Fair enough. Your waifu is a brilliant EMT who takes pride in saving lives.
If you happen to show up and kill her roommate, she's also perfectly okay to hold a normal conversation with you while covered in his guts and blood. No biggie.
If it's someone you don't like I don't see why not. She seems disconnected about her entire existence and the people around her while trying to find some meaning in her life.
If it's someone you don't like I don't see why not. She seems disconnected about her entire existence and the people around her while trying to find some meaning in her life.
Is this a question question or you just read issue #1 and thought it was pretty good? Because if it's a question, i would say no, it was worse than the rebirth issue mainly because the beginning felt like a retread of Rebirth #1.
Is this a question question or you just read issue #1 and thought it was pretty good? Because if it's a question, i would say no, it was worse than the rebirth issue mainly because the beginning felt like a retread of Rebirth #1.
If he does it right, like Morrison did, you don't get your haul of bones til the end of the story. That's the reward for connecting the dots. If you were the least bit intrigued by things, you would have Googled Niles Caulder instead of getting on here and playing Devils Advocate to the mostly positive reactions to the first issue. I get the book is not for everybody, but that's what I love. I find the concept highly engaging and intelligent. I embrace the weird.
I got you. The story is partially contained at Google HQ to save on artist fees.
Appealing to the authority of mostly positive reactions is pointless. I'm sharing my opinion on a book I read today. Comic reviews are hilariously inflated. Comic Book Roundup goes for that Metacritic approach, and you realize the absolutely lowest reviewed books are 7.0s. Doom Patrol is a 7.5 average there, which actually runs completely contrary to your appeal. A 7.5 average score from comic sites basically means your book is considered trash. By comparison Green Lanterns #6 has a higher score. And Green Lanterns #6 is toilet paper. Reviewers are saying Doom Patrol is worse than that.
If it's someone you don't like I don't see why not. She seems disconnected about her entire existence and the people around her while trying to find some meaning in her life.
What? She loves saving lives and is also perfectly fine with someone exploding on top of her for no reason. And that's cool cause she doesn't like the person?
What? She loves saving lives and is also perfectly fine with someone exploding on top of her for no reason. And that's cool cause she doesn't like the person?
I got you. The story is partially contained at Google HQ to save on artist fees.
Appealing to the authority of mostly positive reactions is pointless. I'm sharing my opinion on a book I read today. Comic reviews are hilariously inflated. Comic Book Roundup goes for that Metacritic approach, and you realize the absolutely lowest reviewed books are 7.0s. Doom Patrol is a 7.5 average there, which actually runs completely contrary to your appeal. A 7.5 average score from comic sites basically means your book is considered trash. By comparison Green Lanterns #6 has a higher score. And Green Lanterns #6 is toilet paper. Reviewers are saying Doom Patrol is worse than that.
What? She loves saving lives and is also perfectly fine with someone exploding on top of her for no reason. And that's cool cause she doesn't like the person?
Reviews are reviewed for the biggest audience in mind. The reviewer has to think how his words will reach the greatest amount of people. I'll agree that Green Lanterns is not the best because it caters to a more dumbed down audience. Then, IMO, Doom Patrol caters to a more intelligent audience. Going by the state of the world today, Green Lanterns reviewing higher than Doom Patrol sounds about right. I think people as a society would rather connect with some lazy, dumb shit rather than thinking for themselves, connecting dots, having abstract thoughts, thinking outside the box, thinking, thinking, thinking.
No offense to anyone enjoying Green Lanterns, I'm not perfect either and connect to my own dumb and lazy shit. For the most part, I like my comics to be smart, I like them to make me think.
I got you. The story is partially contained at Google HQ to save on artist fees.
Appealing to the authority of mostly positive reactions is pointless. I'm sharing my opinion on a book I read today. Comic reviews are hilariously inflated. Comic Book Roundup goes for that Metacritic approach, and you realize the absolutely lowest reviewed books are 7.0s. Doom Patrol is a 7.5 average there, which actually runs completely contrary to your appeal. A 7.5 average score from comic sites basically means your book is considered trash. By comparison Green Lanterns #6 has a higher score. And Green Lanterns #6 is toilet paper. Reviewers are saying Doom Patrol is worse than that.
What? She loves saving lives and is also perfectly fine with someone exploding on top of her for no reason. And that's cool cause she doesn't like the person?
