian. The introduction to this series was a scene, written by one of DC’s most popular creators, where Bruce Wayne calls a press conference to announce that he is the man who finances Batman.

Welcome to Detective Comics #23, an issue where a significant plot point hinges on the idea that Bruce Wayne’s financing of Batman’s arsenal isn’t common knowledge. But the good news is that giant continuity flaw is almost enough to mask the other gaping plot holes in the issue.

My Umpteenth Comic Con – A Boston Comic Con Report From A Jaded Convention Veteran

This was taken at 9:45am, when the line to get in was only curling around one side of the building.

Rob and I attended this year’s Boston Comic Con last weekend. We were pleased to have Pixiestyx and Trebuchet accompany us and not just because Trebuchet offered to drive on Saturday. It’s exciting to see a convention through the eyes of someone who hasn’t been to one before. And while we didn’t get to every creator or panel we had originally intended, a good time was generally had by all.

Rob and I have been attending San Diego Comic-Con for the past several years. It would be very easy to turn this post into a comparative study of Boston versus San Diego, but it wouldn’t be particularly fair. San Diego is the mega prom of all geekdom. Really, it is several conventions for fans of all stripes all crammed under one roof. You like movies? Go pack some Depends and hang out in Hall H. Like TV? Please direct yourself to Ballroom 20. Cosplay enthusiast? Action figure collector? Gamer? We’ve got panels for you, too. Oh, and there’s still programming for those who come because they love comic books. But, San Diego has taken on such a life of its own that it’s almost more like SXSW now. Alternative programming, such as Wootstock, Geek And Sundry, and Trickster, has spilled out into venues around Gaslamp and the surrounding neighborhoods. The number of options is mind boggling and, at times, overwhelming.

Boston Comic Con was a refreshing return to what a comics convention is supposed to be about: comics.

My First Comic Con: A Boston Comic Con Report From A Convention Virgin

For some time now Rob and Amanda have been trying to talk Trebuchet and me into attending San Diego Comic-Con with them, making their case with enticing details such as:

“You can’t really walk there. It’s more of a shuffle-step. Be prepared to throw an elbow.”
“The only place you might get trampled to death is the toy floor.”
and, most disturbing: “There’s no Dunkin Donuts.”

While we haven’t quite worked up the enthusiasm to fly cross-country and spend five days in the middle of a mob, we did think it was time to check out the much closer (though still two hours away) Boston Comic Con. If you have read Rob’s and Amanda’s recaps, this was not the tiny regional con we anticipated – but as it turned out, in spite of the growing pains, the unexpected crowd actually made the event more exciting.

They’ll Fix You. They Fix Everything: Robocop: Last Stand #1 Review

Robocop is awesome. Sure, there are a lot of questionable moments in the franchise, like parts of Robocop 2… and all of Robocop 3… plus the entirety of the Robocop animated series… not to mention every instant of the live-action Robocop TV series that was created to keep Orion Pictures from being sold for corporate parts in the mid 90s… but that original Paul Verhoeven flick? I can watch that all day.

Frank Miller, too, is awesome… or at least he was once. Sure, there have been a lot of questionable moments, like Holy Terror… and his film adaptation of Will Eisner’s The Spirit… and whenever he goes anywhere near a device that has an Ethernet port… but all those stories like The Dark Knight Returns, and Give Me Liberty, and Batman: Year One? Miller in the late 80s, early 90s, I can read all day.

Now, Miller famously wrote the original screenplays for Robocop 2 and Robocop 3 in the late 80s, before various studio executives and directors ripped the things apart to turn them into the respective okay and awful movies they became. And for a long time through the 90s, those screenplays were kind of legends in the comics world: Miller, working when he was at the top of his game, on a genre franchise that exploded into a classic right out of the gate.

Almost ten years ago, Avatar Press released an adaptation of Miller’s Robocop 2 screenplay, with a comic script by Two Guns writer Steven Grant, that was pretty solid as I recall, and was a hell of a lot darker than the actual movie. But that still left Miller’s Robocop 3 screenplay floating around out there. And in the meantime, Dynamite Comics got their hands on the Robocop license and put out some books that, frankly, made Robocop 2 look like Godfather 2.

However, the license has now moved to Boom Studios, who has put the band back together with Robocop: Last Stand, an adaptation of Miller’s Robocop 3 screenplay again adapted to comics by Steven Grant. So we’ve got an 80s Robocop story based on an 80s story by Frank Miller. On paper, it’s everything I ever wanted when I was 20 years old… but the question is: is it a classic like I always hoped? Or is it another wretchedly disappointing Robocop comic like every one I’ve read since we started this Web site?

The answer is… neither, really. But it is pretty damn good

Write What You Know, And Then Stop: Wolverine: In The Flesh Review

Editor’s Note: And one last quick review before the comic stores open today…

When I was younger, I was a professional stand-up comedian. I started almost exactly 20 years ago, performing for the first time in the back of a shitty bar called Headliners off of the main drag in Buckhead, Georgia (it’s not there anymore) in mid-August, 1993, hundreds of miles away from anyone who knew me, so that if I completely sucked and couldn’t face doing it anymore, no one would know that I stunk up the joint.

Well, I did completely suck, but I got better over the course of years, going from shitty college bar open mike to the back rooms of Chinese restaurants 20 minutes off of any highway in northern New England, honing my craft enough to reach the point where I could do some opening in bigger rooms in Boston. It took me years to get there… and during that time, there was nothing that pissed me off more than hearing that some bubblegumming fallen D-List celebrity or maybe some scandal celebrity try to string out their 15 minutes of fame by trying a stand-up.

