All this and Earth, too? Hibbs starts on 5/2

Everybody loves comics!

ACTION COMICS #9: This is a lot more like what I was hoping for from Grant Morrison on a regular ongoing Superman comic -- focusing on President Superman from Earth-23. last seen in FINAL CRISIS -- but I was a bit surprised to not find the "real" Superman anywhere in the story. Still, Silver Age-y without feeling dated, and lots of fun things happen. Gene Ha's art was as awesome as always. I thought this was VERY GOOD. AVENGERS VS X-MEN #3 (OF 12) AVX: Brubaker's got the writing spot this week, so maybe that's why I felt this issue had a bunch more plot? I can't even imagine how this is going to read in trade, with it's crazy tonal shifts every issue? I thought this one was strongly OK.

DIAL H #1: China Mieville's comic debut, and it's pretty decent. There are a few mechanical problems with the set up (most namely: how do you dial four digits 0n a *rotary dial* phone by accident when trying to call for help in the middle of witnessing a horrible beating?), and I have to admit that I'm not sure that I at all like the notion that the H-dial is in a static location, but putting that aside, I very much liked this issue. (On the other hand, I always liked the Robbie Reed version as well) (Sockamagee!)

I liked the schlubbiness of the protagonist, I very much liked the dialed up heroes (Captain Lachrymose needs an ongoing series, stat!), and I just liked the general weird vibe on display here -- this comic could be perfectly at home at pre-Vertigo Vertigo, and whatcha know, it's Karen Berger editing her first superhero comic in 20-something years.

The art by Mateus Santolouco sort of veers back and forth between some Ted McKeever-looking wonderfulness to "Ugh, you need more fundamentals", but it certainly works with the book just fine. Overall: VERY GOOD

EARTH 2 #1: Having read this, I really really can't even begin to understand all of the faffing about in the pre-print interviews of "well, we really can't describe this to you", because, unless there's a dramatic change from what's on display in this first issue (which would then, arguably be a not-so-good FIRST issue), this seems easy to shorthand: it's the formation of a NEW e2-based Justice Society (though maybe they'll never be called that, who knows), where the set-up is in contemporary times, rather than ww2.

I'm a pretty big ("real") JSA fan, and I didn't really like any of the new costumes we've seen so far, so I was suspicious of this at first, but yeah, I very much liked the setup and world building, and slow roll-out of characters.

James Robinson's script was solid -- I felt a real emotional tingle in that scene between Bruce & Helena -- and Nicola Scott's art is as strong as always. I don't know if I will like the new JSA, really (there's really only 7-8 pages of those characters, the rest of the oversized space is dedicated to setting up the world), but as a "Yes, I would like to see more, please" first issue, I thought this was VERY GOOD.

EPIC KILL #1:  If you want to see teenage hotties do acrobatics like River Tam in Firefly, with lots of slaughter, then this is surely the comic for you. Largely reading like a pitch for a movie, it at least has fairly pretty art by Raffaele Ienco that kind of reminds me of John Ridgeway, I think -- detailed, but with straight lines not noodly curvy ones, yet just ever so slightly stiff because of that. Anyway, since the base idea feels so "Seen that a dozen times", the joy of this kind of work is all in the *execution* of the idea, and there's just enough "hey, cool" scenes to have me say that this is GOOD.

GI COMBAT #1: Half the book is about soldiers fighting dinosaurs, so there's that, and as a plus the art is by Ariel Olivetti, and it really fits here; the other half is yet another new take on "Unknown Soldier", who is getting close to becoming DC's equivalent in the if-we-keep-relaunching-him-someone-will-like-it-eventually-right? sweepstakes to Moon Knight. I think they need to try again, as I was really entirely uninterested in this version, sorry. I think this may be a concept that just can't work in the 21st century, maybe because of the "unknown" part, and that doesn't work in our database-driven world (esp with regards to soldiers, I'd have to say). Anyway, like the first half, disliked the second, which means I can't say better then EH.

MIND THE GAP #1 :Another book that reads a little more like a pitch then a comic, but I thought this pitch was fairly terrific. The set-up is for a whodunnit kind of mystery, with the victim's spirit interacting on the, dunno, astral plane, maybe is what to call it, with what looks like a little touch of Deadman-meets-Quantum Leap, maybe?  Jim McCann's script is very strong, and the characters vivid, while the art by Rodin Esquejo and Sonia Oback is realistic, without being creepy and off-putting, like some in that style become. As a bonus, this first issue is oversized @ 48 pages, and just a mere $2.99, making it a helluva deal. No doubt this was a VERY GOOD comic!

