american_psycho_coverIt has been a weird couple of weeks here in the United States. Any week where the honest-to-God news in your local newspaper is more contentious, rancorous and secret identity-obsessed than your average comic book is one where talking about what comic creators are skipping what conventions in which American states, and which writers are retiring from what social networks feels redundant at best and depressing at worst.

But the good news is that, here at the Crisis On Infinite Midlives Home Office, we learned long ago that’s it’s an unwise decision to publicly discuss religion, politics, or inappropriate self-love over Bret Easton Ellis’s American Psycho. The bad news is that we forgot one of those truisms during this episode. The answer will (probably not) surprise you!

Either way, we decided this would be a good time to take the long view and just talk about this week’s comics. Well, about this week’s comics, about how very different stories can come from similar ideas, and about unreliable narrators. So we discuss:

  • Spider-Man #9, written by Brian Michael Bendis with art by NIco Leon,
  • Batman #11, written by Tom King with art by Mikel Janin,
  • Demonic #4, written by Christopher Sebela with art by Niko Walter, and:
  • Kill or Be Killed #4, written by Ed Brubaker with art by Sean Phillips!

And, the usual disclaimers:

  • This show contains spoilers. If you don’t want to know if Dylan from Kill or Be Killed kills or is killed, then skip this show (and next month’s Image Comics solicitations).
  • This show contains adult, profane language, and is therefore not safe for work. Do you think your mom wants to know what happens to a Daisy Buchanan when she’s bitten by a radioactive Gatsby (Spoilers: she gets greedy and whiny)? Then get some headphones.

And please note: from here on out, we will be publishing the podcast on Mondays, rather than Sundays. Thanks for sticking with us!

Thanks for listening, suckers!

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Yes, again. Life and work issues have made it impossible for us to compete an episode this week.

However, you have our word: Amanda and I have spent a lot of time over the past couple of days trying to figure out how we can prepare differently for the show to try to prevent these last-minute distractions from getting in the way. And we have come up with several ideas that should give us the slack that we need to produce the show, even in the face of ever-increasing real life commitments.

On of these ideas is pushing the release day of the show out to Mondays from Sundays. While we’ve prided ourselves on recording and releasing on Sundays to keep the show as fresh and weird as possible, it turns out that it can be hard to devote six to eight hours on a single day to the show when Rob’s phone might ring with new work requests at any moment.

We have a few other ideas on spreading our production out over the week, and we’re going to start implementing them, well, as soon as I’m done posting yet another mea culpa.

So thank you for bearing with us as we work it out. We will be back with you next week.

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doctor_strange_movie_posterSorry this week’s episode is late, but we had this thing, and we are late because of it. However! This past weekend, Marvel Studios’ Doctor Strange opened in theaters, marking not only the latest film in Phase Three, but the first to have an opening credit production logo featuring almost no comic books.

So we discuss the movie, its similarities to Iron Man, how Benedict Cumberbatch’s American accent is the enemy of suspension of disbelief, whether Doctor Strange is actually history’s greatest villain, how to pronounce The Ancient One’s last name, whitewashing and cultural appropriation, and, of course, spotted dick.

We also discuss:

  • Avengers #1, written by Mark Waid with art by Mike Del Mundo, and:
  • Superman #1, written by Peter Tomasi with art by Patrick Gleason!

And, as always, the disclaimers:

  • Due to strange circumstances, this episode was recorded live to tape with no editing. So while it might mean a looser show from us than you are used to, it also means that it should suffice as a legal request for political asylum (Happy Election Day, everyone!).
  • This show contains spoilers. So if you don’t want to know how to pronounce “Chiwetel Ejiofor,” well… actually, you won’t learn how to pronounce that here.
  • This show contains adult, profane language, and is therefore not safe for work. Trust me: you don’t want your mom to hear the way Rob tries to pronounce “Chiwetel Ejiofor.” Get some headphones.

Thanks for listening, suckers!

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get_jiro_blood_and_sushiThis week, the paperback edition of celebrity chef Anthony Bourdain’s graphic novel Get Jiro: Blood and Sushi, was released. This book is a prequel to his 2012 sci-fi comic Get Jiro!, and like the original, it is steeped in modern foodie culture. Luckily, Amanda is also steeped in foodie culture.

So we talk about Get Jiro! and other foodie-related books (like Starve and Chew), and how some are good about catering to new culinary enthusiasts, while others depict a subculture where not knowing the unwritten insider foodie rules mean that you literally deserve to die… all while being part of a comics culture that is trying desperately to shed a long reputation of being hostile to outsiders. And if that all sounds heavy, fear not: there is also a story about Rob eating a pile of rock salt at a fine French restaurant that is just plain funny and dumb.

We also discuss Civil War II #6, written by Brian Michael Bendis with art by David Marquez!

And, the usual disclaimers:

  • This show contains spoilers. If you don’t want to know if Jiro survives Get Jiro: Blood and Sushi, well, you’re probably being willfully obtuse considering it’s a prequel, but consider yourself warned.
  • This show contains adult, profane language, and is therefore not safe for work. We talk about C. B. Cebulski’s Lucky Peach. You want to risk your mom hearing about that? Then get some earbuds.

Thanks for listening suckers!

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Yes, we missed another episode. Rob’s brother was hospitalized on Thursday, making recording an episode this weekend impossible.

Assuming the situation improves, we will be back with a new episode next Sunday.

Thanks for your patience.

