• The Golem’s Mighty Swing sits on my bookshelf. You would think that a comic book about baseball and Jews would be a favorite, but I haven’t glanced at it in years. Sturm is talented but rarely engages me.

    Grant Morrison and Frank Quitely’s acclaimed run on X-Men starts here, but despite being a writer and artist team I love elsewhere, I’ve never really wanted to read this. At the time it came out, I was not into the X-Men anymore. And by the time I was back into the X-Men, Morrison had disowned this series in passing in his memoirs, “Supergods.” (Apparently, he wrote it while drugged out and doesn’t feel any pride in it.) Fun fact: Frank Quitely’s real name is Vincent Deighan.

    • BurgundySuit

      Even funner fact: Quitely chose his pen name so his parents wouldn’t see the filthy parody that was his first comics work and just ended up sticking with it. (And it’s a pun on “quite frankly,” which you might have already put together, but I hadn’t.)

  • Irish Eyes Of A Gnu Generation

    That Weird Western Tales cover gives a whole new meaning to the term “cocking your gun.”

    • “I’m not glad to see you.”

    • Megan

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  • Rosy Fingers

    What’s become obvious in this 2001 run compared to the other featured years is the sheer bewildering variety of what’s on offer. There’s clearly been an explosion of indie, auteurist comics (actually, I’m not really sure what indie might mean in a comics context, but something seems to have happened that’s analogous to the 90s indie boom in music). But even the big player like Marvel and DC have to totally abandoned any kind of house style. They’re all over the map. This must be great for people that enjoy their particular tastes because they can find their own comics niche like horror or bright cartoonishness but, like I say above, it’s all a bit bewildering.

    So, this is a question for superhero enjoyers, but what do you do when a beloved character like Batman or whoever just switches style/genre? Do you tend to follow the character wherever they go? Or do you stick to preferred types of comics, like, say, ultra-violent noir or cartoonish silliness?

    Anyway, not much to say about this issue of The Phantom except that one of the pleasures of these comics is a consistent stylistic representation across the decades, even with some occasional stylistic developments. This one’s a reprint of a story drawn by and dedicated to Jaime Vallve who is a great Phantom comic artist. Check out some of his artwork here: goo.gl/nJgXow He was a master of page balance, stretching panels when needed for effect.


    • BurgundySuit

      I tend to do just the opposite – I’ll follow the artists and writers I like to whatever character they’re working on and just enjoy watching them do their thing.

      • Rosy Fingers

        That makes sense, and links to the note above about comics just naturally tending toward auteurism. It’s always such a small crew on any given comic issue.

        I’ve never been great at keeping track of names in credits. I’m watching The X-Files for the first time since it was broadcast and really making an effort to remember to keep track of the writers’ and directors’ names, because there is such divergence in quality from episode to episode. It’s the same with comics – I always come to realise after the fact that it was a writer’s or artist’s work that I like or don’t like, rather than the whole product range. It’s like, “Oh, that’s why that one issue sucked so much!”

        • thesplitsaber

          For me its tone-because so many of these characters/creators have worked in so many different registers, i usually find the one that matches the kind of tone i like and read that arc.

  • BurgundySuit

    Year of the Month Update (from an idea by Elizabeth Lerner)!

    Here’s some things you can write up for March:

    And here’s our schedule so far:
    NO DATE: Wallflower: The Royal Tenenbaums
    NO DATE: Wallflower: Strange Little Girls
    NO DATE: Son of Griff: The Man Who Wasn’t There

    March 12th: Joseph Finn: Not Another Teen Movie!
    March 13th: The Narrator: Reveal
    March 15th: Conor Malcolm Crockford: Heist
    March 16th: Jacob Thomas Klemmer: Millenium Actress
    March 20th: ZoeZ: The Others
    March 21st: Clytie: Fast Food Nation
    March 22nd: John Bruni: Southern Rock Opera
    March 23rd: Ice Cream Planet: Mulholland Dr.
    March 24th: Balthazar Bee: Jason X
    March 25th: Ruck Cohlchez: Yankee Hotel Foxtrot
    March 27th: ZoeZ: The Birthday of the World and Other Stories
    March 29th: BurgundySuit: Chartbusting!
    March 30th: Miller: Monkeybone

    And coming in April, we’ll be moving along to 1969!

    NO DATE: Gillianren: Paul Rudd
    NO DATE: Jacob Thomas Klemmer: My Night at Maud’s
    NO DATE: Joseph Finn: On Her Majesty’s Secret Service

    April 30th: BurgundySuit: Chartbusting!

    • Babalugats

      69? My kind of year.

      Take The Money And Run is this year. Funniest movie ever made, and as such a decent contender for the most underrated movie ever made as well. But comedy is hard to write about.

      I’ve written about Pit Stop, The Cube, and Putney Swope for WDWWLN? and could probably expand those into full essays pretty easily. All three are pretty interesting, underrated movies. As is In The Valley Of Gwangi.

      Then there’s the big classics Easy Rider, Bitch Cassidy and the Sundance Kid, Midnight Cowboy, The Wild Bunch

      Ahh… I’m frozen with indecision. I’ll get back to you.

      • BurgundySuit

        Heh heh heh. Bitch Cassady.

        • Babalugats


      • thesplitsaber

        I hear you-Mr Freedom, Cemetary Without Crosses, Machine Gun McCain. Great great year.