It's partially contained in your head, as memory, deduction and, well, the act of reading the words and pictures on the page. (WHICH IS HOW ALL ART SHOULD BE, IT'S A CONVERSATION, NOT A MONOLOGUE, I'M ALL-CAPSING THAT PART BECAUSE IT'S A PRETTY MAJOR IDEA PERTAINING TO MY VIEW OF ALL ART)
You're supposed to piece together the fact that something is off, and that the big question the run is gonna try to answer is the exact nature of that thing.
One clue to get you started:
In the Casey sequences, Nick Derrington and letterer Tom Klein go out of their way to highlight onomatopeias by making them as big and as bold as possible, in as many panels as they can. That focus ends up being echoed at some point in Terry's dialogue. What could this elevation of comic book artifice mean? Can it explain some of what you are seeing?
Make like a pasta chef and use that noodle of yours, have fun with the text, take it to dinner in your mind, have a conversation, look in its eyes, see yourself reflected in them, fall in love. Gamble a stamp and all that.
It's partially contained in your head, as memory, deduction and, well, the act of reading the words and pictures on the page. (WHICH IS HOW ALL ART SHOULD BE, IT'S A CONVERSATION, NOT A MONOLOGUE, I'M ALL-CAPSING THAT PART BECAUSE IT'S A PRETTY MAJOR IDEA PERTAINING TO MY VIEW OF ALL ART)
You're supposed to piece together the fact that something is off, and that the big question the run is gonna try to answer is the exact nature of that thing.
One clue to get you started:
In the Casey sequences, Nick Derrington and letterer Tom Klein go out of their way to highlight onomatopeias by making them as big and as bold as possible, in as many panels as they can. That focus ends up being echoed at some point in Terry's dialogue. What could this elevation of comic book artifice mean? Can it explain some of what you are seeing?
Make like a pasta chef and use that noodle of yours, have fun with the text, take it to dinner in your mind, have a conversation, look in its eyes, see yourself reflected in them, fall in love. Gamble a stamp and all that.
Alternatively, no. This feels like the post version of the bar scene in Good Will Hunting. You know the one.
Detective Comics was superb today. I felt like the whole run embodies what I like about superhero comics. Teamwork, passion, and sacrifice for what they collectively believe in. I'm all in on this run. King should take notes on pulling emotional heartstrings for his Batman book, or just read his own stuff on Vision.
The Flash...well, it has taken seven issues, but we finally have a issue that doesn't suck. I think we've all made like a pasta chef and used our noodles enough to see the telegraphed bad guy reveal from a mile away (or a few issues ago, in this case), but it was no less effective on paper. I feel my biggest problem with this work, aside from dodgy art, is it feels so inspired and influenced by the show. This might just be Flash 101 stuff, but everything seems carefully orchestrated to mirror that world.
It's partially contained in your head, as memory, deduction and, well, the act of reading the words and pictures on the page. (WHICH IS HOW ALL ART SHOULD BE, IT'S A CONVERSATION, NOT A MONOLOGUE, I'M ALL-CAPSING THAT PART BECAUSE IT'S A PRETTY MAJOR IDEA PERTAINING TO MY VIEW OF ALL ART)
You're supposed to piece together the fact that something is off, and that the big question the run is gonna try to answer is the exact nature of that thing.
One clue to get you started:
In the Casey sequences, Nick Derrington and letterer Tom Klein go out of their way to highlight onomatopeias by making them as big and as bold as possible, in as many panels as they can. That focus ends up being echoed at some point in Terry's dialogue. What could this elevation of comic book artifice mean? Can it explain some of what you are seeing?
Make like a pasta chef and use that noodle of yours, have fun with the text, take it to dinner in your mind, have a conversation, look in its eyes, see yourself reflected in them, fall in love. Gamble a stamp and all that.
Captain America #5: I'm feeling like Cap is one panel away from saying "basket of serpents", it's really offensive to people who just want to make the country better. .
You don't really need to know who Danny is at this point, but, from context clues, you could pick up on the fact Danny is a brick. Hawaiian shirt guy is looking for Danny and rejecting bricks, the Danny Burgers presentation shows a brick, and the issue ends on a scene with a brick. You can piece it together. It's all in there.
But obviously, if you know, you have an immediate knowledge of what's what.
Spent $49 at the LCS today (it's been a couple weeks) plus just got charged $24 for a indie comics Kickstarter, which brings me up to over $100 for September already... Might need to cut back a bit.