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power_man_iron_fist_9_cover_2016We’re back, after yet another interruption – this time, we left the Crisis On Infinite Midlives Home Office to go to the American Classic Arcade Museum, where Amanda beat her personal best on Centipede, and Rob, after 30 years, finally learned the secret to escaping the building in Elevator Action (Take the elevator to the lobby and shoot everyone who gets in your way… which, to be honest, is a good strategy for getting out of any building, but what the hell? Rob is slow).

But we are back, and ready to discuss Marvel’s latest original Netflix series: Luke Cage. This is a series that touches on a variety of classic genre fiction, from pulp to blacksploitation to 70s cop TV to good old superhero comics, and provides us with a couple of deep, well-developed villains with sympathetic motivations and believable actions. And there is also Diamondback!

We also discuss:

  • Power Man & Iron Fist #9, and:
  • Glitterbomb #2!

With that said:

  • This show contains spoilers. If you don’t want to know why Luke Cage proves that Captain America is history’s greatest monster, consider yourself warned.
  • This show contains adult, profane language, and is therefore not safe for work. If you don’t want to explain the definition of “rapscallion hobo” to your mom and / or employer, get some headphones.

Thanks for listening, suckers!

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It was the long Columbus Day weekend here in the United States, and we just returned from our semi-annual trip to Funspot, where Amanda broke her personal record on Centipede by about 15,000 points, and Rob cleared a building in Elevator Action, thus fulfilling a frustrated life goal he’s had since he was 11 years old and putting him one step closer to both carpal tunnel syndrome and the grave.

But we returned to the Crisis On Infinite Midlives Home Office later than we originally intended, making it impossible to do our planned episode on Marvel’s Netflix series Luke Cage in the in-depth manner which it deserves.

However! Due to the vagaries of our day job schedules, we will have time to record this episode tomorrow. So there will be a new podcast about Luke Cage up tomorrow night.

We apologize for our recent sporadic nature of the show, and you have our word that we’re doing our best to get our thumbs on it

Thanks for your patience, and we’ll talk to you tomorrow.

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ms_marvel_11_cover_2016We are more than halfway through Marvel’s Civil War II summer event, which, like most Marvel summer events, has dragged into the fall with no end before the darkest days of winter in sight. And while we previously have idly wondered how Marvel intends to deal with characters who are on the side of profiling and pre-crime, the event has really reached the point where, in order to keep the plot moving, characters like Captain Marvel and Black Panther are acting in truly reprehensible ways that will likely require rehabilitation on the level of Matt Fraction’s reboot of Tony Stark’s brain after the first Civil War.

And while there is no main Civil War II issue this week, there are several books that feature main pro-Predictive Justice players in the event doing horrible things that run the gamut from emotionally destroying adoring teenagers, to entrapment, to asking people if they are for or against you and placing those in the latter camp under arrest without even precognitive evidence. All of which makes Tony Stark’s Civil War pro-registraton stance look like good, old-fashioned flag-waving New Deal patriotism.

So we discuss these books, including:

  • Ms. Marvel #11, written by G. Willow Wilson with art by Takashi Miyazawa and Adrian Alphona,
  • The Totally Awesome Hulk #10, written by Greg Pak with art by Mahmud Asrar, and :
  • Captain Marvel #9, written by Ruth Fletcher Gage and Christos Gage with art by Thomy Silas.

And we discuss not only what can be done to rehabilitate characters who are clearly meant to be on the wrong side of issues, but how the series maps to recent social justice events and causes in the news.

And, the disclaimers:

  • This show contains spoilers. While we try to give warnings ahead of time, if you don’t want to know why the Canadian justice system is the most ruthless yet enticing in the world, consider yourself warned.
  • This show contains adult, profane language, and is therefore not safe for work. We did this show on a mix of beer, Sudafed and cough medicine, and we pride ourselves on our vocabularies even under adverse circumstances. Get some headphones.

Thanks for listening, suckers!

 

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…nah, Rob just had to finish that work project (it’s finally done!), and we’re both actually down with the first Martian Death Flu of the season.

We’ll be back next week, and without that rotten project in the way, we should be back to full-length episodes.

Thanks for your patience.

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hadrians_wall_1_coverAfter yet another cripplingly busy week at the Crisis On Infinite Midlives Home Office (and, to be honest, after about a quart of single malt scotch and a few belts of mescal), we only had the time to discuss a few of the comics of the week. But that turns out to have been a good decision; since we didn’t have time to fully discuss and coordinate our choices, we wound up with a couple of polarizing choices upon which we didn’t really agree.

This led to a conversation that ranged from deciding where on the Kubler-Ross scale of grief we are with regards to Watchmen characters still appearing in DC: Rebirth books (Rob is at “Bargaining”, Amanda is “amused at Rob’s Bargaining”), how James Tynion IV made Rob care about Spoiler for the first time, whether there’s enough nostalgia in the world to make innovative visual storytelling enough to bring Steve Austin into the 21st Century, and how Amanda’s battle against scotch last night went (picture Amanda as Rocky and scotch as Apollo Creed).

So what comics do we talk about?

  • Detective Comics #940, written by James Tynion IV with art by Eddy Barrows,
  • Lady Killer Volume 2 #2, written and drawn by Joelle Jones,
  • The Six Million Dollar Man: Fall of Man #3, written by Van Jensen with art by Ron Salas, and:
  • Hadrian’s Wall #1, written by Kyle Higgins and Alec Siegel, with art by Rod Reis!

And, as usual, the disclaimers:

  • This show contains spoilers. If you don’t want to find out who dies in this week’s Detective Comics (hint: it’s not Batman), then consider yourself forewarned.
  • This show contains adult, profane language, and is therefore not safe for work. See that title? It’s because we talk about Lee Majors and a plaster cast. You want your boss asking about that? Then get some earphones.

Thanks for listening, suckers!

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