STAR TREK ONGOING #8: Given that the premise of the first six issues of this series was adapting/converting classic Trek episodes with the movie characters, you might have missed that they followed that with a two-parter (starting in issue #7), that followed up on the film, with the Romulans and the last drop of "Red Matter" -- I know I sure did until I grabbed this issue to read, and went, "Wait... that's not TOS!" (from the "next issue" pic, it looks like they're going back to that and "The Return of the Archons"). I don't know that I exactly care about the tattooed Romulan faction, or Red Matter, but it was nice to see something wholly new set in this universe (and, in theory, "official"). I thought it was highly OK, and if you miss the TOS characters, recast or not, this was a fun little follow-up.

SUPREME #64: Wow. this should be taught as a masterclass in how to utter destroy a previous set-up in 22 pages, and replace it with the exact opposite. I really loved the clever way that Moore set up his "all versions are true" love letter to Superman, and it's own set up gave all of the ability to complete rewrite the rules as new creators came onboard, but instead Erik Larsen rips it all to shreds and chucks it out the window for the ugliest possible of all iterations of Supreme. That takes mad skills, yo. The craziest part to me is actually the letter's page to the issue (which I suspect won't be in a digital version, sorry) where Larsen defends his actions by comparing this to following Todd on Spider-Man, or whoever followed Miller & Mazuchelli after "Born Again" in Daredevil. the difference, of course, being that there's a 15-or-so year gap here between issues, and while the argument is at least understandable when related to regular ongoing production of corporately owned icons (the trains, in fact, have to keep running), it's utterly bizarre in this case, especially after they went out of their way to try and show "respect" to Alan Moore by illustrating his final "lost" script.

Obviously, the difference between, say, WATCHMEN and this situation is that the creator of the property is the owner and can do whatever they want on work-for-hire material, but there's a dissonance here that my brain is ringing from.

Erik is a talented creator, and this work has a lot of energy, but I really liked the Moore version of Supreme (and pretty much hated the grim'n'gritty take that preceded it), so I thought this comic was pretty AWFUL

WORLDS FINEST #1: I have to say that if I were DC marketing, I wouldn't have scheduled the two Earth-2 related comics in the same week, but I just sell the things, what do I know? But, I also have to say that I really really liked this one, as well. Paul Levitz turns in the first script in months that I genuinely liked from start to finish, and the twin artist (George Perez in the modern sequences, Kevin Maguire on the flashbacks) really worked much better than I thought it would. Yeah, I really thought this was strong, VERY GOOD stuff.

The one problem? That logo. Jesus, that's a horrible horrible disaster -- it looks cluttered and terrible using the "across the room" test (if you can't pick a logo/design element/whatever from across the room, it fails), and it's not at all clear what the name of the comic IS, with "Huntress" being over "World's Finest". Yow.

X-O MANOWAR (ONGOING) #1: If you read the original in the 90s, you've pretty much read this first issue, as it really alters very little of the original setup, just with a little more depth, maybe. It reads well, it's pretty enough, but I didn't feel like "OMG! I need to read the next one right now!" Maybe I'll check back in a few issues to see if they're doing new stories and not just retelling things I already know. Or, maybe I won't. OK.

Right, that's me -- what did YOU think?

-B

Wait, What? Ep. 75: Joshua Judges OMAC

[Above:  Not a deliberate shout-out, I'm sure, but we'll take what we can get, of course.]

Thanks for your patience during our mild vacation! In return, we offer you Wait, What? Ep. 75, which features more than two and twenty minutes of Graeme McMillan and me "stealing the air" or "pump[ing] up the volume" or whatever it is you "kids" call it. [Thanks to Joolian for pointing out that should really read "two hours and twenty minutes," damn my eyes!]

Do we talk Robert Kirkman, Tony Moore, and The Walking Dead? Do we, ever! Dare we discuss Gary Friedrich, Ghost Rider and Marvel? Dare, we do! Tire I of answering rhetorical questions? Frankly, yes, but I won't let that get in the way of telling you we also chat about L.J. Smith and The Vampire Diaries; John Rozum, Scott McDaniel, and Static Shock; and James Doohan and William Shatner and Star Trek.

