* The San Diego Comic-Con 2011 completely sold out in one day. Zoinks. Tom Spurgeon has further thoughts, centering on the fact that the show still puts up a world-class slate of comics programming and exhibitors and that the programming end, at least, is better attended now than ever — but that none of that may matter if the way that tickets to the show are sold redound to the movie-trailer crowd’s near exclusive benefit. It’s not clear that that’s the case, however. One thing that seems abundantly clear is that the days of SDCC being something a casual or curious person could plop themselves into the day of, or even the month of, are loooooooong gone, never to return; everyone’s expectations should be recalibrated from there.

* Saving this for when I have the chance to really listen: Inkstuds interviews Al Columbia for two hours. Worth it for the below header image alone:

* Tokyopop is looking into publishing a collection of Brandon Graham’s King City at the extra-large trim size of its Image Comics serial-comic incarnation. I look forward to reading it! Via Frank Santoro, who has more.

* Now this is freaking heartwarming, doubly so if you’ve read the books: The girl who plays Sansa Stark in Game of Thrones has adopted the dog who plays Sansa’s direwolf Lady. That’s the happy pair with the young actors who play Bran and Arya. <3 <3 <3

* Speaking of A Song of Ice and Fire, I agree with the assessment of regular commenter Hob, who emailed me a link to this astonishing map of Westeros by Other-in-Law with the message “Possibly the best fan art I’ve ever seen.” Click the image to see the whole thing, and more maps from ASoIaF besides.

* The Hobbit starts shooting on Monday, March 21, 2011.

* The Australian magazine The Lifted Brow looks interesting — the current issue boasts contributions from comickers Eddie Campbell, Lisa Hanawalt, Noel Freibert, Ron Regé Jr., and Lane Milburn. (Via Mr. Freibert.)

* Interesting list of the Seven Deadly Sins that crappy horror movies commit from Tawnya Bhattacharya. I don’t agree with them all — what inner demon of Sally’s did Leatherface represent in the original Texas Chain Saw Massacre? Her childhood fascination with the zebras on the wallpaper in her grandparents’ house? — but so many horror movies are colossal wastes of time that it behooves us to try to understand why. (Via Jason Adams.)

* Rob Humanick reminds us that Shutter Island > Inception.

* Headline of the Day: One in 50 Troops in Afghanistan Is a Robot

* He’s certainly an expert on leadership vacuums, I’ll say that much.

* Is it just me or does R. Fiore’s review of Acme Novelty Library #20 get just about everything wrong, from matters of basic reading comprehension (the veracity of Lint’s son’s memoir) and aesthetic judgment (the quality of the memoir’s art) to the overall assessment (Ware needs to buckle down and tell a by-god STORY already!).

* Finally, do not tl;dr Lawrence Wright’s enormously long, enormously compelling New Yorker article on the Church of Scientology, as seen through the eyes of its most socially prominent defector, Crash/Casino Royale/Million Dollar Baby writer and director Paul Haggis. I tend not to go for South Park-style Scientology skewering, because it seems clear that the only thing keeping the tenets and traditions of all the world’s religions from sounding just as ridiculous as Scientology (or Mormonism) when laid out in just-the-facts terms is centuries of faith and familiarity. Start a faith thousands of years ago in the Middle East or the Indian subcontinent rather than decades ago in the United States of America and they magically become a lot harder to mock as bad science fiction, Moroni and Xenu be damned. However, the CoS’s alleged financial shakedown and apparent physical intimidation of its members, as well as the extraordinary lengths to which it goes to ensure they don’t leave, rise above and beyond the illogic all religions definitionally share and enter the realm of Roman Catholic Chuch-style criminal conspiracy. Moreover, no one who’s spent as much time in the occult/conspiracy underbelly as I have can fail to find the story of L. Ron Hubbard’s shake-and-bake religion, Jack Parson’s black-magick orgy house and all, deeply and darkly hilarious; and the article is coldly ruthless in the way it exposes Hubbard’s self-aggrandizing legend as hokum. Equally damning is its quiet but emphatic and repeated contrast of the Church’s official line about this or that claim by its detractors, however mild or innocuous, with the claim itself: Not only are the particulars of any given apostate or non-member’s recollection of an event denied, but the event in question is said to have never taken place, and indeed the participants are alleged to have never even met. Finally, the way it just tosses out the occasional wholly chilling detail makes for bracing reading. Fun fact: Church leader David Miscavige has apparently had his own wife disappeared for insubordination; no one outside the Church has known where she is for years, and the Church isn’t talking. (Via Anne Laurie.)