You don't really need to know who Danny is at this point, but, from context clues, you could pick up on the fact Danny is a brick. Hawaiian shirt guy is looking for Danny and rejecting bricks, the Danny Burgers presentation shows a brick, and the issue ends on a scene with a brick. You can piece it together. It's all in there.
But obviously, if you know, you have an immediate knowledge of what's what.
I agree. I guess I got the question "who is Danny" and I couldn't give my wife the answer that "you don't really need to know at this point." I guess I was excited to give her the real answer also. Danny is cool.
This book seems to be way overlooked. So far there haven't been any earth-shattering events, but Bendis does a fantastic job at writing the characters and developing Miles' relationship with everyone. They even handle the CWII tie-in about as gracefully as possible and it's pretty cool to see the events from an alternate perspective. I hope it doesn't go on too much longer though.
Theres no chance of IST doing some kind of weekend Batman sale on Friday is there? I'm looking at making an IST order right now and just don't want to be kicking myself in a couple days.
Yes, just like a fast food place is for first class citizens and a real restaurant where you wait for food the way it's supposed to be is for second class.
If he does it right, like Morrison did, you don't get your haul of bones til the end of the story. That's the reward for connecting the dots. If you were the least bit intrigued by things, you would have Googled Niles Caulder instead of getting on here and playing Devils Advocate to the mostly positive reactions to the first issue. I get the book is not for everybody, but that's what I love. I find the concept highly engaging and intelligent. I embrace the weird.
Superwoman Red/Lana has electric powers much like Superman Blue. The article was going to end with pretty much "And they never brought it back in the N52." but Superwoman came out when he was writing the second to last part.
Three volumes into my Bendis UXM re-read. About to start Vol. 4, and so far so good. Knowing what happened to Eva makes this a whole lot better, though it's still a bit irritating that it's not collected. Magik is becoming one of my favorites more and more.
Superwoman Red/Lana has electric powers much like Superman Blue. The article was going to end with pretty much "And they never brought it back in the N52." but Superwoman came out when he was writing the second to last part.
So apparently Margot Robbie has signed some sort of first look agreement with Warner, and this will make the previously rumoured Harley Quinn movie a reality.
And a link back to the original report, mentioning Batgirl & the birds of prey too Click
Holy shit btw was this not mentioned yesterday? Brand new book from Arcudi, 5 issues, with Toni Fejzula on art ( I think this is who did Veil with Rucka), part of ~Dark Horse's solicits. Dead inside:
The Jail Crimes Division of the Sheriff’s Office in Mariposa County investigates crimes committed inside county jails. With a limited number of suspects who can’t escape, these are usually easy cases to solve—but not this one. As Detective Linda Caruso gets closer to the heart of the case, she discovers uncomfortable truths about her friends, her job, and herself.
Three volumes into my Bendis UXM re-read. About to start Vol. 4, and so far so good. Knowing what happened to Eva makes this a whole lot better, though it's still a bit irritating that it's not collected. Magik is becoming one of my favorites more and more.
So there's a Superwoman Red AND Blue? They're doing it again? SICK
I'm not going to debate with someone over if they do or don't like something, that's a waste of time for everyone. I will argue that the first issue is extremely friendly for new readers.
This is not a continuation of Morrison's run, or Arnold Drake's, or Paul Kupperberg's, or anyone else who came before. It's Way using the characters and world to tell the story he wants to tell. It's not even all that nonlinear, the main story follows Casey (who may or may not be a reliable narrator as she flat out admits she has memory issues) and then there are a handful of interludes to introduce new characters and mysteries, ie
why is this Niles Caulder dude playing keyboards in the woods, who is Danny, why did some dude and his lion get brained by a brick that says I'm sorry
, etc. You don't need to know who any of these people are, just know that they exist.
It does what any good first issue/chapter/episode/act should - establish the main characters, give you a glimpse of the world, and present you with mysteries that will be explored as the plot moves forward. Way and Derington give you just as much information as you need for the first issue, nothing more nothing less.
I did actually see in a few of the *negative* reviews, that the reviewer felt it was a good book for prior fans, but not newcomers. I wonder if people are taking Way's wacky storytelling for allusions to older runs. I suppose if Umbrella Academy was an old resurrected property, you might assume you were missing who Dr. Terminus was, and should have read the storyline about how they trapped him in the hotel, or something to that effect.
I haven't read the new book and this is quite aside from the current debate going on, just a thought in general. If you accept that the book is *new* and trust anything you didn't understand is something that will be explained going forward oppose to being something you're missing or the writer didn't convey form older issues, maybe it reads better, I don't know.