One of my favorite things to do (and what this says about me I couldn’t begin to guess) is backlog enough comics reviews that I can take a few weeks off from the funnybook grind and plow my way through a suitably ambitious prose-reading project. This winter that project is apparently reading fantastic-fiction series written for young adults. First up was Susan Cooper’s The Dark Is Rising Sequence, which I’ve talked about a bit before. Christmas almost always puts me in the mood for these books, just like seeing bugs congregate around my houselights when I take the garbage out at night makes me want to re-read Stephen King’s “The Mist” every summer. The Dark Is Rising, which gave the series its name, contains some marvelously Christmasy stand-offs between good and evil in the English countryside, involving carols like “Good King Wenceslas,” constant references to Midwinter’s Day, the magical properties of holly, and so forth — the ancient Britannipagan roots of the Christmas traditions we know today. But it’s also the second book in the series; the first, Over Sea, Under Stone, was written some years before the rest and is much more a children’s mystery and much less an overt fantasy. So you kind of have to buckle down and commit to reading the whole megillah before you get to the candles and wassails and mince pies and so forth (whereas with “The Mist,” you get a sweltering summer instantly and giant insects crawling across supermarket windows within half an hour’s reading), which is an investment. But this year I felt up to the challenge, and thus over the holiday break I took a crack at the whole series for the first time in eight or nine years. I ended up quite impressed by how much mileage Cooper could get out of merely describing how her conflict between the Lords of Light and Dark — and I mean sheer description, an endless succession of infodumps. Any time our young chosen-one hero Will confronts the enemy, the rules governing their conflict are simply asserted, either by the more experienced characters or, after he reads a book that literally teaches him everything ever, by Will himself, rather than uncovered through action. It’s not a choice I’d have made, certainly…and yet it never feels lazy, somehow. Why? Because Cooper’s overriding theme is that pure Light and pure Dark are both hard masters. Having all the usual fantasy story beats arrived at not through struggle or coincidence but by through “it is the way it is, the way it must be” rules and prophecies and plans and destinies makes perfect sense in a world where even the heroes are resigned to the occasional destruction of the souls of normal humans with the misfortune to be caught up in the conflict. Don’t get me wrong, this series isn’t at all about the necessity for Hard Men In A Dangerous World; indeed I’m not sure there’s any appropriate ideological/allegorical reading to be applied to it. It’s more a combination of Cooper pursuing the brand of fantasy that most intrigued her — lofty and explicitly Arthurian — and then occasionally, and particularly in the masterful Newbery Medal-winning fourth volume The Grey King, chronicling the emotional effect such cold purity has on we hot, impure humans. It’s a fantasy series with a lot of images that shine brightly — the Black Rider, the White Rider, the Six Signs, the Afanc, the Mari Lwyd — but also sting.

Far closer to ground level is Lloyd Alexander’s Prydain Chronicles. Like Cooper, Alexander drew heavily on Welsh legends, but that’s pretty much where the similarities end. On the surface it’s the most (and prior to A Song of Ice and Fire, the only) thoroughly Tolkien-indebted fantasy series I’ve ever read, albeit one written on the reading level of The Hobbit throughout its five proper installments and subsequent collection of prequel short stories. There’s a dark lord (Arawn, Lord of Death) who rules a stronghold at the edge of the known world (Annuvin) and sends his undead thralls (the Cauldron-Born) against a motley crew of various beings (the Companions) masterminded by a wizened wizard (Dallben) and spearheaded by an unlikely-hero hick (Taran, the Assistant Pig-Keeper) and his scion-of-royalty guide (Prince Gwydion of the Sons of Don) whose home is eventually besieged (Caer Dathyl). Where Alexander distinguishes himself from the good Professor is in the welcome regularity with which he drives home the central theme of the book: “Please put in the hard work necessary to learn how to not be a jerk.” He depicts Taran’s intellectual, emotional, and ethical growth process in such detail that it’s almost an instructional volume. Taran is never swept along by the mystical conflict with which he becomes entangled on his way to becoming a hero — he trudges and marches and stumbles and picks himself back up and continues to trudge through it. In each book Taran repeatedly is faced with decisions only he can make; he makes them first impetuously, and after learning how that usually works out, with as much care and consideration as he can muster; they either work out or don’t; then — crucially — he accepts responsibility for the results of the decision, accepts the results themselves as the terrain on which he must operate, and endeavors to move forward from there. It’s a constant process of experimentation, failure, contrition, and moving forward with his friends’ support. People try to do right by each other in this book, at all costs. One sacrifice, toward the very end of the book, made me tear up, something I thought I was long past in books like these — it wasn’t even a fatal sacrifice, just one you knew tore the sacrificer’s heart out but didn’t stop him from making it to help the people he cared about. He’d learned not to be a jerk.

I tweeted about all this a few days ago, and two separate people tweeted back in virtually identical terms that the books sound like the anti-Ayn Rand. That’s precisely it. The message is that acting responsibly toward others is really the only way we can gauge responsibility to ourselves — an enormously salutary message, more so now even than when the books were first written over four decades ago. Indeed Arawn Death-Lord’s greatest evil is said to be not his warring and general sorcerous nastiness, but his theft of the skills and secrets that made everyone in Prydain’s lives better once upon a time — better ways to farm and build and sew and create. Arawn took them all and hid them in his own private Galt’s Gulch; Taran’s quest was in part to liberate them, but much more than that it was to work to find his own gifts, and his own limitations, and contribute to the lives of others as best he could.

(In that light it’s hard to find fault with Alexander for his one weakness here, which is that he’s far more willing to harm the characters his main characters care about than he is to harm those main characters, i.e. the ones he and we care about. (This made me appreciate just how much of a taboo George R.R. Martin really shattered, by the way.) Plus, Arawn, the Cauldron-Born, the Huntsmen, and the Horned King are all world-class villains, so on a fantasy-mechanics level there’s still plenty to crow about.)

Finally I’ve just now started Suzanne Collins’s The Hunger Games. I don’t know what I was expecting, prose-wise, but it certainly has that slightly-weak-YA-fiction tendency to eliminate subtext and spell everything out. If the heroine has a tragic backstory, she is going to tell you what it is in the opening chapters. If she feels one thing but is forced to say another, she’s going to describe the situation to you in pretty much exactly those terms. In other words, big surprise, the writing is not as strong as George Orwell or William Golding. Don’t go comparing dystopian apples to oranges as I did.

What it has going for it instead is two things, as best I can tell. I only got up to the actual Hunger Games — the Battle Royale-style bread-and-circuses spectacle in which tweens/teenagers from the subjugated populations are forced to fight each other to the death for the sport of the ruling class as a way to show everyone who’s boss every year — today, but obviously as with any such dystopian-future bloodsport set-up, the kill-or-be-killed nature of the Games is pure narrative napalm. You’ve got a built-in structure that keeps people turning the pages, you’ve got a ready-made cast of varying antagonists you can endow with noteworthy quirks, of course you’ve got life or death stakes, and you have the audience’s expectations that at some point your hero (or heroine, in the case of lead character Katniss) will rip the lid off the system and show the world that the game is rigged and the only way to win is not to play. Juicy, pulpy stuff, regardless of how many school summer reading lists it’s on.

The other thing (and again, I’m barely halfway through volume one, so who knows where if anywhere this all leads) is that it makes bracingly literal contemporary culture’s penchant for watching young people display themselves and/or die for our entertainment pleasure. There’s an out-of-nowhere injection of kink before the games begin — Katniss is stripped, shaved, inspected, and tarted up by a team of stylists to help her win over the crowds; she has every expectation that she may be made to perform in front of a live audience of thousands and television audience of millions stark naked, which has apparently happened to the teen contestants in the past — that fairly blew my mind at age 32; if I’d read this when I was part of the target audience I’m not sure if I’d ever think of anything else. That willingness to go there in the face of what I imagine were objections from the folks in charge of placing this thing in libraries was refreshing.

Moreover, the youth of the bloodsport contestants, as mandated by the government, reminds me not just of the simultaneously voyeuristic and condemnatory coverage of teen misbehavior upon which huge swathes of the media depend, but also of the cold hard fact that when wars are called for, what’s really being called for is for young people to travel someplace to kill people and get killed. Again, I’d imagine that if I were a teenager, this would connect with me very hard on some level, even if I weren’t able to quite articulate how.

On a sillier note, I can’t remember the last time I read a book that my mind cast with actors as quickly and irrevocably as it did here. Katniss is Kristen Stewart, skin tone be damned; Gale is Talyor Lautner; Peeta is Armie Hammer minus a few years; Effie is birther queen Orly Taitz with the voice of that “great, great, really great!” woman from Elaine’s office in Seinfeld; Haymitch is Lieutenant Eckhardt from Tim Burton’s Batman; Cinna’s the guy who runs the New York City bridal salon on Say Yes to the Dress. I wonder who will be brutally murdered next.

* The Wizard/ToyFare fallout continues:

* Heidi MacDonald has another fine round-up of reactions and analysis, including a deeply unappealing self-evaluation of the company’s strengths from a company document. The bit about “we don’t have any of our own employees; we contract them through Wizard Entertainment” is Scott Rosenberg-level unpleasant.

* iFanboy’s Jason Wood walks us through the way that Wizard owner — actually, I’m not sure that covers it; at this point it seems safe to say that Gareb (and perhaps brother Stephen) and Wizard are effectively synonymous, like Trent Reznor and Nine Inch Nails — Gareb Shamus assembled the shell company through which Wizard now manifests itself. Hmm, I wonder if Shamus’s previous enterprises have something on the ledgers that necessitates picking up stakes.

* On a more pleasant note, toy writer Poe Ghostal laments the demise of ToyFare, which in my experience is the one Wizard product no one ever complained about. And for good reason — it was very very good! I’m glad it will continue to exist in digital form.

* I’m about to write more about the “death” issue of Fantastic Four than I expected to. No spoilers, though, so don’t worry!

* As I mentioned yesterday, I’ve been reading Jonathan Hickman’s run on FF, variously illustrated by Dale Eaglesham and Steve Empting, for some time now, for the simple reason that it’s good. Pairing Hickman with the Fantastic Four — not just Marvel’s oldest and most storied franchise, but the one constructed around distinct characters, and indeed around character dynamics, more than any other — is a great way to mitigate his tendency to make the “mad idea” king, as seen in his increasingly less impressive S.H.I.E.L.D. reimagining, a book that feels like some kind of experiment in eliminating character from the storytelling equation entirely. The art is meaty and solid, the pseudo-science is fun rather than merely dizzying, there’s lots of cool creatures and villains to fight or outwit, and of course there’s the recognizable and entertaining Thing, Human Torch, Mister Fantastic, and Invisible Woman (and Namor and Franklin and Valeria and Doctor Doom and Galactus) at the center of it all. So I was gonna read the death issue, #587, regardless. The hype didn’t bother me because, and I say this as someone who makes part of his living following comic book industry hype, there’s no such thing as inescapable comic book industry hype. If you choose to escape it, you can, even while you read the underlying books.