* Really can’t say enough about Blaise Larmee’s new webcomic 2001. Beautiful.

* Well this is outstanding: Max Brooks has posted a vampire story set in the World War Z universe for free on the Daily Beast. Nerdout commencing! Can’t wait to read this thing; World War Z holds up miraculously well. (Via CRwM.)

* Stephen King apparently heard about the new adaptation of The Stand at the same time the rest of us did. In this day and age that seems like a failure of due diligence on the producers’ part, doesn’t it? So much nerd media rises and falls on its makers’ ability to convince the nerd audience that the property’s original creators (or current caretakers, on the part of superhero movies) are involved every step of the way. You’d think they could have given Uncle Steve a phonecall.

* Beavis and Butt-head are coming back. “Dammit, Pantera! Get your ass into the kitchen and grab me a beer.”

* Jessica Abel and Matt Madden are blogging about each and every one of the 71 “Notable” comics listed in the back of Best American Comics 2010. Very cool.

* Congratulations to pood‘s Kevin Mutch for his Xeric win.

* Fantagraphics hires Janice Headley for its already formidable marketing department.

* I sure like listening to Tom Brevoort talk about comics.

* Yep, that’s Adrian Tomine’s workspace, alright.

* It’s Brian Chippendale’s world; Dan Nadel just visited there.

* Very, very close, I daresay!

* A couple of Real Life Horror links via Matthew Yglesias: Timothy Snyder tackles the world-historical horrorshow of life in the lands contested between Hitler and Stalin, while Daniel Davies springboards off the Egyptian revolution to muse on the strategic value of arseholes:

And so that brings me to a useful piece of advice for any readers who are aspiring dictators, one that the Communists knew, Suharto knew, but that some modern day tyrants seem to have forgotten. There is always a level of civil unrest that outstrips the capability of even the most loyal and largest regular armed forces to deal with. In all likelihood, as a medium sized emerging market, you will have a capital city with a population of about five or six million, meaing potentially as many as three million adults on the streets in the worst case. Your total active-duty armed forces are unlikely to be a tenth of that. When it becomes a numbers game, there is only one thing that can save you.

And that is, a reactionary citizens’ militia, to combat the revolutionary citizens’ militia. Former socialist republics always used to be fond of buses full of coal miners from way out the back of beyond, but the Iranian basijs are the same sort of thing. Basically, what you need is a large population who are a few rungs up from the bottom of society, who aren’t interested in freedom and who hate young people. In other words, arseholes. Arseholes, considered as a strategic entity, have the one useful characteristic that is the only useful characteristic in the context of an Egyptian-style popular uprising – there are fucking millions of them.

(Sidenote: Matthew Yglesias has the worst comment section on the Internet, and I say that as someone who reads comic book websites.)

* I co-wrote the latest, Super Bowl ahem BIG GAME-themed episode of Marvel Super Heroes: What The — ?! I had nothing to do with the funniest bits, though. Fun fact: Alex Kropinak animates these things all by himself.

* They’re making a movie of Stephen King’s The Stand, one of my favorite novels and already the basis for a pretty-darn-good-for-what-it-was TV miniseries. I think there are several potential pitfalls here. For one thing, you truly do need more than the length of a conventional theatrical movie to adapt this thing, but at the same time I’m not sure a rated-R post-apocalyptic survival-horror saga is the sort of thing that can sustain Lord of the Rings/Hobbit/Harry Potter/Twilight-style multi-movie adaptations in box-office terms. Obviously Ron Howard and company are out to prove me wrong with The Dark Tower, but that series is also a fantasy and a Western and science fiction; The Stand is about everyone in the world dying from a biological weapon. I’m also not convinced that the two projects won’t cannibalize one another’s critical and audience and PR oxygen — I mean, without giving too much away, they have a lot in common. I’m also realizing I’m at an all-time low ebb in terms of my tolerance for big-budget Hollywood studio genre blockbuster filmmaking. But I’d be quite happy to see a good Stand movie or movies, certainly.