Also, there's Brian Bendis' ideas for the New 52; sales expectations for the Marvel and DC; Marvel's possible reboot and their strategies for Avengers Vs. X-Men; the myth of the Marvel Architects;  Joss Whedon and Buffy The Vampire Slayer; and et cetera, and what have you, and like that.

If you were the type to indulge in auditorial gambols, you may have encountered our gift in the wild autumnal splendor that is iTunes (where nearly-extinct creatures like Ping and DRM still play).  But if not, please take it as it is offered here, with utmost generosity and verbal pomposity:

Wait, What? Ep. 75: Joshua Judges OMAC?

As always, we thank you for listening and hope you enjoy!

Hibbs and the Single 11/30 (part one)

Haven't finished reading everything yet for the week, so this is just part one... but I'll be pretty close to Old School Savage Critting, here...

ANGEL & FAITH #4: I'm kind of loving this book. I suspect that's because both the premise, as well as the motivation of the protagonists is significantly more focused than over in BUFFY SEASON 9. The art's fab, too. I honestly think this is VERY GOOD stuff. BATMAN ODYSSEY VOL 2 #2: What. The. Fuck? I didn't read #1 (and stopped reading v1 at #4, I think?), but whoa this has taken a serious turn towards the inexplicable with Caveman Batman and Robin, and dinosaur riding and man oh man Neal Adam's style is kind of inherently "serious", y'know, and completely works against what I think is meant to be a Silver Age Pastiche. Or tribute, maybe? Hard to actually tell. His Batman is zooming all around here, at one point really even sounding like a teenage girl (with an "I hate this. I hate this. I hate this." as he starts to ride a giant flying bat, followed by a big ol' "I love this!", yowsers!) I m just utterly baffled at what Adams is going for, and it is ultimately stiff and awkward and weird. So much "Work For Completionists Only", and kind of crazily AWFUL, sorry. DAREDEVIL #6: The idea of a villain with sponsorship patches, like an anti-Booster Gold, is sort of amusing, but that was a bloodier end to the fight than maybe was needed. The McGuffin of the patch was likewise interesting, but I guess I just don't see what the stakes are for DD. The art as is nice as always, but I just couldn't wrap my head around how this was a Daredevil story, and not a Spidey story. still, even with that, it's still a low GOOD. FF #12: I didn't say last week, but I thought FANTASTIC FOUR #600 was pretty terrific, but no I didn't like this. Maybe it's because in a FF book, I want to see one of a quartet of individuals specifically driving the action; or maybe it's because Bobillo's art (dunno for certain if it's a change in base-style, or the inker's work) went from sweet cartoony (like in his run of SHE HULK, man, those are great) to like harder edge euro-styled art. Like, dunno, Alex Nino, and that whole school of Philippine artists that was most prolific at Warren in the 70s? Either way, not a change I liked personally. So, yeah, while I can appreciate the intricacy of FF, this left me feeling pretty distant, so best I can must is a weak OK.

FLASH GORDON ZEITGEIST #1: Back to the top start again on this venerable property, and it is done with adequate style -- more enjoyable than the BUCK ROGERS reboot from last year, say. I'm just kind of loath to recommend any Dynamite book to people because I know if it show the slightest chance of catching on, Nickie will commission three different spin-off series, and we'll lose all of our readers for it, and have to stop ordering it. But, anyway, that's too meta! There was also an interesting choice at the end to have the rebel aliens come to Earth before ever encountering Flash, which would seem to me to be extremely likely to dramatically shear the central appeal of Flash which would be "Rugged American Individual goes to weird (and primitive, except for the spaceships) alien planets, shows them how incredible fucking awesome Rugged American Individuals are". Tell me you can't picture TEAM AMERICA's "America: Fuck Yeah!" playing behind any filmed Flash Gordon to date, right? Well, we'll see how that thread plays out, but I'm not optimistic on that. The rest of it I quite liked, though -- and that is a pretty awesome Ming, so, sure, I'll say this comic is a strong OK.

GAME OF THRONES #3: A lot of good choices in this adaptation, but the art's a little cutsie to work, I think. EH.