* So! I read the comic and it was a good comic just like the rest of Hickman’s FF comics have been. But I was quite surprised upon turning the final page that the hype machine had cranked up as high and hard as it had, given what I actually saw on the actual pages in question. Even given the transitory nature of superhero-comic deaths, this one — based on what we see and what we don’t see, based on what we know about how the franchise works in general and how Hickman’s take on it in particular, based on the fact that the series is about to start over with a new title and new numbering but its landmark, irresistible-to-marketing #600th issue is right around the corner — felt like a well-executed plot point in service of a larger, longer story much, much more than it felt like a “get me the Daily News on the horn, the people need to know!” pop-culture event.

* And interestingly, the book’s editor, Tom Brevoort, really isn’t pretending otherwise:

[Reader Question:] I think we’ve finally hit a point as a fanbase where a majority of the epople who actually read the books aren’t going “THIS DEATH WON’T LAST” and are instead going “How will the is change the status quo and lead to interesting stories for a while?”

[Brevoort:] Well, let’s hope so.

People aren’t even pretending that deaths will stick anymore; the choice isn’t between deaths that last and stunts that don’t, but between plot points that people care about and stunts they don’t, about stories assembled with care and skill versus meaningless cannon-fodder churn imposed from on high. Or as Hickman puts it:

The question is: Are we trying to have an honest, resonating beat within the telling of a story, or are we trying to shock the reader and score cheap points?

I think it’s a bad idea to completely devalue death in a genre built on the creation and solving of problems through violence, but if that ship has sailed, again, I think you could do a lot worse than treating death as Hickman has and as Ed Brubaker and Grant Morrison did before him: as a door you can open to explore parts of your characters and concepts you wouldn’t have access to otherwise.

* But leave it to Tom Spurgeon to move past that silver lining and find a dark lining around it:

the takeaway may be that Marvel has helped create a market that limits the reward that used to be due better-than-usual work, and that drastic ways to goose interest and sales in such titles may be the only tools left to them if they want to move more copies.

Good work relies on gimmickry to get over, is the gist of it.

* Anyway, death was already a commonplace for the Fantastic Four: Bully and Douglas Wolk show us just how common.

* Moving on, Tom Brevoort hated, hated, hated this comic. Place your bets, folks!

* Justin Green has a blog! The Pulse!-reading teenager in me is freaking thrilled.

* Jeffrey Brown talks Incredible Change-Bots Two.

* Yet another name change for the Greg Pak/Fred Van Lente Hercules comic. I wonder how long they can Atlas this thing before it runs out of steam. A long time, I hope!

* I normally don’t go in for geeky “who should play so-and-so” casting speculation, but I’ll make an exception for A Song of Ice and Fire’s Brienne of Tarth. That’s a real challenge.

* Jeet Heer leads this piece on Dino Buzzati’s 1969 proto-graphic novel Poem Strip by saying its 2009 translation and republication hasn’t received the attention it deserves. Insofar as I’d never heard of it until reading Jeet’s piece, I’d have to agree. The cover is gorgeous and the two interior panels Jeet reproduces look like John Hankiewicz 45 years before the fact.

* You can watch this Bollywood Tamil killer-robot action sequence from Shankar’s Robot ironically if you want, but I’d kill to see action this intelligently choreographed and impressively staged (for what I’m sure was a relative pittance) in any of the (non-Neil Marshall or Neveldine/Taylor) genre entertainments I regularly consume. Bonus: The Robot looks like Joe Pesci from toward the end of Casino. (Via Michael Kupperman, awesomely enough.)

Regular readers of this blog are no doubt aware (to say the least!) that I am a big fan of George R.R. Martin’s series of fantasy novels called A Song of Ice and Fire, and that I’m eagerly anticipating the HBO series adapting them, called Game of Thrones. But a few days ago I realized that you might not know why. Credit for this goes to my blogging chum Curt Purcell, who used the occasion of my umpty-millionth post on the topic to ask:

Without giving too much away, can you maybe hit a few bullet-points about what sets SONG OF ICE AND FIRE apart from other similar fantasy series? It sounds so run-of-the-mill, even when people gush about it. What am I missing that would make me want to read it?

As I said in the comment I left to answer his questions, I’m such an enthusiast for this material that I don’t know if I’ll be any good at expressing or explaining why. (I’m also emotionally and physically exhausted due to all sorts of off-blog goings-on this past week and am not at my most cogent.) But I’ll take a shot at running down some of the series’ distinguishing characteristics. Sit back, relax, and enjoy the hard sell.

First off, what exactly are we talking about here? Well, as I said, A Song of Ice and Fire is a series of epic fantasy novels by writer George R.R. Martin, whom some comic fans and nerds may know from his involvement with the Wild Cards series of revisionist-superhero prose novels, or for his time on the writing staff for the Ron Perlman/Linda Hamilton Beauty and the Beast TV show. So far, four volumes of a (sort-of^) planned seven have been released: A Game of Thrones, A Clash of Kings, A Storm of Swords, and A Feast for Crows. The HBO series, spearheaded by David Benioff and Dan Weiss, takes its title (sans indefinite article) from the first volume and will debut on April 17; the plan is to adapt one book per season, although the books get so long that some may need to be spread over the course of two seasons.

What’s the setting? Without spoiling anything important, here goes: The books take place mostly in a land called Westeros, your basic roughly medieval-European epic fantasy setting, albeit one with far, far fewer overt trappings of fantasy than, say The Lord of the Rings — humans are the only game in town in terms of races, and we’re several generations removed from the last time magic/sorcery or mythical creatures like dragons were a going concern. The main fantastical feature when the story begins is how the flow of seasons work: Summer and winter can each last for years, decades even, before shifting unpredictably.

Westeros, which ranges from an arctic climate up north to a Mediterranean one down south and has similar cultural lines of demarcation, was once divided up into Seven Kingdoms, each ruled by great families, or Houses. But for centuries now, the whole continent has been united under one ruling King. However, about 15 years or so before the story begins, a group of powerful Houses banded together to overthrow the current king, who had gone insane, thus ending the kingdom’s first and up until that point only dynasty.

What’s the story about? Again, without spoiling anything important: It’s 15 years after Mad King Aerys of House Targaryen was overthrown by an alliance of nobles who were either burned by his cruelty or hungry for power of their own, or some combination thereof. The leader of the alliance, Robert Baratheon, has been king ever since, supported by his wife’s hugely influential, hugely assholish family, House Lannister. But when his mentor and right-hand man dies (or is murdered — no one’s really sure), Robert, who seems well-intentioned but by now is kind of a drunk and glutton and horndog and not a very good king, heads north to seek the help of his best friend, Eddard Stark, who has command of the kingdom’s distinctly unglamorous northernmost area. A Game of Thrones primarily chronicles the conflicts between House Stark and House Lannister as Ned, as he’s known to his friends, tries to help out King Robert and get to the bottom of the mystery of their mutual mentor’s death, and some other shady goings-on as well.

But meanwhile, two threats are brewing beyond the kingdom’s borders and outside the struggle for power and influence surrounding the rival Houses. The first lies in the uncivilized wastelands to the North, beyond a massive Great Wall of China-type structure called The Wall, a 700-foot-tall barrier made totally of ice that stretches from sea to sea. Thousands of years ago some kind of supernatural menace came out of the North to threaten the Seven Kingdoms, and the Wall was constructed after mankind’s victory to keep the threat from coming back. By now it’s been so long that the organization tasked with maintaining the wall is a neglected, ragtag band, ill-prepared for…whatever it is that seems to be going on out there, somewhere.

The other lies overseas, where the only two survivors of the overthrow of House Targaryen, a boy named Viserys and a girl named Danaerys, have hit their teenage years and are trying to mount a comeback. Even though Aerys was a major creep, and Viserys is no great shakes either, if the two of them get the right backers and the right soldiers, they could present a major threat to the new rulers of their old kingdom, who know they’re out there but have no idea how to find them.

Why should I care about any of this? This is really the heart of Curt’s question, and probably yours, if you have a question about the series yourself. Chances are you either are perfectly conversant and comfortable with the standard tropes of fantasy and thus this series’ specific iterations thereof aren’t enough to hook you, or you’re the sort of person who automatically tunes out anytime someone in a tunic whips out a sword and says “I am Aragorn son of Arathorn, heir to the throne of Gondor” or somesuch and thus you’re skeptical that the books would be for you even if they’re the best gosh-darn stories about a made-up kingdom of knights and dragons and shit ever invented. With all of you in mind, I put together a list of what sets the books apart, both for me and, from what I’ve gathered based on talking to and reading about other fans, for a lot of people. This is the stuff that matters.

1) I mentioned this already, but it bears repeating: The fantasy elements are surprisingly minimal, particularly at first. Simply put, if you’re the kind of person who can’t stand elves and orcs and dwarves and wise old wizards, they won’t be around to turn you off out of hand. Now, this wasn’t really a selling point for me, since I’m a person who has the White Tree of Gondor tattooed on my left arm and obviously has no preexisting, in-principle problem with elves and orcs and dwarves and things of that nature. But I think you’d be surprised at how little high/epic fantasy I’ve actually read outside of The Lord of the Rings. The vast majority of my fantasy reading was done when I was a YA reader, and was centered either on satires (Piers Anthony’s Xanth books, Robert Asprin’s Myth series) or sort of off-model, less Tolkienian series (this is the stuff I remember more fondly — Susan Cooper’s The Dark Is Rising Sequence, Ursula K. LeGuin’s Earthsea trilogy, and Lloyd Alexander’s Prydain Chronicles, the most Tolkienian of the group but still pretty far removed from the Elves/Dwarves/Orcs model that dominates much of the genre)). In my mind, I’d come to associate stuff that more directly bore the fingerprints of Professor T or his Gygaxian reinterpreters with either unoriginality, tedium, or cheese. So a series that focused more on character and worldbuilding in the cultural and historical senses of that word than on invented races or bestiaries or magical systems was perfect for me when deciding to give fantasy another try at age thirtysomething.