* It’s Hans Rickheit’s next book, Folly. I know a lot of people who’ve wanted to check out Rickheit’s minicomic series Chrome Fetus, and this is going to collect a lot of that material, so I expect it will go over well.

* The One Ring warns us that the talk about Hobbit creature designs in The New Yorker‘s recent profile of Guillermo del Toro should be taken with a grain of salt, since the interview predated del Toro’s exit from the production. I can’t think of a single cinematic phenomenon more overrated than del Toro’s supposed proficiency with creature design — the alleged complexity of Christopher Nolan movies, perhaps — so this is good news to me.

* To me, the meat of Clive Barker’s recent series of tweets is the forthcoming live-action teaser for his third Abarat book, not a supposed “return to directing” from Barker himself, which is what all the horror sites are talking about but which seems to me to stem from a possible misinterpretation of Barker referring to “my next movie.” After all, the guy has produced the last few adaptations of his work — he has a production shingle and everything — and I’m sure he considers those “his movies” too.

* Curt Purcell on the role of religion in Battlestar Galactica. I don’t want to spoil anything about the show, but speaking from a perspective of thoroughgoing irreligiosity, I’ve always felt that it took an almost willfully small-minded approach to the topic to find anything objectionable about how BSG treated faith and God as valid concerns. The howl of butthurt from the kinds of atheists who voluntarily turn off their brain at anything less obviously condemnatory of religion than Monty Python’s “Every Sperm Is Sacred” joined in chorus with the Science Fiction Is Serious Business with Rules to Follow crowd to create an enormously dispiriting reaction to a show that deserved much better even from its critics. If you watch BSG and think that the series has shoved the Skyfather down your throat, I feel bad for you.

* Ken Parille’s Daniel Clowes Bibliography is really impressive. How great would it be if every major cartoonist had a similar resource?

* Gabrielle Bell wraps up her bedbug comic.

* The great Geoff Grogan has started a “Covered”-style blogathon of his very own. First up: Mike Ploog’s The Monster of Frankenstein #2.

* Still can’t quite get over that Frank Santoro and the Great Cartoonists of Los Angeles photo.

* Finally, I’ve only read half of it — parts one and three, even! — because I missed how it was paginated before I loaded the constituent parts onto my laptop for the train ride home from work, but Matthias Wivel’s interview with Chris Ware, conducted at the Komiks.dk festival in May 2010 and now published on The Comics Journal’s website, is an absolute pleasure. Page one, page two, page three, page four. Here’s a great bit:

MW: …something people often talk about in terms of your drawing style is that it’s kind of dispassionate, distanced, and I think that’s a very purposeful approach …

CW: I prefer the word ‘constipated.’
MW: Right. [Laughter from audience.] I wasn’t going to say it.
CW: Are you asking me why?
MW: Yeah, the choice of this very clean style.
CW: Well, again, it’s to try to get at sort of an ideographic style of drawing, a cartooning style of drawing. I think the closest analogy in the history of art would be Japanese prints, which are really not in any way representational — they’re all about how things are remembered. Their idea of perspective is not about how something is seen, it’s about how something is felt and remembered, and I try to get that in my work too. If I can use the word ‘work’; it makes me sound like I think I’m an artist. So, I don’t try to draw how things are seen, I try to draw how they’re remembered, I guess that is the best way to put it. And I don’t want them to be interesting lines or interesting drawings, because then my hand comes into it too much.
MW: Why is that a problem?
CW: Because I just think it’s harder to read, in the same way that I wouldn’t want to read Ernest Hemingway’s rough draft of one of his novels, I would want to read the typeset, clean version, because I don’t want to be aware of his handwriting or anything. Not that you couldn’t be, necessarily. It’s certainly interesting to see an author’s corrected proof — you can see his scratch-outs and things that are added in — but fundamentally the intention is to have it read smoothly. It’s the words that matter; it’s the story that matters, and fundamentally, I’m interested in the story…

Much much more where that came from.

* I was extremely flattered to be interviewed about Destructor by my Robot 6 colleague Tim O’Shea. This is the most depth I’ve ever gone into about the history of the strip, from how Matt Wiegle and I hooked up to the influences on the comic and characters from across the decades. If you’re interested in the comic, you’ll probably be interested in this interview.