HAUNT #19: New Direction! Jump On Now! I thought the Kirkman/Capullo run was just too much trying to evoke a Spawny/Venomy kind of 90s feeling, but Joe Casey and Nathan Fox really change it up well here. I'm going to put the bulk of that on Fox, I think, as this looks pretty much the opposite of a Capullo comic. Solidly GOOD, though I can't say I would rush to buy another issue, necessarily.

STAR TREK ONGOING #3: Loving this, as well. Really, it's kind of a brilliant idea to adapt the old episodes with the new cast, they've got 150+ issues of material on tap, without having to generate a new story idea, yet they seem fresh because of the new dynamics among the characters. Solidly GOOD.

THUNDER AGENTS VOL 2 #1: A much better first issue than the last one -- action, AND plot movement, AND mysteries for the future AND soap opera is really the format that each issue of a super hero comic should deliver, and the first run had issues with only half or less of those in any average issue. Still, dang, in any incarnation of these characters, I'd have to say I think the appeal tended to be the artists drawing them (from Wood to Kane to Perez), and this is a writer-driven run, I think, from Nick Spencer. That's not to say that CAFU isn't fine (he [?] is), but not really in that same kind of weight class as many of the others. Ultimately, I kind of don't care about these guys outside of that art nostalgia, so you'd have to be exceptionally exceptional for me to say anything better than an OK on this. And while this is competently done, that's about it. If you have a jones for these guys, you'll probably rate this much higher than I.

THUNDERBOLTS #166: I'm going to kind of recycle the last few lines of the previous review for this -- this is competently done, but I have nothing emotionally invested in these characters, and this issue doesn't do anything to change that, so, sure, it is therefore kind of EH.

ULTIMATE COMICS ULTIMATES #4: First issue of the 4 that I liked on its own merits. I think this miscalculated on scale -- millions more dead, and this after the earlier devastation of New York... these things would dramatically change a world and how it operates, and it's exhausting as a reader to boot.  THIS issue seemed a lot more personally driven, and so worked for me much better. It's a low GOOD.

UNCANNY X-MEN #2: That's all weird, and not really very X-Men-y (though, yes yes, I get "new premise" and all; whatever, I stand by that assessment), and it doesn't suck, but it sure ain't for me. OK

WOLVERINE #19: I like Funny Jason Aaron, I think, better than All Serious one. Very enjoyable, low GOOD

X-MEN LEGACY #259: I feel like I can see the sets, and someone left the script pages in the shot, and no no no no, you're supposed to emote, dear! and it's just little stick figures being moved around, and it's no different than the rest of Carey's run, mostly, and I think its unfortunately pretty AWFUL. I almost upgraded that just so we wouldn't end this session on a down note, but ugh, can't do it.

Right, more tomorrow (I think!), what did YOU think?

-B

Bodly...final...seek out...etc

Went to an advance screening of STAR TREK last night.

The situation was odd -- originally the screening was at the Metreon on Wednesday night. Then, suddenly, on Wednesday afternoon, around 3pm or so a messenger showed up with a note that the Wed screening was canceled, and it would instead be held at the AMC 1000 on Thursday instead. Weird.

What I don't know is what happened to people who showed up at the Metreon -- did they just get told to piss off, were they offered thickets to this show? What happened?

Well, they certainly didn't make it to the Thursday showing. The place was EMPTY. Maybe a quarter full, at best. I have never EVER been to an advance screening that was as empty as this one. Even the press seats were mostly empty.

(That's not as interesting as what happened in Austin, however)

So how was it?

Yeah, it was pretty enjoyable. The casting was keen, the writing was crisp, and I laughed and cheered and enjoyed the fan service. In terms of rebooting the franchise, it is a grand slam.

But it really isn't that good of a movie.

Let's get back to that, however.

[There will probably be SPOILERS after this point, so let's hide the rest after the jump]

If you think TREK is "about" the Kirk/Spock relationship, this is a super incredible affirmation of that. Chris Pine as Kirk doesn't ape any of Shatner's mannerisms, but he nails the core of the character nonetheless. Zachary Quinto's Spock clearly studied Nimoy closely, and he, too, nails it. They're both great, and the development of the relationship is the heart of this movie.

The rest of the cast is pretty great too -- the only two I didn't really feel were Chekhov and Sulu, but those two had very little to do, anyway. Uhuru, on the other hand, is probably a more significant character in the film than McCoy even, which is slightly strange I guess, but there you go.