2) A closely related point: In the absence of magical stuff, the story’s driven by realistic human conflicts. Martin has said that the series’ central struggle for power — the titular game of thrones played by various important people we meet — was inspired by England’s real-world War of the Roses, with its complex web of family loyalties and regional rivalries and so on. In terms of narrative fiction, I think the the closest comparison is The Godfather and The Godfather Part II. A Game of Thrones combines the first film’s story of rival families violently jockeying for supremacy amid all sorts of complex conspiracies and alliances with the second film’s story of the very serious, very smart leader of one of those families trying to uncover the origin of a plot against him and his. The point is that we’re very far from rote Joseph Campbell hero’s-journey fantasy storytelling, with some dude learning it’s his destiny to defeat the Dark Lord. If you’re sick of that sort of thing, you’ll find a lot more to hook you here. This goes double if you’re the sort of person who’s ever enjoyed fictional or non-fictional war epics or gangster stories. “The Sopranos with swords” really is a pretty dead-on way to describe what’s going on here.

3) Another reason “The Sopranos with swords” works, and probably one of the big reasons HBO bit: There’s graphic language, violence, and sex. Again, I’m not particularly well-read in the genre, but this is something I’ve really never seen before, not outside weirdo projects like CF’s Powr Mastrs — and this isn’t some cult-favorite alternative comic series, it’s the most popular and influential contemporary fantasy series other than Robert Jordan’s Wheel of Time. If you’re the sort of person who’s complained that Tolkien’s world is too sexless and bloodless to really care about, believe me, you won’t be voicing similar complaints here. I’ll elaborate on this a bit below, but I also would argue strongly against the notion that any of this is shock for shock’s sake, or rote revisionism. It’s simply Martin writing fantasy the way other writers would write about any other world full of human beings who kill each other and have sex and get pissed off. It’s refreshing. “Deadwood with swords” works here.

4) One last related point: The story isn’t just set in a (relatively) realistic world, driven by realistic human conflicts, and featuring realistic human behavior — it’s powered by relatable human relationships, emotions, drives, desires, and even mistakes. I’ve written about this at length before in somewhat spoilery fashion, but to recap it here, so much of what happens in these books hinges on the personal relationships between the characters, and the way old grudges or old friendships cloud judgment and lead to poor decisions. Perfectly well-intentioned, innately noble characters can’t stand other perfectly well-intentioned, innately noble characters for various reasons that are all too familiar — long-ago affairs, half-forgotten insults, petty jealousies. Characters will know full well that their family is a collection of really awful people, but they’ll still do their level best to help out because hey, it’s family, and it’s psychologically and emotionally tough as hell to leave your family behind. In other words, like all of the best HBO shows did with their respective genres — The Sopranos with the mafia, Deadwood with Westerns, The Wire with cop shows — A Song of Ice and Fire isn’t just surface revisionism, it’s bringing the full weight of richness of literary fiction to genre entertainment.

5) Moving on, here’s a point about the basic logistics of reading these books: The structure of the narrative is highly addictive. Each chapter focuses on a particular character, whose name serves as that chapter’s title, and the characters rotate throughout the book(s). This has the effect of embroiling you in a particular character’s situation or storyline, then immediately popping you over into another’s, so that you find yourself racing through the chapters to get to the next one starring the person you’re interested in — and then getting interested in the ones you’re reading in the interim, and repeating the process over and over. It’s rather brilliant.

6) The raw plot is enormously engrossing. There’s a dynastic struggle that encompasses a murder mystery, a conspiracy, shifting and secret alliances, political machinations — and then brewing underneath it all, two major external threats. You find yourself wanting almost desperately to get to the bottom of it all, and Martin is a strong enough writer to keep adding elements without drowning out the ones that hooked you in the first place. A good comparison here might be Lost, where each time you hit the ground level of the until-then central strain of antagonism, the creators yanked the rug out and revealed another beneath it. The shape and scope of the story is perpetually enriching and expanding.

7) I think Martin’s a pretty strong prose craftsman. There are a few groaners in there, especially in the first book (I think there are two warm fires in the hearth that couldn’t chase away the coldness in Character X and Y’s hearts, for example), but let’s just say that my dayjob sees a lot of SF/F pass across my desk and some of it is embarrassingly badly written. Martin knows his way around the typewriter.

8.) Big surprises, as shocking and powerful as any I’ve read or seen in any work of narrative fiction ever. Stuff that’s on the level of all-time gut-punches like “I did it thirty-five minutes ago” or “You are the dead” (or for you altcomix readers, the big moments in ACME Novelty Library #20 or Love & Rockets: New Stories #3). You want to stay as spoiler-free as possible about these books, that’s all I’ll say. Like, if you start reading them, don’t even read the back-cover or inside-flap blurbs. (Seriously, DON’T.) This is not to say that if you know the surprises, you won’t enjoy the books — I knew one of ’em and still loved it, just like I knew all of the major deaths in The Sopranos through Season Four and still loved it — but man oh man. There’s one part that had me so stunned and upset I literally lost sleep over it, and sat there rereading the chapter, sure I must have missed something or somehow gotten what I’d read wrong. I didn’t. It was awesome.

9) This is hard to articulate without spoiling the grand arcs of the narrative, but suffice it to say that having read all four currently existing volumes, Martin is playing an impressively long game. I don’t want to say too much more, but when you’ve read enough to start getting a sense of where it may head in the final three volumes, it’s kind of stunning in scope. Seeds planted in the first volume are carefully cultivated and tended to for multiple books and multiple years and multiple thousands of pages and still haven’t blossomed yet. Best of all, I think this all ties to one of the central themes of the series, but again, I don’t want to spoil anything.

10) This one’s important: There’s basically nothing glorious or badass whatsoever about violence as portrayed in these books. Most great fantasies don’t skimp on the emotional consequences of being enmeshed in these great struggles — the scouring of the Shire and Frodo’s departure are obviously the beating heart of The Lord of the Rings just for starters — but I don’t think I’ve ever read a heroic fiction that so relentlessly drives home how war and violence immiserate and degrade everyone who participates in them. There’s a haunting flashback in the first volume that in other hands would have been a depiction of some great and glorious last stand, but Martin imbues it so thoroughly with a sense of great sadness and loss and waste and terror. It’s beautiful and really humanistic. Now, I know Tom Spurgeon, who’s no dummy, disagrees with me on how the violence in the book comes across — he thinks it’s Mark Millar’s Ultimate Lord of the Rings, not because he feels Martin is glib or crass or glorifying the violence, mind you, but simply because he feels the use of violence is primarily calculated to get the material over with maximum genre-tweaking impact — but as he’ll also tell you, he’s in a very small minority on this. Martin, as it turns out, was a conscientious objector during the Vietnam War; I know that doesn’t necessarily reveal a fundamental truth about him beyond “he really didn’t want to go to Vietnam,” but in reading these books, I think his draft board made the right call.

11) That said, when there is action and violence, it’s really strong and really heart-pounding. And when there is fantasy, it’s exciting and strange and awesome, in the original sense of the word. The reason why is the same in both cases: We know that in this world, both swordplay and the supernatural have irrevocable, terrible, life-changing, world-altering consequences.

In short (haha, yeah right), I’m about to say something that I pretty much never say, even about works I deeply love and even to readers whose tastes I feel I understand deeply: I recommend these books without hesitation or qualification. And I’ve done so to readers ranging from my Destructor compadre Matt Wiegle to the fiftysomething mother of two grown children who works in the cubicle next to me, all of whom are basically over the moon for them. If you look into ASoIaF fandom at all, you’ll find this story repeated over and over: Fantasy skeptic gets enthusiastic recommendation from trusted friend, says “What the hell, I’ll give it fifty pages,” and within hours is passing on enthusiastic recommendations of their own. Consider this mine.

^ Why the “sort of”? The series was originally envisioned as a trilogy, but it grew to four volumes and then to six as Martin wrote the initial volumes. When he hit the writing process for the fourth book, he realized the amount of material he wanted to cover would require the book to be split in half even just as a logistical matter, so the series is now slated seven books long. This decision, plus his decision to scrap a planned “five-year jump” for the story between volumes three and four and his subsequent need to re-write and re-conceive a lot of existing work, led to a lengthy delay between A Storm of Swords and A Feast for Crows and a positively infamous delay between Crows and the planned fifth volume, A Dance with Dragons. Martin seemed to have planned to announce a publication date for Dragons during the TCA press tour last week, but an illness around Christmastime sideswiped him; still, I expect an announcement on the book before or when the HBO series debuts in April. (back)

* Myyyyyyy goodness, this new teaser for Game of Thrones is wonderful. The throne! (Via Westeros.)

* Elsewhere, Winter Is Coming rounds up reactions to the TCA sneak-peek footage. Speaking of which, Elio and Linda at Westeros offer a lengthy and thoughtful reaction of their own.

* Over at Robot 6 I posted a six-page preview of Night Animals, a graphic novel from The Wrong Place author Brecht Evens due out in March from Top Shelf. Looks lovely.

* Speaking of looking lovely, here’s a fun little comic about not liking Nirvana by Sally Bloodbath.

* There’s a super-limited-edition new Yeast Hoist issue (#16) from Ron Regé Jr.

* Wow, buy all four issues of Josh Simmons’s Top Shelf series Happy for the low low price of ten bucks!

* John Porcellino talks process with Frank Santoro.

* I’m posting this more out of obligation than genuine interest, because it’s difficult for me to imagine circumstances under which I’d be like “Oooh boy, a new Ridley Scott movie,” but Alien and Damon Lindelof are things that I’ve cared about, so here you go: Scott’s collabo with Lindelof is no longer an Alien prequel but a new thing called Prometheus. So there you have it. (Via Jason Adams.)

* Finally, I’m just going to post two images from the brilliant Tumblr Kanye + Comics, which takes images from comics and splices them with Kanye West lyrics, but I assure you I could do this all day. Man, that first one should be the Superheroes Lose mascot. (Via someone on Twitter yesterday, I think.)

* Heidi MacDonald takes the 2011 comics sales chart wonkery ball and runs it into the end zone. The picture that emerges is of an industry revolving around the equivalent of a really killer Entertainment Weekly panel at San Diego, basically: Bendis, Johns, Morrison, Kirkman, O’Malley, and to an extent Millar. Heidi also puts everything together in a way that makes me a lot more open to the notion that creator-owned comics, or certainly at the very least creator-driven comics, are the star attraction of the market right now.

* Kate Beaton signs to Drawn & Quarterly for a Hark, a Vagrant! collection in Fall 2011. Kudos all around.

* Corey Blake wins Headline of the Day: “Archie leads the digital comics revolution”.

* Frank Santoro and Dan Nadel have the details on that Santoro exhibition that was teased a few days ago. It’s Santoro vs. Greco-Roman mythology, and thus sounds awesome.