* Over at Robot 6 I rounded up every post about the deaths of Wizard and ToyFare written by ex-Wiz/TF staffers I could find, and tried to draw what conclusions I could.

* Frank Santoro’s L.A. diary. That’s Johnny Ryan, Jaime Hernandez, Ron Regé Jr., Jordan Crane, Sammy Harkham, and Frank. Jeez.

* Michael DeForge’s Lose #3 is debuting at TCAF. The first two issues are completely sold out; you snooze, you lose Lose!

* In light of DC’s recently announced sixteen Flashpoint limited series, with tie-ins from ongoing series no doubt pending, which recent(ish) mega-event miniseries had the most tie-in issues? Douglas Wolk crunches the numbers.

* This Tim O’Neil post on the deaths of Supergirl and the Flash in Crisis on Infinite Earths is pretty good, but my favorite part is about a different comic entirely: the recent “New Krypton” storyline in the Superman titles, which I enjoyed quite a bit until I hit the ending. Put simply, when it becomes apparent that the only way your story can end is with every character who wears the Superman ‘S’ on their chest collectively failing to prevent a genocide — and hopefully that becomes apparent very early on in the brainstorming process — it’s time to rethink that story.

* Perhaps the best hyperfocused comics Tumblr yet: Four Color Taint, a blog dedicated to comics artists’ predilection for showing superheroes’ grundles.

* Renee French remains very talented.

* It’s VHS Box Art Week at Monster Brains!

* Sumptuous writing: David Bordwell on nothing but the facial expressions made by the actors in The Social Network.

* 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.)

* Kevin Melrose at Robot 6 rounds up links and commentary about the Wizard/ToyFare shutdown, including the shell game being played by Gareb Shamus’s various ventures.

* Excellent investigative reporting by Newsarama’s Vaneta Rogers, who attempts to unravel who, exactly, ran the now-defunct Comics Code Authority, and just how much “authority” he or she or they actually had. It ends with a terrific cautionary tale from retailer advocate Joe Field of how ratings systems of the sort that have replaced the Comics Code often have the paradoxical effect of decreasing the amount of all-ages content available to consumers. (Via Sam Humphries.)

* Tom Spurgeon worries that Marvel’s much-hyped death of a Fantastic Four character in this week’s issue #587 is taking something intended to heal years-old structural problems with comics’ Direct Market — monopoly distributor Diamond’s decision to begin shipping comics to retailers a day before they go on sale, to give those retailers more time to properly stock their stores — and transforming it before our very eyes into just another short-term sales-goosing gimmick (an issue so important we’re letting retailers break the embargo and sell it the day they get it instead of the day after!) of the sort that caused all those structural problems in the first place. I worry about that too. Silver lining, though? For the second time in recent memory, Marvel’s mainstream-media hype for a character death will actually direct curious readers to a good comic with a sizable run of strong quality behind it. There are much worse fates I could imagine than for someone to be duped into buying into the Jonathan Hickman/Steve Epting/Dale Eaglesham Fantastic Four run, or the Ed Brubaker/Steve Epting/Mike Perkins Captain America run before it.

* Destroyer’s Dan Bejar, whose Kaputt is an early candidate for Album of the Year, gives very good interview to NPR’s Matthew Perpetua and The Onion AV Club’s Noel Murray. Bejar made a tremendous record and talks about it with real panache.

* If you know someone who passionately dislikes Ween, chances are it’s because of the track from their 1994 masterpiece Chocolate and Cheese called “The HIV Song.” Here’s a fascinating passage about the song — gallows humor at its most awesomely awful — from Hank Shteamer’s 33 1/3 book on the album.

* Real Life Horror: The by-now comically transparent punitive mistreatment and overincarceration of WikiLeaker Pfc. Bradley Manning appears to be getting some news-media traction.

* A Della’morte Dell’amore sequel? Sure, I’ll eat it.

* Fuck you, there is NOT a Hawkeye story called “The High, Hard Shaft.”

* Finally, we are now accepting Destructor fanart submissions.

* 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.

* Busy day on Robot 6 today:

* Jason Aaron tells Alan Moore to go fuck himself;

* Marvel was Joe Quesada’s Watchmen;

* John Boehner is the new Beta Ray Bill;

* and most especially, this Françoise Mouly interview is comprehensive and awesome. RAW, The New Yorker, Toon Books, Crumb gossip, personal history, the works. Must-read of the day.