There's an interesting choice to make this a hard reboot, but to explicitly make it a Parallel Universe. That's kind of ballsy, really, and while it both makes organic science-fiction sense AND allows them to change up any damn thing they like without offending "continuity", I can't think of something like that ever being done anywhere outside of comics. Will the "general public" be able to follow (or care about) any of that?

Particularly with the success of the hard reboot of the Bond Franchise, I'm not so clear exactly why they felt that they had to EXPLAIN the reboot. I think that most real trekkers are probably more interested in seeing more Trek than would be freaking out between differences between TOS and nuTrek. I mean, I don't like the new Phasers or Bridge all that much, but so what? Obviously they're going to update those kinds of things, whether I like it or not!

The thing is, other than giving you (effectively) STAR TREK: YEAR ZERO, the reboot IS the plot -- the creation of the parallel IS the "story". And therein lies the problem.

The villain, Nero, is utterly forgettable. And terrifically two-dimensional. Further, in the context of the story, his very existence in the story means he already accomplished his own goal -- because nuSpock is NOT Spock. The film makes a point of double underlining that with his relationship. nuSpock almost certainly isn't going to become "our" Spock, because things are unfolding differently in this parallel. Which means he's unlikely to do what he did. Further to that, "our" Spock done fucked up, which was not heroic, and there wasn't even the thought of an ATTEMPT to try and fix what they created. Meh on that.

There's also a bunch of unnecessary action sequences. One thinks they're trying to show "Look, we have a budget for once!", but I could have done without the flashbacks in Spock's vision, or the monster chase scene on the ice planet, or probably even half the combat on and with Nero's ship. They're not particularly exciting sequences, and they don't add anything.

So, walking out of the theater, I was like "YAY! Hm, that was OK" -- I'm ready to see the sequel RIGHT NOW, because now that all of the exposition is over, they've got a GREAT cast, and reasonable design, and maybe they can make a really really good STAR TREK movie next time.

I'd say this: TREK, to me, should properly be about US. In showing the rocky start of nuKirk and nuSpock, they got really close to that -- but the Science Fiction part of the story really needs to support and underline that mirror. That's not what we have here, so while this is a GOOD film using characters set in Gene Roddenberry's creation, it really isn't a STAR TREK film.

Once you see it, I'd love to know what YOU think...

-B

Around the Store in 31 Days: Day Eight

Did I mention that I'm making this up as I go along? I don't have a list books that I'm covering or anything, I'm just wandering in the store each day and coming up with whatever suits my fancy that day.

I'm also trying to (in the end) cover each of the racks in the store -- some racks have 2-5 genres/authors on them (like the Miller/Moore/Morrison/Creating Comics) rack -- if I just do one book in each category as I have them at the store, then I'd be at like 28 books from just that.

Some of them are easier than others. For example, today I think I'm eyeing the "licensed comics" rack, and that's a pretty hard one in a lot of ways -- most licensed comics actually, um, kinda stink.

Generally speaking they don't put "A List talent" on licensed books, though every once in a while they do. On today's installment, they did. Find out what it is, after the jump!

(And just for the record, what I call "licensed" is anything that isn't NATIVELY comics -- something that started as a TV show or novel or movie or that kind of thing)

(We don't put all licensed comics in the licensed section, though -- for example something like HELLRAISER is in the "horror" section, while BUFFY would be on the "Joss Whedon" rack, and so on and so forth)

Anyway, A-list talents, etc....

Pretty much the last people you'd expect to see doing a STAR TREK comic were Chris Claremont and Adam Hughes (!), yet in the early 90s that's exactly what happened on STAR TREK: DEBT OF HONOR.

Set right after ST IV: THE VOYAGE HOME (thus: the best post-TOS period), DEBT OF HONOR is, at the least, the god-damn prettiest STAR TREK comic you've ever seen in your life. That Hughes kid shure can draw!

The book suffers a little bit from Claremont-itis, but there isn't any Psychic Rape at least, so that's a plus. On the other hand, there IS a sizable lift from ALIEN, but at least this is a milieu in which that works reasonably well.

Ugh, I'm crazy today, store's been insanely busy (I started writing this at 10:45 am, and it is now just after 6), and we got our School Assignments for Ben's kindergarten (didn't get even one of the seven schools we wanted, sigh), so, screw it, I'm going to leave it right there. There WON'T be one of these tomorrow (I *need* a day away from thinking about comics this week), but I'm going to try and get two up on Monday...