* I’m not as big a Shane Black person as many commenters around here seem to be, mostly because I tend not to care for slam-bang action comedies, but I could certainly handle the writer of The Monster Squad being tapped to write and direct a live-action American Death Note adaptation.

* And I’m not quite interested enough in either project to post them here, but there are pictures of the new Spider-Man and Captain America movie costumes out there, and they both look pretty good. I would also like to take this opportunity to note that Sam Raimi’s Spider-Man movies weren’t very good.

* Curt Purcell has posted another piece on Battlestar Galactica, focusing on Starbuck. He objects to the character’s resolution (a good deal more reasonably than many such objections, I should note); I disagree in the comments.

* The Onion AV Club’s Scott Tobias tackles Real Genius, which I think me and most of my friends took as more of an instruction manual than an actual movie. Chris Knight, Discordian Saint.

* I’m not sure if the drawings in this Josh Cotter post titled “Ben Clark: Inks” are by Cotter or not, but they’re lovely.

* I think the Westeros crew’s review of the Game of Thrones sizzle reel shown to the press over the past week is the best-in-class effort. It drives home a few points I’ve seen in other reports quite clearly: HBO is using the plot to grab people rather than resting on “It’s a fantasy TV show” (compare and contrast with AMC’s strategy for The Walking Dead), Michelle Fairley and Emilia Clarke are apparently really impressive in the key roles of Catelyn Stark and Danaerys Targaryen respectively, and the Wall looks incredible. (Cf. Myles McNutt’s fine review, and James Poniewozik’s as well; both via this Westeros post.) Their quibbles seem reasonable to me as well: Jaime Lannister isn’t quite as impressively roguish as they’d expected, for example. (They refrain from naming the character with whom they have the most concerns.) If you’re as starved as I am for good GRRM/GoT/ASoIaF talk, these are all places you should be visiting.

* Elsewhere, Winter Is Coming serves up an in-depth report on the press roundtable with showrunners Dan Weiss and David Benioff. It seems primarily concerned with bouncing the show off things to which it will be compared: the books themselves, The Lord of the Rings, other big HBO shows, non-fantasy fans’ preconceptions of the genre, and so on.

* Finally (via McNutt), if you’re interested in Game of Thrones but haven’t read the books, Alan Sepinwall is the TV critic for you: He plans on going into the show without reading them and without consuming any press materials that give away plot points. Sepinwall can be a very insightful critic when he’s working with strong material to which he brings few preconceptions, so this could be good.

* Over at Robot 6 I pulled some of my favorite parts from Tom Spurgeon’s excellent interviews with Daniel Clowes and Jaime Hernandez, two of the greatest cartoonists of all time. Of all time!

* Spurge also interviewed my very talented Robot 6 colleague Brigid Alverson, who comes at comics journalism and criticism from about a 180-degree remove from virtually everyone else I know. If you care about the field, you should read her interview.

* Kiel Phegley conducts an exit interview with outgoing Marvel Editor-in-Chief and ongoing Chief Creative Officer Joe Quesada. Quesada breaks (I think) the news that Nick Lowe has been promoted to Senior Editor, while Kiel notes that Quesada is the first Editor-in-Chief to depart on his own terms since Stan Lee.

* Tom Brevoort notes that Editors-in-Chief of Marvel comics don’t actually edit comics, which is why he didn’t want the job.

* Are nine of the top 10 bestselling comics of 2010 creator-owned properties, Hollywood tie-ins, or both?

* Theo Ellsworth is working on an ongoing horror-SFF series called The Understanding Monster. Yes please!

* This week, Diamond starts shipping comics to Direct Market retailers a day early, if they want. I hope that works out.

* Frank Santoro on Art Spiegelman’s Maus and the power of drawing comics at the same size they’re printed. “Comments are closed.”

* They’ve given up on making a Wonder Woman TV show. Good. Doing so seemed like an admission that They’re not talented enough to make a movie of one of the most famous characters in the world.

* Rickey Purdin calls the Brooklyn Comics and Graphics Festival 2010 “a totally insane comics and art show that, per capita, was probably the highest quality of its kind that I’ve ever attended.” Yep.

* Game of Thrones stuff 1: New photo gallery. Direwolf puppies or GTFO. (Via Winter Is Coming.)

* Game of Thrones stuff 2: I really enjoyed this report from a roundtable with George R.R. Martin. Martin tells a great anecdote about an asshole at a Lord of the Rings screening who kept shouting shit like “Giant spiders? Oh, come on!” as an illustration of how some people will just never cotton to fantasy; he speculates that A Storm of Swords will be split over the show’s third and fourth seasons; he notes the difficulty of conveying when a character is lying on television, something I thought would be quite a challenge for the series in terms of one specific plot point later in the books; and so on and so forth. If you’re like me and hungry for any kind of smart discussion of the books you can get, you obviously could do a lot worse than a discussion featuring Martin himself.

* Game of Thrones stuff 3: Maureen Ryan posts excerpts of interviews with Martin, executive producers David Benioff and D.B. Weiss, actress Emilia Clarke. I liked Martin’s note of caution that big though the show’s budget may be, it can’t possibly compare to the roughly $15 million spent per hour of screentime on The Lord of the Rings. (Via Westeros.)

* Check out Michael DeForge’s fine Top 15 Comics of 2010 list. And then ask yourself if he ever stops working.

* Now Zak Smith is crowdsourcing an entire RPG: Gigacrawler, about a universe in which every available space on planets and in the void is part of one continuous, contiguous structure. In other words, all of existence is one giant dungeon. He and his crew start brainstorming the game’s major features here.

* Dan Bejar, aka Destroyer, talks to Pitchfork’s Ryan Dombal about his new album Kaputt, which is really something special. Avalon is referenced, and thus am I vindicated.

* I whipped up a nice long thumbsucker analyzing Axel Alonso’s promotion to Editor-in-Chief of Marvel Entertainment for Robot 6. I hope you’ll take the time to read it. The nutshell version is there are some big question marks even (perhaps even especially) pertaining to the areas where we have the most information by which to judge him, but also a lot of reason to be optimistic in terms of his approach to creators. One thing I didn’t include because because I’m not sure what its actual import is but which still seems worth noting as a positive for the biz: He’s the second Hispanic Marvel EIC in a row. (Memo to Iron Man editor Alejandro Arbona: Patience, grasshopper.)

* I suppose I shouldn’t’ve been, but even so I was surprised by the dominance of media tie-in titles on the list of 2010’s bestselling graphic novels for the Direct Market (as sold through monopoly distributor Diamond). The Walking Dead, Scott Pilgrim, and Kick-Ass leave a grand total of one slot open on the list, which was taken by a book that got over largely on the strength of a fortuitous “it’s Superman meets Twilight” blurb in the press.

* On the periodical comics end of the list, events still sell–that’s really the only lesson you can draw. Well, that, and books called X-Men #1 trigger some sort of lizard-brain response in the direct Market. One more: The Direct Market is all but a three-man industry at this point, with Brian Bendis, Geoff Johns, and to a lesser extent Grant Morrison dominating.

* Yesterday was the big Game of Thrones presentation at the Television Critics Association press tour. This bums me out because it means that yesterday would have been the day George R.R. Martin made his two big surprise announcements (one surely must have been the release date for A Dance with Dragons, but that pesky plural really has thrown me for a loop beyond that) were it not for his awful-sounding bout of urosepsis over Christmas. It’s also a bit of a bummer because the 15 minutes of footage screened for the assembled critics will likely never air publicly since it used existing film scores as a stopgap soundtrack. The most in-depth summary I’ve seen of the footage is from Chicago TV critic and über-nerd Maureen Ryan. It sounds like it was basically very very good, allowing for some quibbles of the strength of various wigs and Peter Dinklage’s English accent. (Via Westeros.)

* UPDATE: The series debuts April 17th.

* Here’s Drawn & Quarterly’s Fall 2011 release slate. Daniel Clowes’s The Death-Ray and Brian Ralph’s Daybreak are the big ones for me.

* Chris Mautner runs down six overlooked books from 2010, including my co-#2 best book of the year, Gilbert Hernandez’s High Soft Lisp.

* Alright, I really have no excuses for why I didn’t wise up to Zak Smith/Sabbath’s big “Gygaxian Democracy” experiment, but now he’s croudsourcing things a sea monster can do, so you know I’m all over it.

* Real Life Horror 1: Don’t forget that my representative, Peter King, is okay with terrorism as long as it’s English and Irish children you’re blowing up.

* Real Life Horror 2: Freedom.

* Finally, I’m happy to use Geoff Barrow from Portishead’s anti-record industry twitter screed as an excuse to post the video for “Chase the Tear.” (Via Maura Johnston.)

* Well, shit and double shit: George R.R. Martin was hospitalized on Christmas Eve with the urinary tract infection from hell. Fortunately, he’s okay; unfortunately, the “big announcements” he’d planned for HBO’s TCA reception (why whatever could they have been!!!) are kaput. Get well soon, George.

* You maniacs! You blew it up! Ah, damn you! God damn you all to hell! Poor Steve Lyons does what he can with a thankless task.

* There’s a passage in my friend Ryan “Agent M” Penagos’s exit interview with outgoing Marvel Editor-in-Chief and reigning Chief Creative Officer Joe Quesada that I find very revealing about the man’s approach to his job: He sees his tenure and the projects he helped develop as the Watchmen or Dark Knight Returns he didn’t have it in him to produce as a cartoonist.

* Springboarding off Fantagraphics’ Complete Carl Barks announcement, Graeme McMillan asks what it means that Disney is publishing comics starring its characters through publishers other than Marvel. The long and the short of it is that Disney sees Marvel as being not in the comics business, but in the Marvel business. That’s consistent with their approach to many of their other brands: It’s not like they made Jim Henson start building all the puppets for their theme parks or had Pixar do Tangled for them. But it also tells you something about what Marvel’s approach to comics will likely be for the foreseeable future.

* Elsewhere, Graeme and Jeff Lester ponder at length why Axel Alonso got the Editor-in-Chief gig at Marvel over Tom Brevoort, who’s both more visible to the public and more integral to the company now-flagship Avengers franchise and nearly all of its big line-defining crossover events. But I don’t think it’s a mystery at all, frankly: Brevoort has said multiple times that he had no desire to take that job. I also don’t think it’s any mystery what Quesada will be doing, as it’s what he’s already been doing for quite a while.

* DC goes day-and-date digital with its Batman Beyond ongoing series. I note these things because they seem noteworthy, not because I have any idea what they really mean. I also note that I hear a lot of these series have had problems actually coming out day-and-date even when announced as such, particularly at Marvel.