* Tom Spurgeon interviews Dirk Deppey.

* At long last, The Complete Pogo is about to join Fantagraphics’ ridonkulous reprint line-up. Updates on a lot of other late books of note in there as well, including various Nancy-related efforts.

* There’s something really heartwarming about the creative process for Axe Cop.

* The Star Wars series hits Blu-Ray in Septmember. It’s not clear if the original versions of the original trilogy will be a part of either the three-disc original-trilogy set or the 9-disc set for the enchilada. My hunch is that they’ll do it to please the nerds (and I include myself in that number), but there’s no predicting George Lucas.

* Nerdery at its finest: Zak Smith crowd-sources 60 different D&D dice-roll results for what getting smacked with something called “The Hammer of Exorcism” could do to you. I can’t decide which one I like best: The bit where the possessed victim develops a new orifice that swallows the hammer and allows him to subsequently extract it for use a la Videodrome, or your basic run-of-the-mill vomit hose.

* Zom of the Mindless Ones reviews Nick Spencer and Joe Eisma’s surprise hit series Morning Glories. I haven’t read it, but what Zom says roughly aligns with what I have a hunch I’d think of it based on what I’ve heard about it.

* For some reason, the common desire to wish the sins of America into the cornfield manifested in the bowdlerized Huck Finn now being produced and the bowdlerized Constitution read aloud in Congress today didn’t occur to me until Andrew Sullivan pointed it out.

* Real Life Horror 1: Animals are dropping dead all around the world.

* Real Life Horror 2: Glenn Greenwald presents the story of 18-year-old American Gulet Mohamed, tortured in Kuwait and barred reentry into the United States because he’s on the no-fly list, both for crimes he never committed.

* The final installment of Christopher Allen’s Top 50 Albums of 2010 list contains one of the sharpest takes on Sleigh Bells I’ve ever come across. I also like his emphasis on the fun of Girl Talk, like it’s a game you play on road trips.

* 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.)

* Here are links to the three Carnival of Souls posts I did over the break through today: post-Christmas/blizzard, pre-New Year’s, post-New Year’s.

* Here’s a guide to all of Robot 6’s big 2nd anniversary special content, including some cool stuff involving yours truly;

* And here’s Comic Book Resources’ Top 100 Comics of 2010, all in one place. This also includes a list of the list’s participants, which I think is helpful.

* Today on Robot 6:

* Bill Sienkiewicz is telling the story of his (mostly) unpublished collaboration with Alan Moore Big Numbers;

* Becky Cloonan is posting pages from her unpublished Tokyopop book East Coast Rising Vol. 2;

* and DC Comics makes a slew of announcements: all ongoing series are $2.99, letters pages are returning, Peter Milligan on Red Lanterns, and Sean Murphy on an American Vampire spin-off. That’s a pair of shots fired in the PR war, hopefully a step in the right direction for the Direct Market on pricing, a sign that Green Lantern is joining Batman as the two core franchises of the DCU, and a sign that American Vampire is joining Fables as the two core franchises of Vertigo.

* The Comics Journal has launched The Panelists, a new group blog featuring Derik Badman, Alex Boney, Isaac Cates, Craig Fischer, Jared Gardner, and Charles Hatfield. That’s a formidable crew.

* Dark Horse’s Facebook page hosts a very useful and thorough guide to the state of Mike Mignola and John Arcudi’s Hellboy and B.P.R.D. comics.

* Which reminds me that the use of Facebook for PR was, along with now largely confirmed claims that the iPad is a digital-comics gamechanger, one of the big hobbyhorses of the late great Journalista blogger Dirk Deppey. “Seriously, what idiot ‘advertises’ their event solely on a website that requires registration to see the advertisement?” The kind of idiot who wants to advertise on the country’s most popular website, I guess.

* Chris Allen and Alan David Doane think that good superhero comics are the very least we should expect and demand. I see their point, although a good superhero comic is a good comic, after all.

* From good to bad: Graeme McMillan and the Comics Alliance crew explain what made some of 2010’s worst superhero comics so awful — very little schtick, lots of dragging very bad writing and art choices into the light of day and investigating what went wrong. Well done.