Sorry this one was so shitty and half-written. I still like the comic...

-B

I always thought they came from the planet Kling: Graeme on another 4/25 book.

These are the following things that I think about when someone says the word "Klingon" to me: * Funny foreheads. * Michael Dorn manages to make a career out of frowning. * Tribbles. * All of those very dull episodes of Star Trek: The Next Generation and Deep Space Nine where they talked about Klingon culture and things were very dark and they talk about "honor" a lot. * Please stop saying the word "Klingon".

This is something that I don't think about when someone says the word "Klingon" to me:

* The need for a five-issue miniseries about Klingons published by IDW, especially a miniseries that has a Klingon-language variant of the first issue.

Do you see how that works? My lack of massive Star Trek fanboyishness (I know enough to think that Deep Space Nine in the best of the series, but not enough to stay away from the Voyager reruns on Spike, which Kate is now addicted to) and my disinterest in the Klingons at the best of times leaves me pretty much outside of the target market for this series, and yet somehow it managed to disappoint me nonetheless. Part of the problem is, I think, the scattered nature of this first issue - We're given a fairly generic framing sequence where Klingons outside of any given timeframe talk about some mysterious decision that they need to make, complete with potted (and confusing) history of the entire Klingon race before we flash back to, oddly enough, a recap of the original series episode "Errand of Mercy" from the point of view of the Klingons. And throughout the whole thing, I was thinking, Who is this book actually for?

The history of the Klingon race sequence - less than a page in total - seems to be written for insiders with unexplained references to human genetic science that somehow split the Klingons into two species and a plot of genetic superiority, and the rest of the issue is a recap of a Star Trek episode that fans will be familiar with, without much spin or insight... Those scenes only really work for those who are familiar with the original series, because for those like me who had to google the details because we guessed that it was probably from the TV show, it's an obviously incomplete storytelling experience; you can tell that something's missing, and what's missing is something that probably comes from knowledge of the episode in question. Which is probably very nice for the already existant fanbase, but isn't it lazy to write so directly to the fanbase and exclusionary to everyone else?

(Artwise, the book is blocky, but in a good way - The figurework is good, but there's something offputtingly perfect about the images of spaceships that suggests use of 3D-modelling software, and breaks the feel of the story somehow...)

I don't know why I'm surprised that this is all about the fanbase; it does have a Klingon language variant, after all. Okay for what it is.

Snark: The Final Frontier

Not exactly a new link, but maybe you haven't seen this before: Wil Wheaton (Acting Ensign Wesley Crusher) reviews and deconstructs STAR TREK: THE NEXT GENERATION, in a wonderfully snarky fashion: http://www.tvsquad.com/bloggers/wil-wheaton/

-B

The Books of 8/4

Then I'm done for another week! (which starts, uh, tomorrow) BIRTH OF A NATION: OK, so I haven't actually read it yet (it's at the top of my pile), but it's Kyle Baker art, and it looks faboo, so demand your LCS get you a copy.

LOEG VOL 2 TP: OK, League v 2 is finally out in SC, time for you to buy it if you've been waiting this whole time. It's the bestest adventure ever! Also The TP/GN of the Week

LUCIFER VOL 6 MANSIONS OF THE SILENCE TP: I'm really digging this, and I personally think it is the strongest thing Vertigo is publishing at the moment. Reads really good in trade. Get it!

STAR TREK KEY COLLECTION VOL 1 TP: Dude, the Enterprise has rockets coming out of the back! What could be cooler than reading Star Trek stories from people who had never seen the show in thier lives? Well, OK, a lot, but for pure howling kitsch, here's your comic for the week.

TRANSMETROPOLITAN VOL 11 TALES OF HUMAN WASTE TP: Oddly is numbered "0" on the spine, while 11 on the invoice. Should probably be Pi or thereabouts. Contains "I Hate it Here" and "Filth of the City" since those semi-floppies (sloppys?) are OP. Funny and brutal stuff.

ULTIMATE X-MEN VOL 8 NEW MUTANTS TP: Bendis' first run at the X-Men, and it's uneven, but also contains a beautiful Wolverine story that's almost worth the price of admission by itself.

And there you go, the significant TPs of the week! Or so I thought. What did you think this week?

-B