* Gosh, Yanick Paquette has come into his own as the artist for Batman Incorporated.

* Cliff Chiang does Jaime Hernandez doing the Archies, basically.

* My friend and collaborator Isaac Moylan does Jeffrey Brown doing MMA.

* I haven’t seen Gareth Edwards’s much-lauded first-person giant-monster romance Monsters, but what little I’ve heard about it makes him sound like a pretty good choice to direct the next American Godzilla remake. Then again, wasn’t that basically what Cloverfield was? I mean that as a compliment by the way.

* Good news: The Second Circuit Court of Appeals struck down an FCC fine against boobs and butts on NYPD Blue.

* Real Life Horror headline of the day: “Severed head full of bullet holes found dangling from bridge in Tijuana, Mexico, official say.”

* Real Life Horror photo of the day: I’m not posting it here because even though it’s not graphic, its immediate implications are disturbing enough that doing so might be hurtful to some readers. But basically, a family photo snapped by Filipino city councilman moments before he was shot to death reveal his assassin with gun drawn and pointed directly at him right behind his unsuspecting family, and you can see it at the link. (Via Heidi MacDonald via Ivan Brandon.)

* My Representative, IRA supporter and anti-Muslim bigot Peter King, is the new head of the Homeland Security Committee; he says the New York Times should be indicted under the Espionage Act. He is a terrible person, and a dangerous one.

* Lighter-note time! Hahahaha, Tom Ewing reviews “Turtle Power” by Partners in Kryme for Popular, the blog on which he reviews every UK #1 single ever. A number-one hit that misattributed leadership of the Teenage Mutant Ninja Turtles to Raphael!

* Three music videos of note today:

* My gosh, what a song “Film Music” by Family Fodder is! (Via Douglas Wolk, through whom I first heard it a while back.)

* Here’s the hugely enjoyable video for master pasticheur Destroyer’s late-period Roxy Music homage “Kaputt.” (Via Ryan Catbird.)

Destroyer – Kaputt from Merge Records on Vimeo.

* Finally, this one’s unembeddable so you’ll just have to click through: Wubba wubba wubba, goodbye, God bless, not only in the USA but in the UK too, it’s Hercules & Love Affair’s “My House.” Perhaps only my wife, who hears me sing “Everybody Everybody” on the daily, has any idea just how ready I am for Club MTV/House of Style nostalgia. (Via Pitchfork.)

* Dang: Dirk Deppey has been let go. Take it from someone who was there: Dirk midwifed the comics blogosphere as we know it. Vaya con Dios, Journalista — most of us wouldn’t be here if not for you.

* Two great Quotes of the Day today on Robot 6: Ta-Nehisi Coates on comics as the literature of outcasts (fun, potentially corroborative fact: all of my gay friends are also big nerds);

* and Joe Casey finds today’s superhero comics boring. Oddly, so do I, for the most part, and judging from multiple conversations I’ve had recently, so do a lot of people I know. There are some counterexamples, certainly, and hopefully I’ll get a chance to talk about them if I can collect some thoughts. (Here’s one that’ll be going in: the conclusion to Brian Hibbs’s year-ender essay on the troubles faced by the Direct Market.)

* The Joe Casey quote comes from Tom Spurgeon’s excellent interview with him, which kicks off Spurge’s Holiday Interview series for the year. Curling up next to my in-laws’ dogs in Colorado while reading these things on my laptop genuinely is one of my favorite Christmas traditions. I look forward to the rest of ’em. As for this one, Casey’s Ben 10 insulation from repercussions for calling a spade a spade has made him one of the most consistently entertaining interviews in comics on a “here’s where the bodies are buried” level.

* Speaking of Spurge, in this piece on his favorite WildStorm comics he makes the case for that incest storyline from Alan Moore and Zander Cannon’s Smax, the idea being that it’s a jarring enough custom that it makes us feel the kind of response that the characters themselves would feel, instead of setting up afterschool-special-type mustache-twirling antagonists who are racist or homophobic or some other thing we in the audience can gloss right over as “bad guys!” The idea is that it’s sort of the narrative equivalent of the way Shaun Tan used the fantasy elements of The Arrival to better simulate for readers the disorientation of the immigrant experience. It’s smart; given that Moore has shown himself to be prone to afterschool-special literalism in this area — including in Smax‘s fellow Top 10 spinoff The 49ers — I’m not sure I buy it.

* Marvel has made a big deal out of how Fantastic Four will be ending after the current “Three” storyline, which ostensibly will kill one of the Four; today they announced that the Fantastic Four creative team will be launching a new series called FF in March. I don’t understand these kinds of maneuvers. Do they even really goose sales anymore beyond the #1 issue? I mean, these things can work fine if you’re Grant Morrison, but Hickman and Epting are having a swell run on Fantastic Four, and to me the gimmickry just distracts from it.

* Kevin Huizenga has posted three new Fight or Run strips! Someone with more influence over Kevin Huizenga than I have should beg him to make this a weekly webcomic.

* The great Norwegian cartoonist Jason, of all people, pretty much nails Zack Snyder’s Watchmen, or at least what I think of it, right down to some very specific points of comparison with how it probably ought to have been filmed, and to calling out the silliness already present in the original. That said, it seems pretty clear that I like both the comic and the movie a lot more than Jason does.

* Vice’s Nick Gazin says some smart things and some stupid things in his latest comics review round-up, which is par for the course, but it’s entertaining either way, which is also par for the course. (Seriously, PictureBox haters are the new Fantagraphics haters.)

* Ooh ooh, Teenage Wasteland: The Slasher Movie Uncut by J.A. Kerswell — a Portable Grindhouse/Destroy All Movies!-style book about slasher flicks!

* Benjamin Marra’s ROM: Spaceknight art is now available as a one-of-a-kind print to raise money for Bill Mantlo’s medical bills. Bid on the thing — as of this writing it’s available for freaking $9.99! (Via Zack Soto.)

* Emily Carroll is a real talent.

* Dave Kiersh is a real talent.

* I can’t wait to talk about Battlestar Galactica with Curt Purcell.

* And here’s another Quote of the Day, this time music-related: Scroll to the bottom of this page from Pitchfork’s Artist Guest List Best of 2010 feature to read OMD’s Andy McCluskey thoughtfully and passionately explain the brilliance of Robyn.

* I think this Alyssa Rosenberg piece on Game of Thrones for the Atlantic (WARNING: more spoilery than I’m comfortable with) fairly misses the boat. Rosenberg argues that the show will require more “sustained leaps” of belief than not just series like The Sopranos and The Wire, which require us to suspend our potential disbelief that murderers struggle to behave decently and contribute usefully in other ways, but also shows like True Blood or The Walking Dead, which depict fantastical things happening “firmly within the existing world” and “in a world discernibly our own” respectively. But the appeal of the Song of Ice and Fire books, and presumably the series, absolutely is that the characters’ motives and their societies’ constructions are recognizable from where we stand, the occasional dragon or bit of sorcery notwithstanding. The fact that it doesn’t take place on “Earth,” not even the alternate near-future Earths of Sookie Stackhouse and Rick Grimes, makes no difference in terms of the show’s approach. (Its reception might be a different matter, but only because swords and armor and accents make a lot of people think “old-timey” and tune out, and that’s not what she’s talking about; she’s saying things like that the show’s in a class by itself because it’ll have “to convince viewers not only that dragons are real, but that they are a literal bulwark against a real and frosty evil,” which in reality is just a difference in degree from “vampires exist and want marriage rights,” not in kind.) “The Sopranos with swords” is dead-on, if the show is done right.

* Finally, no idea how I missed this, but on December 16th George R.R. Martin wrote that he “might have an exciting announcement…maybe two” on January 9th at the Game of Thrones TCA thingamajig in Los Angeles. I suppose it’s easy enough to guess what the first exciting announcement is, but what about the second? I’ll bite: I’ve often wondered if he was actually writing the next two Song of Ice and Fire books at once…

* Craig Thompson says “Habibi production is stuck in limbo.” In a good way, I hope?

* Mike Mignola tells CBR some more about his forthcoming Hellboy plans, including collabos with Kevin Nowlan, Richard Corben, and his own bad self. I especially enjoy the news that he may start treating Hellboy like an altcomic in terms of numbering; rather than label things “issue #2 of 6” or whatever, he’ll just start from #1, and they’ll come out when they come out, and the stories will finish when they finish. Hell yeah.

* Murderers’ Row: Sammy Harkham, Gabrielle Bell, Anders Nilsen, Kevin Huizenga.

photo by Dan Nadel

* Tucker Stone has his “WE are the walking dead!” moment. This is a great column on some of the year’s worst comics, worth both reading and just scanning through the horrifyingly awful panels Tucker picked out to illustrate. And seriously, stop buying terrible comics. (I do straight-up enjoy those last two images, though.) Moreover, right near the top of the piece Tucker rattles off a rock-solid best of 2010 list that covers superhero comics, alternative comics, and “fusion comics” alike. (Via Kevin Melrose.)

* Hey, Closed Caption Comics’ Ryan Cecil Smith has his own blog! (Via Tom Spurgeon.)

* This episode of a geek podcast named Bear Swarm! leaves no doubt that it is an episode of a geek podcast with a name like Bear Swarm!, if you know what I mean, but it also features a lengthy, geekish interview with George R.R. Martin about the Song of Ice and Fire novels, so I do recommend listening to that part.

* Eve Tushnet on Eyes Wide Shut and the pleasure of finding pleasure in occasionally less-than-pleasurable art:

I don’t think I’ve been nearly attentive enough about restraining this tendency in myself: the tendency to summarize, to grade. To say, “This movie was fantastic in ways x, y, and z, but ultimately failed/succeeded because q.”

It’s that “ultimately” which I need to work harder to avoid. Art is not an exam! You don’t pass or fail.

* Mark Bagley is returning to Ultimate Spider-Man, one of my favorite superhero titles for years and years on end now. I think it’s safe to say that his work for DC showed that Ultimate Spider-Man is where he belongs, although let’s be honest, David LaFuente creams anyone else who ever drew that book.

* In further news related to the good Brian Bendis comics, They’re making a TV show out of Alias. I’m not confident it’ll be any good, based simply on the track record of adaptations of any and all genre comics. It occurred to me yesterday that I could list all such adaptations I consider to be genuinely creatively successful on one hand and still have fingers to spare.

