It’s been an speedy week, from the threat of yet another government shutdown, to calling other nations ugly names, to a 30-something minute span where it seemed like a large chunk of the population of Hawaii might be on deck to have a chance at their own Silver Age superhero origin stories. It was the kind of week when you just want to escape into a fat stack of comics books. You know, books about a disintegrating monarchy, the mistreatment of prisoners, and the literal vanishing of the Earth.

Okay, that sounds dire, but there were actually some interesting books this week, including the opening to a new Marvel event (you know, as part of Marvel Legacy! Which was supposed to mean an end to constant events!), a strong and surprisingly intriguing opening for one book’s new creative team… and a Tom King book, which always means some spirited conversation on this show. So we break down a few of the bigger books this week, including:

  • Mister Miracle #6, written by Tom King with art by Mitch Gerads
  • Avengers #675 (Part 1 of the No Surrender event), written by Mark Waid, Al Ewing and Jim Zub, with art by Pepe Larraz
  • Old Man Hawkeye #1, written by Ethan Sacks with art by Marco Checchetto, and
  • Suicide Squad #33, written by Si Spurrier with art by Fernando Pasarin!

As usual, this show contains spoilers, and was recorded live to tape with minimal editing. So if you’re looking for a comics show that ranges from speculation about meta-narrative in a comic about super villains to a story about one of the hosts eating a bug, you’ve come to the right place!

Thanks for listening, suckers!

With everything that’s been going on at the Crisis On Infinite Midlives Home Office (goodbye flood, hello nine-foot curtain hanging!), we’ve been a little late to the party on Marvel’s latest Netflix series, The Defenders. Again, this is purely because of unrelated life events, and is in no way related to the fact that the final count for Rob falling asleep through Iron Fist, Marvel’s last Netflix series, stands at six. And that’s not a final count, because it includes the final episode. But we digress.

This past weekend, we finally caught Marvel’s second attempt at putting together a filmed superhero team, and we discuss the effort. Including what worked, what was fun and interesting and surprising, why Netflix can’t seem to create a superhero series of ANY length that doesn’t feel like it’s dragging in the middle, and why Iron Fist is the Poochie of filmed superhero drama.

We also discuss:

  • Action Comics #987, written by Dan Jurgens, with art by Viktor Bogdanovic, and
  • Mr. Miracle #2, written by Tom King with art by Mitch Gerads!

This show was recorded live to tape. Which is why you will learn the etymology of the phrase “Kneel before Zuck!”

Thanks for listening, suckers!

captain_america_1_cover_1941It was a weird week for comics and genre news. Having recorded this episode one day before the announcement of the official title of the new Star Wars movie (spoiler alert: the spoiler is that the title is Star Wars: The Last Jedi), the only comics related news was whether it was still kosher, so to speak, to sucker-punch a Nazi, Captain America style.

(Editor’s Note: we discuss the Nazi-punching issue very, very briefly, only to come to the conclusion that, to paraphrase a famous American: if Jake Blues does it, it cannot be illegal.)

So this week, we skip most of the news, and go straight to the comics. We discuss:

  • Batman #15, written by Tom King with art by Mitch Gerads,
  • The Amazing Spider-Man: The Clone Conspiracy #4, written by Dan Slott with art by Jim Cheung,
  • The Ray: Rebirth #1, written by Steve Orlando with art by Stephen Byrne,
  • Angel: Season 11 #1, written by Corinna Bechko with art by Geraldo Borges, and:
  • Curse Words #1, written by Charles Soule with art by Ryan Browne!

And, as always, the disclaimers:

  • This show contains spoilers. If you don’t want to find out why, thanks to Catwoman, Batman is no longer the M Night Shaymalan, turn back now.
  • This show contains adult, profane language, and is therefore not safe for work. If you don’t want your significant other to learn what happens when you mix juniper and romilar, get some of those Airpods or something.

Thanks for listening, suckers!

sebelaheadshotWe’re joined this week by Eisner Award nominated writer Christopher Sebela, who was gracious enough to spend well over an hour talking to us about his upcoming Boom! Studios comic We(l)come Back (with art by Jonathan Brandon Sawyer), as well as his work on High Crimes, Dead Letters, and Escape From New York.

Christopher talked with us about not only about the books themselves, but about some of the personal experiences he brought to the characters in them, some of the storytelling methods he favors in some books (and why he doesn’t use them in others), and how he feels lucky to have worked with the artists he has. He also explained to us why it’s so expensive to get vomiting drunk in Chicago, why we were suckers to get vomiting drunk in Chicago, and why he favors writing about damaged people like the kind who like to get vomiting drunk in Chicago. It was an interesting and wide-ranging conversation, and we’re pleased to bring it to you.

(And by the way: the first issue of We(l)come Back is excellent, and you should really add it to your pulls. Trust us on this. The Diamond order code is JUN151070).

Amanda and Rob also discuss:

  • Star Lord And Kitty Pryde #1 by written by Sam Humphries with art by and Alti Firmansyah, and:
  • The Punisher #20, written by Nathan Edmondson with art by Mitch Gerads!

And, the usual disclaimers:

  • We record this show live to tape, with minimal editing (Although in this case, we recorded and edited the interview before the rest of the show). While this might mean a looser comics podcast than you are used to, it also means that anything can happen. Like a discussion of the phrase “sentient fedora.”
  • This show contains spoilers. While we try to shout out a warning ahead of time, be aware that a book titled The Punisher: Final Punishment might feature the Punisher’s final punishment.
  • This show contains adult, profane language, and is therefore not safe for work. If you’ve read Christopher Sebela’s work, you know that he knows some swear words. If you’ve listened to our show, you know that we arguably know a few more. Get some headphones.

Thanks for listening, suckers!

tmp_punisher_1_cover_2014-383018811So it’s only been about a year or so since the conclusion of Greg Rucka’s run on The Punisher – a run that we very much liked here at Crisis On Infinite Midlives. And in the meantime, we have had Punisher running around with The Thunderbolts, which has been fun but not exactly the natural habitat for a lone killer based on those pulp mercenary novels of the 60s and 70s where a lone man with a gun killed as many scumbags as it took for the writer to make his contract’s word count.

And sure, we’ve had a few tastes of the old loner, killing-criminals-alone-is-my-business-and-business-is-good Punisher in the meantime, but for every one of those, we’ve also had something like Space Punisher – fun, but not exactly The Punisher that long-time purists probably want to see. Sure, I like a fun guy wth a gun blowing shit up now and again, but in general, I like my Punisher like I like my steak: bloody, homicidal, and likely to kill not only you but your whole family. Which is why I am not welcome in finer dining establishments. Well, that and the obvious public drunkenness. But I digress.

So now, more than a year after Marvel Now started, we finally have a new solo Punisher title, written by Nathan Edmondson and drawn by Mitch Gerads. And it’s a Punisher that doesn’t include Venom or Elektra, that doesn’t have him out fighting weird supervillains, and instead has him back on the streets, fighting street-level crime with deadly force again. So a guy like me, who likes old-school Punisher, should be happy as a pig in shit, right?

Well, kinda.