Year after year, I’d hear it: Kato Kaelin was doing stand-up! Screech from Saved By The Bell was doing a weekend at the Comedy Palace! John Wayne Bobbit was doing two appearances at – wait, that was porn he did… but that’s not the point. The point is that it pissed me off that these celebrities thought that they could just announce that they were comedians and just do the thing that I had spent ten years going from crappy club to crappy club, eating shitty food and going without sleep while driving through the night, learning how to do well enough to reach the bottom rungs of the ladder of success! With my only consolation being that after those initial big announcements of their new careers in comedy… you never fucking heard of any of them again.

All of which is a long way to go to say that celebrity chef and Food Network personality Chris Cosentino has written a Wolverine comic book for Marvel, and this is my review of it.

Whacko Storage Facility: Batman Annual #2 Review

I have been reading Batman comics since I was five years old, and therefore, I know what the purpose of Arkham Asylum is: it’s to give supervillains a place to take a nice rest after the end of a starring turn, and a place to break out of at the start of the next starring turn. And that’s pretty much it.

Seriously: can you think of anyone who has ever been cured at Arkham Asylum? I mean, in theory, any insane asylum is actually a psychiatric hospital; here in Massachusetts, the local nuthatch is known as Bridgewater State Hospital, not the Southeastern Mass Whacko Storage Facility (however, that will be the name of my next punk band). And when a facility is a hospital, one would assume the application of some form of medical treatment… and yet at Arkham, no one ever gets better. Hell, no one ever tries; the only people I can think of who were released from Arkham are Harvey Dent and The Joker, and that was in Frank Miller’s The Dark Knight Returns, and it only happened as a way for Miller to mock liberals, and ended in the deaths of hundreds. If you believe the portrayal of psychiatry in Batman, the field only exists to clap you in a straitjacket and pump your full of antipsychotic drugs. Which is why I self-medicate with 30-packs of the Poor Man’s Valium. But I digress.

But if one stops to think about it, if there is a psychiatric hospital, there must be someone who went there under their own power looking for a little medical help, right? And what would happen if the place that that person went for healing became, over the course of years, the location where a city locked up its most dangerous and escape-prone homicidal maniacs?

It’s an interesting idea, and its the focus of Batman Annual #2, with a story by regular Batman writer Scott Snyder and new comics writer Marguerite Bennett, with the script by Bennett herself. And it is successful in giving readers a new point of view on comics’ favorite spastic hatch… even though it isn’t completely successful as a completely immersive and believable Batman story.

Don’t Go Back To Nahant: Boston Comic Con 2013’s Locke & Key Panel Full Report

Editor’s Note: If this writeup of Sunday’s Locke & Key panel sounds fun, you can see a bunch of video from the panel, with a lot of additional information that didn’t make this report, right here.

If Boston Comic Con had a single event that no other convention, regardless of size or location, could reproduce in 2013, it was the Locke & Key panel, because it featured all the main players in the production of the book: writer Joe Hill, artist Gabriel Rodriguez, and IDW Editor-in-Chief Chris Ryall. And considering that the book is coming to a conclusion in just a few months, and therefore all of these guys will be moving on to other projects, if you ever wanted to see these three guys interact and talk about Locke & Key while it’s an ongoing concern, the only place to be was the Waterfront Room at the Seaport World Trade Center at 2 p.m. on Sunday.

The one thing that that panel didn’t have was a hell of a lot in the way of actual news, but who the hell expected that? We all know the comic is closing up shop (minus the odd rumored one-shot, which wasn’t something that was addressed at the panel), we all know that the Fox pilot for a TV series is two years dead, and the Roberto Orci and Alex Kurtzman (of Star Trek reboot fame)-produced Locke & Key movie is only a month and a half into its existence, and there’s no way in hell that they would allow any hard information to be released in a function room full of people wearing t-shirts reading, “Yankees Suck!”

So these guys were not facing a crowd that was rabid for any new information (beyond maybe how, and who will make, Dodge eventually suck the pipe, but even that was a low-key questions; after all, the final issue is just about on its way), which meant that tensions were low for the panel, and it showed. The panel unofficially started with Hill looking at his phone at the stroke of 2 p.m., grabbing a microphone, and saying, “Guys, this just in: the BBC just announced that the next Doctor will be Jason Statham!”

And when the crowd groaned, Hill said, “It would be awesome, and you know it!”

Yeah, this panel looked to just be a good time. And it was.

Doctor Who News – Peter Capaldi Is The 12th Doctor

Yesterday, the BBC announced that Peter Capaldi will be the next Doctor in Doctor Who. Capaldi is probably best known for his work as Malcolm Tucker on The Thick Of It. He also was most recently seen on the big screen in World War Z as W.H.O. Doctor (ha!).

Capaldi’s casting is a departure from the recent trend of casting much younger actors to the role of The Doctor in order to court the demographic. Indeed Capaldi is 55, the same age as William Hartnell when he was cast as the very first Doctor back in 1963. Reportedly, Capaldi was the only person show runner Steven Moffat was interested in for the role. As of the Doctor Who panel back at San Diego Comic-Con back in July, Moffat had said that there had been no casting decisions made with regard to the 12th Doctor. Nice to see Moffat continue his streak of being upfront and transparent with the show’s fans.

Check out the video of Peter Capaldi’s introduction to Doctor Who fans from the BBC television special that aired yesterday, after the jump.