* Pure Sean crack: Ta-Nehisi Coates slags superhero movies for their smallness, praises The Lord of the Rings for its bigness. I’m telling you, I remember so vividly the 20-minute sneak-preview I was able to attend after the Cannes Film Festival, when they were screening the Mines of Moria sequence for critics. I went with a skeptical friend, and we left astonished. The instant Legolas fired that arrow and we traveled with it as it traversed that vast chasm and hit that orc, who then plummeted into the abyss, I realized: They’ve gotten the scale right, for the very first time in the history of fantasy cinema.

* Speaking of Coates, I understand why American fiction writers used to be so smitten with the idea of ex-Confederate soldiers righting the wrongs inflicted on them and theirs by Union thugs. I don’t understand why they’d still be smitten with it today. Or maybe I do, sad to say.

* Finally, a little Real Life Horror (and let’s face it, for the next two years that could be the name of any given Congressional Beat column) for your weekend: My congressman, the odious, racist (and not incidentally IRA-supporting) Peter King, will be heading up a McCarthyite committee to “investigate” American Muslims come the next Congress. Fuck this asshole, fuck anyone who thinks this is a good idea, fuck this failed-state country of ours, hallelujah, holy shit, where’s the Tylenol.

* I’m proud to present Superheroes Lose, a new tumblr in which I’ll be posting comic covers and promotional art featuring superheroes losing. In part I’m doing this because I think these things are unintentionally hilarious; in part I’m doing it because I have some half-baked ideas on what these things meeeeeeeean, and having a lot of them in one place may help me shake those ideas loose.

* That being said, I’m quite excited about the image above even aside from its Superheroes Loseworthiness, because I think it means that the Hulk — the plain old Bruce Banner green Hulk — will be involved in a major, Avengers-driven (was that redundant?) Marvel event for the first time in the modern event-comic era. (World War Hulk doesn’t count — that was really a Hulk comic blown up big, and the event angle came from fighting the Illuminati, not the Avengers, Marvel’s modern flagship team.)

* Here’s a heck of a find: a live-action short-film adaptation of Charles Burns’s Black Hole by director Rupert Sanders. As best I can tell it’s sort of smushing several scenes from different points in the book into one long thing, so it’s not necessarily the most accurate adaptation (especially if you have Keith’s first encounter with Eliza memorized panel by panel), but it’s fine work regardless, atmospheric in a way these things usually aren’t and true to the spirit of the thing. (Via Jason Adams.)

* Johnny Ryan (!!!) interviewed Robert Kirkman and Tony Moore about The Walking Dead for Vice, with suitably juicy results. (Via Kevin Melrose.)

* Tom Kaczynski’s Uncivilized Books imprint is now a going concern, with comics by Tom, Gabrielle Bell, and Jon Lewis. Check it out.

* Tom Spurgeon reviews Two Eyes of the Beautiful II by the very talented Ryan Cecil Smith of Closed Caption Comics fame.

* Ta-Nehisi Coates on the appeal of superheroes — and supervillains — to marginalized groups beyond traditional geeks.

* I’m linking to ComixTalk’s 2010 digital/webcomics roundtable — featuring such august personages as Heidi MacDonald, Brian Heater, Brigid Alverson, Gary Tyrrell, Lauren Davis, and Larry Cruz — because it features my chum Rick Marshall of MTV Splash Page saying very, very complimentary things about Destructor, but even beyond that it’s stuffed with links to comics that come recommended by the participants and as such strikes me as a great way to launch a lazy pre-holiday weekend afternoon’s reading in a couple of days.

* Matthew Perpetua doesn’t like the gratuitous use of rap patois in hip-hop reviews, and the inconsistent application of stage names depending on the genre being talked about. I think in both cases this stuff is mostly showoffy; it’s interesting to see the differing directions that takes depending on whether or not hip-hop’s in the spotlight.

* Congratulations to The Country Club for mashing up Super Mario Bros. and Grand Theft Auto juuuuuuuuust about perfectly. I laughed out loud on the train at the ending. (Via Topless Robot.)

* Presume not to instruct Curt Purcell on matters pertaining to the Groovy Age of Horror when recommending Scissor Sisters videos, for he is subtle and quick to post far, far more pertinent giallo videos. Here endeth the lesson. Seriously, music people who read this blog, if you enjoyed the video for “Invisible Light,” you must click that link and watch Curt’s videos. Nude for Satan, ladies and gentlemen. (But aren’t we always?)

* Slowly George R.R. Martin turned, step by step, inch by inch…

* Here are some ways to kill time until Bruce Baugh blogs about Cataclysm.

* Radagast, Balin, and Beorn have been cast and Cate Blanchett has been re-signed as Galadriel in The Hobbit. Yes, ex-Doctor Who Sylvester McCoy is Radagast.

* Holy moley: Problem Solverz, the upcoming Adult Swim cartoon from Ben Jones, is almost literally unbelievably gorgeous. Do yourself a favor and watch this fullscreen at 720p. The colors are astonishing. It’s also really funny! Well done. (Via Sammy Harkham.)

* Here’s a very informative interview from the Innsmouth Free Press with artist and blogger Aeron Alfrey of Monster Brains fame. It includes the breaking news that Alfrey and Mat Brinkman are making a board game together.

* Today on Robot 6: Early and rare Bill Watterson art.

* Check out these effusive BCGF reports from AdHouse’s Chris Pitzer and pood‘s Adam McGovern.

* Speaking of AdHouse, AdDistro has added Revival House Press, publishers of the entertaining Trigger and Shitbeams on the Loose.

* AMC will be re-running Breaking Bad in its entirety, two episodes every Wednesday night starting tomorrow through March 2011. Sold.

* I don’t think all that much of the films of Christopher Nolan, and this post by Topless Robot’s Rob Bricken struck me as a pretty efficient film-by-film explanation of why.

* Today the New York Times’ RSS feed for Paul Krugman’s blog uploaded a post with the headline “Ice And Fire Update” and the synposis “The saga is getting better.” Man oh man was I disappointed when I clicked through to see it was a post about Iceland’s economy and not, you know, Nobel Prize Winner Paul Krugman blogging his thoughts on the chapters he recently read from George R.R. Martin’s A Song of Ice and Fire series.

* Real Life Horror: This Telegraph piece on potential UFO/extraterrestrial-related documents in the WikiLeaks diplomatic document dump is a Real Life Horror candidate for two reasons. One, hey, awesome, confidential government cables about aliens! Two, the litany of astonishingly bloodthirsty statements by various American conservative politicians and pundits calling for the state murder of Julian Assange and anyone who helps him. It’s almost as if the movement had been waiting with bated breath for a political enemy whose death they it could call for without reproach.

* America is Number One!

* Good eye, Ben.

* The inclusion of Bryan Ferry’s Olympia on Pitchfork’s Worst Album Covers of 2010 list is just bizarre. Like they’re asking, “Can you believe Bryan Ferry put a recumbent model on his latest album cover?!?” Um…yes?

* This weekend I attended the second annual Brooklyn Comics and Graphics Festival. It was the best comic con I’ve ever been to; on a pure comics level it was simply staggering, and of course that’s the level that matters. I wrote a full con report for Robot 6, so please do check it out.

* Last night HBO aired an 11-plus minute making-of/preview of Game of Thrones. I’ve embedded it twice below: The first video is the full 11:46 preview that ran on TV, while the second is a shorter version from HBO’s official YouTube account that runs about 10 minutes. Watch the longer one, provided it’s still up. What can I say? Everything looks rock-solid, and again, they seem to be emphasizing the stuff you’d want them to emphasize; Nikolaj Coster-Waldau, the actor who plays Jaime, nails the mega-plot of the whole series right to the wall, for instance. Also? The Hound. (Via Winter Is Coming.)

*Here’s a lengthy and to my mind insightful essay by Myles McNutt on Game of Thrones and the HBO brand. (Via Westeros.) Sample bit:

In earlier conversations on Twitter where I tried to find just where Game of Thrones fits within the HBO Brand, there were some logical parallels: the scale of the series is perhaps matched only by Rome (which was both a BBC co-production and an actual historical series), and the kind of fan interaction necessary for its success most closely mirrors True Blood. And yet, the show doesn’t fit easily into either of those categories, in that the show lacks the romantic and camp elements of a show like True Blood but has a greater expectation for authenticity (oddly enough) than Rome – it seems strange to suggest that viewers are scrutinizing a fantasy more closely than an historical drama, but such is the nature of a literary adaptation of a beloved series with an intelligent fan base whose expectations of this story go beyond what Sookie Stackhouse readers might have expected from the adaptation of their beloved novels or what history nuts might have anticipated from Rome (which was also sold as a fictionalized account of the historical event in question).

I’ve thought about the “accuracy” angle a lot versus True Blood, which I’m told plays fast and loose with the details, and even some major elements and characters, of Charlaine Harris’s novels while remaining broadly faithful to the overall plot, and versus The Vampire Diaries, which I’m told has almost nothing to do with the novels anymore. (Clearly the same is true of Gossip Girl.) I’m tempted to say that female-based fandom is more forgiving of deviations from orthodoxy, but then I remember that a) The Walking Dead seems to be doing just fine by most of the fans of its source material despite increasingly massive deviations from the original (and despite not being all that good, but that’s not really relevant here), and b) The Lord of the Rings, which mentally I’ve constructed as the gold standard in fandoms that demand absolute fidelity, actually made quite a few changes itself. Tom Spurgeon has argued that fans don’t want fidelity, they want flattery — flattery of what they the fans believe to be the most important aspect of the work at hand. I tend to agree with him. But in a case like Game of Thrones, where so much of the story is driven by byzantine plotting by the characters, I think fans will get a bit restless of there’s too much mucking about with it.

* Game of Thrones t-shirts!

* Jim Woodring Frank t-shirts!

* Hyphen magazine profiles my pal Shawn Cheng of Partyka. (Via The Daily Cross Hatch.) Worth reading for the pronunciation guide to “Partyka” alone!

* Ben Morse on Juliet, the best villain in Gossip Girl history. Money quote, in more ways than one: “In the weird dynamic of this show where the spoiled brats are the heroes, it just makes twisted sense that the girl who has to do her own dishes is the villain.”

* Thank goodness someone’s finally going to put the spotlight on the Marvel Comics work of Brian Bendis. Aw, I kid. I actually think a PR initiative based on talking up the writers who help decide the direction of the Marvel Universe in an almost editorial capacity is a good idea, insofar as that’s a pretty unique set-up in terms of the history of superhero comics and worth talking about as such.

* Please subscribe to the RSS feed for Jesse Moynihan’s webcomic Forming; I don’t see how you’ll be disappointed in terms of the sheer visuals.

* I’m sure I must have seen this illustration of Lady Liberty and Lady Justice making out somewhere before, but only in seeing it now do I realize how cool it would be if there were a giant Statue of Justice on the West Coast somewhere, with the two of them bookending America like the Argonath.

* With Boardwalk Empire‘s season finale approaching, HBO is unleashing the kraken with regards to publicity for its next big thing, Game of Thrones. Over the Thanksgiving weekend, the network released hi-res versions of all the photos from last week’s Entertainment Weekly spread on the show…

* a preview of a 15-minute making-of featurette they’ll be unveiling prior to the Boardwalk Empire finale next Sunday…

* and a new minute-long teaser.

And frankly? It all looks wonderful. In particular, starting that trailer with that particular scene appears to indicate that they know what the books are about, not just what they’re about, if you follow me. As always, they’re just trailers and promo stills and therefore completely unreliable, but. But but but! (Links via Winter Is Coming and Westeros, as usual.)

* Meanwhile, I plan on finding it really weird to watch mainstream pop-culture sites cover the show–even though I myself only discovered the series this year and am far from a GoT OG.

* The enormously engrossing, uncomfortably disconcerting online first-person horror film/ARG Marble Hornets has returned after a seven-month absence for its second season. When I say “uncomfortably disconcerting” I’m really not kidding. Even though I’ve just about exhausted all the information, commentary, and parody available on the project, I still find myself freaking out a little bit when I have to go out in the dark to take out the trash. They’ve hit on a really powerful set of images and techniques. If you’ve got about a movie’s length of time to kill, start here; the latest “entry” is embedded below.

* Two of my favorite webcomics had real doozies for their most recent installments: Jesse Moynihan’s Forming and Brian Chippendale’s Puke Force. Bookmark them!

* It’s official: The Hobbit movies will be filmed in 3D. Peter Jackson seems like a filmmaker who was made to make 3D movies. Certainly more so than James Cameron!

* Wow, Spider-Man: Turn Off the Dark had a rough opening night. Like, rough enough that I wonder if someone–the creators, the performers, the audience, the newspapers, Bono, someone–was just joking. Bitter experience and Avatar have taught me that I have no clue whether or not something will be a for-the-ages flop/demonstration of classical hubris; that said, the story of this show has been completely mesmerizing, and not for the reasons one imagines Julie Taymor, Bono, the Edge, and Sony or Marvel or whoever want it to be. On a qualitative level, my appreciation for Taymor’s glam weirdness is offset by my disgust with the leaden pretension of the U2 music I’ve heard from the show, so I don’t know how to feel about it in that regard either.

* Chris Mautner’s Comics College column tackles Hergé. Since all of his Tintin work is in the same format and working basically the same genre and tone, he’s one of the great “where to begin?” artists in comics. Well, here’s where to begin!

* Sean P. Belcher was a good deal more sympathetic to last night’s episode of The Walking Dead than I was. Basically we agree about its strengths, but differ in the weight we place on its weaknesses.

* Spurge is right: This Deborah Vankin profile of Joyce Farmer’s new memoir Special Exits makes the book look and sound great. I won’t spoil the really revealing quotes from and about R. Crumb, either.

* Trouble with Comics had a bit of an RSS spasm over the weekend, but it brought Christopher Allen’s thoughtful critique of Jack Kirby’s OMAC to my attention, so I’m glad it happened.

* Hawt stuff from Brandon Graham. (Via Agent M.)

* Very much looking forward to Ryan Cecil Smith’s Two Eyes of the Beautiful II, on sale at the BCGF this weekend.

* I’m digging what I’m seeing from Alex Wiley’s Hugger-Mugger Comicx. I like the cute-brut linework and citrusy colors.

* Wow, 102 pages of unpublished comics from James Stokoe!

* Real Life Horror: Every time I think about it, I am freshly amazed that Osama bin Laden and Ayman al-Zawahiri are still at large nine years after the 9/11 attacks they orchestrated. (And that we’ll probably never be able to try and convict Khalid Sheikh Mohammed because the Bush Administration tortured him, but that’s a different matter.) The AP has a fascinating, if somewhat depressing, report on the lucky breaks that have kept al-Zawahiri out of American clutches and/or crosshairs. Here’s hoping that once all the money we save by freezing federal employees’ salaries singlehandedly ends the recession and persuades Republicans to put aside their differences and become good-faith allies of the President, there’ll be enough left over help catch this murderous fuck.

* This is one of those days when I want to link to everything that Ta-Nehisi Coates writes. Money quotes:

I’d love to see someone make the argument that private sector managerial experience entitles you to run the NYPD.

—on incoming NYC schools chancellor Cathleen Black

What scares me is how this sort of crime-fighting, post-9/11, basically justifies itself. So we’re at war with terror. A war means we need to find and isolate the bad guys. So we send agents provocateurs to areas where bad guys might frequent and, essentially, employ a version of buy-bust theory to smoke them out.Then we announce their neutralization via arrest, thus proving that….we’re at war with terror. Rinse. Repeat.[…]Indeed, I suspect one could declare war against racism and just as easily employ provocateurs to cyclically “prove” the problem of violent white supremacists.

—on the FBI sting of would-be Christmas tree bomber Mohamed Osman Mohamud.

* Rest in peace, Irvin Kershner and Leslie Nielsen. The Empire Strikes Back and The Naked Gun are two of the movies I’ve absorbed completely enough to have a hard time imagining how I would think and speak about certain things without an array of quotes from them at my disposal.

* Finally, as I mentioned earlier, DestructorComics.com is up and running. Matt Wiegle and I will be updating it on Mondays and Thursdays. I can’t wait to share these stories with you!

* Clive Barker is looking for a publisher. That amazes me.

* New Game of Thrones promo this weekend, big 15-minute “Inside Game of Thrones” thing next weekend.

* Bruce Baugh on The Shattering, the world-changing component of World of Warcraft’s big Cataclysm expansion/event — part one, part two, part three. I’m a sucker for Bruce’s writing on gaming, but I think this is of interest to fans of superhero comics as well because of how directly it speaks to the pleasure of a huge event-driven overhaul of a shared fictional universe, an overhaul that takes care of some housecleaning in addition to opening up story possibilities. Do click on part two at the very least; it’s the photo-driven one, and even I can see how different and much more vivid everything looks now.

* Curt Purcell responds to Tom Spurgeon’s call for good superhero fights. I nominate Superman vs. Batman in Frank Miller’s The Dark Knight Returns, Nixon vs. the grandma robot in Frank Miller and Geof Darrow’s Hard Boiled–honestly, Frank Miller is fight-scene magic and I could go on–the Immortal Weapons tournament fights in Ed Brubaker, Matt Fraction, and David Aja’s Immortal Iron Fist, Daredevil and Elektra vs. Bullseye in Brian Michael Bendis and Alex Maleev’s Daredevil, pretty much any storyarc-ending fight in Robert Kirkman and Ryan Ottley’s Invincible (eg. Conquest)…lotsa stuff.

* Grant Morrison talks to CBR’s Jeffrey Renaud about Batman Incorporated. It sounds like he’s really made a tonal break with the rest of his run.

* Sheesh, look at these original Brian Ralph Daybreak pages.

* Tom Breihan reviews the living shit out of the remastered reissue of Nine Inch Nails’ Pretty Hate Machine. There’s not a ton of writing on Nine Inch Nails that I…trust, I guess? But this is among it.

* It’s funny: The bit that sold Ben Morse on Paul Cornell’s Action Comics run was the bit that threw me a little. It felt written for the internet.

* Concrete‘s Paul Chadwick storyboarded Strange Brew??? Did I know this?

* Jason Adams catches that the release date for the Thing remake has been rescheduled for October 2011, which seems to indicate some confidence in its horror-audience money-making abilities on the part of the studio.

* I can’t imagine it makes sense to say “rest in peace, Peter Christopherson,” but I’m saying it anyway. Dave Simpson’s Guardian obit is lovely, as is artist John Coulhart’s verbal and visual tribute (via Dan Nadel).

* You should read Matt Zoller Seitz’s essay on his late wife Jennifer.

* Today on Robot 6:

* Very nice programming line-up at the Brooklyn Comics and Graphics Festival–Anders Nilsen, Jordan Crane, Brian Chippendale, Sammy Harkham vs. Françoise Mouly, Charles Burns vs. Lynda Barry…

* John Allison’s Indie Comics Manifesto. Allison conflates being a crowd-pleaser with artistic merit in a way that makes me pretty uncomfortable, and there’s some crawl-into-your-grave-and-die-old-man rhetoric that doesn’t really help either. That said, he’s also got some common-sense financial advice in there.

* Comment-thread bonus: Here’s a list I came up with of a dozen great “art-damaged visual tone-poem[s] about the inside of [the artists’] psyche[s],” the kind of comic Allison would like to avoid but without which I wouldn’t really want to read comics anymore.

* Is Marvel — for our sins — collecting Mark Millar’s Trouble?

* Comment-thread bonus: links to every issue of David Tischmann, Darko Macan, and Igor Kordey’s Cable/Soldier X run, available to be read on Marvel’s Digital Comics Unlimited.

* Tom Adams of Bergen Street Comics on the onslaught of Thor comics. Is that what killed Thor: The Mighty Avenger?

* No permalinks unfortunately, and the least user-friendly scrolling interface I’ve ever experienced double-unfortunately, but artist Gabe Bridwell has in-depth reports on the Atlantic Center for the Arts residencies of Craig Thompson, Paul Pope, and Svetlana Chemakova. I found the stuff on Craig and Paul (admittedly two of my favorite people in comics) really revealing–Craig’s group did the most physical playing-around, Paul basically dances around and attacks the bristol board like a painter dancing around and attacking the canvas. Also, looks like the great Dave Kiersh was in Craig’s group. (Via Paul Pope.)

* Ron Regé Jr. talks about his Cartoon Utopia concept/project with the international altcomix publication Gazeta.

* Burn of the Day #1, via Tom Spurgeon: “There isn’t a lot in 2011 that compels from a ‘Battle Of Conventions’ standpoint, and neither one has anything to do with Wizard’s Big Apple show Vs. New York Comic-Con, which wouldn’t be a fight held at the same time in the same building.” It really is the case that Wizard’s Con War battle plan inflicted a massive friendly-fire wound on the company, which couldn’t have damaged its own reputation worse than it did by trying to force the industry to take sides during a major economic downturn if one of the Shamuses had strolled through the con hotel lobby with a prostitute on his arm.

* This bit in the Mindless Ones’ annotations for Batman: The Return of Bruce Wayne #6 set off a lightbulb over my head with the word “DUH” written on it in magic marker: “‘Did Darkseid release something… from any kind of box?’ Diana, with her origins in greek myth, would be all too familiar with the kind of nastiness that crawls from evil boxes.” Well done, Amy.

* Burn of the Day #2, via Rich Juzwiak: “[Rihanna’s] voice is not very interesting either, although on her fifth album Loud, she does interesting things with it. Not Diamanda Galás-interesting, but interesting in the way zombies are interesting — when something that once lay flat gets up and starts doing stuff, it’s remarkable.”

* Bruce Baugh walks you through the status of World of Warcraft’s Cataclysm event circa now–where it’s at, where it’s headed, what he’s up to, and what he’s planning.

* Real Life Horror: Embassy bomber largely acquitted because evidence derived through Bush Administration torture is inadmissible; conservatives demand trial by jury be replaced by telephone poll of Bristol Palin’s Dancing with the Stars supporters.

* “You shouldn’t go to jail for an idea, even an abhorrent one.”

* Finally, Entertainment Weekly has a photo gallery and set report from Game of Thrones. (Via Winter Is Coming and Westeros.) Looks pretty good! I mean, so what — the Dark Is Rising adaptation looked good when it had cast Christopher Eccleston and Ian McShane and released that first photo of the Rider — but hey, I’ll take it. I sent the link to a coworker who I hooked on the books and she popped out of her cubicle to tell me she was now in love with Jaime Lannister, so there’s that.

* As you no doubt heard, the Beatles are on iTunes now. Good! They should be everywhere.

* Anders Nilsen has finished Big Questions #15. Comic of the decade candidate.

* Whoa, look at the cover and title for Sammy Harkham’s long-awaited Crickets #3! “Sex Morons,” people.

* Today in superhero event comics I’m interested in reading: War of the Green Lanterns is on the way from Geoff Johns and company.

* Guillermo Del Toro and David Eick are the creative team for the new Incredible Hulk TV series? I’m listening. And I say that as a major Del Toro detractor–I just feel like the constraints of the format will reign him in.

* This may be the first time I’ve ever felt a tinge of guilt for trade-waiting: Roger Langridge and Chris Samnee’s Thor: The Mighty Avenger is cancelled with January’s issue #8.

* Very glad to see that Grant Morrison’s extremely toyetic Batman run is being properly exploited.

* Joe McCulloch on David B.’s The Littlest Pirate King and Jason’s What I Did.

* Very cool, innovatively laid-out horror comic from Conor Stechschulte called Two Broken Branches.

* Here’s a great bit from Adam Serwer’s review of The Walking Dead episode 3: “Robert Kirkman’s original source material reminds us of an essential truth about violence, which is that its effectiveness has less to do with physical strength than an ability to break through the psychological barriers to inflicting pain on another human being.” As Serwer’s overall review indicates, it really is weird the way gender has come to the forefront of the show in ways it never did in the comic, usually to the show’s detriment.

* This is the strangest comics interview I’ve ever seen. Charles Burns is a good sport! (Via Matt Maxwell.)

* This really is a magnificently sexy-sleazy drawing of Boom Boom from New Mutants. Do Los Bros Hernandez have an alibi?

* Here are a couple of reports from recent George R.R. Martin speaking events at which he talked about Game of Thrones. Interesting stuff, albeit EXTREMELY SPOILERY toward the end.

* The Martyrs remake: You’re doing it wrong.

* That story I linked to yesterday about the guy who refused an x-ray and pat-down at the airport and was threatened with a $10K fine if he simply declined to fly and left the airport–after they escorted him from the security area for that very purpose? Now the TSA is planning to prosecute him. In the immortal words of Brendan Filone, “It’s like not only does he shit on our heads, we’re supposed to say ‘Thanks for the hat.'”

* Oh, Richard. (Via Matt Maxwell.)

* Finally, if there were a comics version of the Netflix Watch Instantly queue, what would you put on it? Click the link for my queue. I feel so vulnerable.

* DC opens up its own DC Digital Comics Store.

* J. Michael Straczynski in not-finishing-what-he-started SHOCKER!

* Wait–what?

* A new Fritz B-movie-verse book on the way from Gilbert Hernandez! Love from the Shadows, coming in January. (Via Tom Spurgeon.)

* Tom Devlin takes a few seconds to crow about Drawn & Quarterly’s 2010 release slate. With some justification!

* The Game of Thrones news blog Winter Is Coming examines existing scripts, casting sides, and so on to determine how much the show will be deviating from the book. The answer seems to be “some, but probably not much in any way that really matters,” which is what you’d expect from an adaptation on the faithful end of things.

* One of the reasons I’m so grateful for the existence of Grant Morrison’s Batman run is that it really, truly does lend itself to annotations of the sort done by David Uzumeri for today’s The Return of Bruce Wayne #6. On the reader end, it’s not over-earnest fan overreach at all, and on the creator end, it’s not something required to enjoy the story on the page, but it’s all there if you want it. Just such a pleasure to read a superhero comic that works in that way.

* It’s a pleasure watching Spurge unpack a book like Mouse Guard.

* Finally, if you like the Venture Bros., you can buy original storyboard art here to help raise money to save the life of a cat. I truly love all the cats of the world so I hope you consider this. (Via Spurge.)

* Curt Purcell echoes a lot of what I said about last night’s episode of The Walking Dead, and adds something I barely touched on, which is that the zombie stuff wasn’t very good in it either.

* If I had to imagine the way network executives talk about genre programming, I’d probably come up with something like this exchange from a pair of HBO honchos about the upcoming Game of Thrones adaptation. “Transcends the genre”: check. Interchangeable use of “sci-fi” and “fantasy”: check. Dutiful referencing of the twin goals of pleasing the fans and appealing to a wider audience: check. Not that I’m upset about any of this–they mean well. It reminds me, though, that by the sound of it this will be a much more reverent adaptation of the source material, in terms of fidelity, than True Blood.

* LOVE AND ROCKTOBER: Frank Santoro notes the silent messages being sent by what panel grids Jaime Hernandez uses when in his gobsmacking “The Love Bunglers”/”Browntown” suite from Love and Rockets: New Stories #3.

* Speaking of Frank: Naughty, naughty!

* Nick Gazin reviews some recent comics and not-comics releases for Vice. I’m interested in what he has to say about Destroy All Movies!!!, Bent, and so on, but mostly I’m interested in having the opportunity to once again beg him and Vice to create a comics-only RSS feed. (Yes, I’ve tried to hobble one together myself using Page2RSS; no, it didn’t work.)

* Despite its obnoxious one-image-per-page linkbait format, this Wired slideshow previewing Destroy All Movies!!!, the aforementioned look at cinematic treatment of punks and punk, got me pretty excited. It also makes me wish that some current science-fiction filmmaker would populate his post-apocalyptic wasteland with emo kids. (Via Fantagraphics.)

* This Tom Spurgeon drubbing of Mark Millar & John McCrea’s Jenny Sparks Authority spinoff contains what will surely be the critical line of the week. See if you can spot it.

* The great cartoonist Jason lists his 15 favorite cartoonists. It’s as interesting to see the ones who didn’t influence him in any obvious way as it is to see the ones who did.

* Real Life Horror: Americans love the vengeance murders of imprisoned murderers.

* The Xorn/Magneto story is only confusing if you insist on counting things not written by Grant Morrison as part of the story. I understand that Marvel got cold feet about having Magneto slaughter thousands of Manhattanites in extermination camps, then get beheaded–though it frustrates me that they greenlit the story if that’s how they felt about it–but the thing is, there are a million potential outs for that scenario that don’t involve undoing the big reveal at the heart of Morrison’s whole run. Scarlet Witch could have brought him back and he could have repented. Phoenix could have sent him back to life with the mission of making up for his transgressions. Nanosentinels or Sublime particles could have been responsible for his rampage, or brought him back to life, or both, or whatever. All things built right into the story, or into other important stories; all things that don’t necessitate contradicting what was already on the page. (Hat tip: Matthew Perpetua.)

* Kevin Melrose offers a succinct summary of where the Supreme Court justices seem to stand on the video game-related First Amendment case currently before them. Keep an eye on this one. Scalia may be a crazy bastard, but he’s on the side of the angels now and then.

* While we continue to discuss Frank Darabont’s The Walking Dead in the comments below, do check out Sean P. Belcher’s take on the pilot episode. Not only does it use that music cue–you know the one–as a synecdoche for the entire episode, it also points out something I’d missed, which is that the episode title clears up a spelling mistake from Kirkman’s original comic that has bothered me for literally years.

* Sopranos/Boardwalk Empire director-producer Tim Van Patten is directing the first two episodes of Game of Thrones. That augurs well. Interestingly, the four directors involved in the first season are all directing contiguous runs of episodes, rather than being interspersed throughout. Also, the piece notes that the director of the original pilot, Tom McCarthy, appears to have been excised from the show entirely. It’s hard to know what to make of that, especially given that HBO’s executives were by all accounts (including their own) over the moon for that pilot. It has been extensively reshot, but the thinking was that this was due to casting changes for several key roles. Seems like there was more to it.

* Here’s a great little interview with Grant Morrison on his upcoming Batman Incorporated project by Wired’s Scott Thill, examining such touchstones as capitalism, the Arkham Asylum video game, the Brave and the Bold cartoon, and that “I wanna be a billionaire so friggin’ bad” song (not really). Great photo, too. (Via Kevin Melrose.)

* Speaking of Morrison, something big happened in today’s issue of Batman and Robin. It certainly surprised me! Let it surprise you by not clicking that link until you’ve read the issue, if that’s something you care to do.

* Interestingly, DC allowed newly minted Editor in Chief Bob Harras to emerge from his Republican Senatorial candidate-style media blackout to address the big Batman thing, and the big Batman thing only, it seems. I’m really looking forward to hearing what else he’ll do in that chair.

* I’m always fascinated to watch superhero fans react to a plot point as though it emerges from a vacuum wherein the skill of the writer and artist involved doesn’t even merit mentioning.

* Jeet Heer on racism, young Jack Kirby, and other things the Greg Sadowski-edited Golden Age comics anthology Supermen! can teach us about.

* Thanks to Brett Warnock for reminding me I forgot to link to Tom Spurgeon’s “name five favorite Top Shelf releases” Five for Friday feature. So many paths to take!

* Weezer’s Pinkerton gets a 10 out of 10 from Pitchfork’s Ian Cohen. I don’t know about all that, but it’s a great record, and there is absolutely a qualitative difference between the first two Weezer albums and everything else they’ve done since–it’s not simply a question of a born pop-rock star emerging during a weird alt-friendly era, disappearing, and then finding his voice as a musical mercenary.