* If you’ve ever wondered what a smart critic with zero experience with any comics or video games would think of Scott Pilgrim vs. the World, check out Edward Copeland’s review. He situates the movie in the (500) Days of Summer/Nick and Nora’s Infinite Playlist sphere, as you might expect, and preferred the rom-com stuff to the fighting and video-game stuff, as you also might expect.

* I’d need to reread the Fourth World saga to be sure — it’s been a few years — but I’m pretty sure that, contra Tim O’Neil, Jack Kirby’s Anti-Life wasn’t fascism, or more accurately it wasn’t just fascism — it was war. I cribbed that from Tom Spurgeon and I think it squares — after all, anti-fascist superhero comics from the World War II generation were a dime a dozen, but the Fourth World Saga stood out for a reason. Regarding Tim’s contention that Morrison’s Anti-Life is less powerful a concept than Kirby’s because it’s imposed rather than embraced, I think that’s probably true, but there certainly are people who want to impose Anti-Life’s real-life equivalent and it’s a valid avenue of exploration.

* Tom Spurgeon’s interview with the comics critic and journalist David Brothers helped me get at something I’ve often found frustrating about Brothers’s work. He’s a fine writer who brings welcome eye-on-the-ball focus and deserved indignation to his commentary on industry ethics, diversity issues, and business practices, but I’ve been frustrated by his tendency to focus so much on superheroes and other fantastic-action genre work and his occasional lapses into his particular character-specific version of “Wolverine would never say that!” But regarding the former, Brothers reveals that he only this year started reading Chris Ware and Los Bros Hernandez — and what a year to start! — and regarding the latter, he owns up to “basic fan entitlement.” In other words he’s young and (like all of us, hopefully) growing as a writer. Read the interview for his smart rejection of “hey, true art takes time!” defenses of late books and for a great bit on superhero comics’ civilian fashions (although I strongly disagree with his contention that “part of being an adult is wearing a shirt that has buttons on it every once in a while”):

The lack of attention paid to fashion in comics is baffling to me. We all pay a certain amount of attention, time, and money on what we wear, but you wouldn’t know it when you look at mainstream comics. Guys still wear Solid Colored T-Shirt and Latex Tight Jeans, with maybe a loose, formless leather jacket on top. Women wear Solid Colored Belly Shirt/Baby-T, Low Rise Jeans, and Visible Thong Straps. Belts, jackets, suspenders, and even something as simple as logos tends to be almost nonexistent, barring the relatively few artists who take the time to do it right.

The visible thong thing really is the post-millennial equivalent of ’70s and ’80s shirtless vest-wearing street toughs and ’90s mullet-based hairstyles.

* Can you imagine a world in which Lord of the Flies, The Fellowship of the Ring, The Two Towers, Waiting for Godot, Rear Window, and The Creature from the Black Lagoon were in public domain as of this year? Yeah, neither can I. Fuck Thank you very much, Congress!

* Real Life Horror 1: I’m always up for reading about the giant octopus of that washed up on the shores of St. Augustine in 1896.

* Real Life Horror 2: Here’s a wonderfully written history of the bubonic plague by writer Mark Sumner on, of all places, Daily Kos.

* Real Life Horror 3: It’s always worth pointing out that my Representative, Peter King, supported IRA terrorism, especially given that he’s planning McCarthyite investigations of American Muslims who didn’t.

* Real Life Horror 4: The political blogger Digby has been doing yeoman’s work reporting on American law enforcement’s willy-nilly use of painful, frequently lethal tasers on non-violent non-criminals.

* Real Life Great Job: I can’t believe that one of the candidates for Republican National Committee Chairman is named Reince Priebus. Are we sure he’s not a Tim and Eric character? What do Prance Stuard, Bilb Ono, Doug Prishpreed, and Dun Dorr have to say about this?

* Cinema just got a lot less convincingly simultaneously genteel and dangerous.

* Whoa oh oh oh, ohhh.

* Oh, so that’s what’s up, Michael DeForge.

* Speaking of DeForge, who apparently never stops drawing, he has a funny new strip up at Vice.

* I’m glad to hear that I played some small part in getting Curt Purcell psyched about blogging about horror again.

* Speaking of: I can’t help but be a bit disappointed with the (leaked and/or official depending on what post you’re reading) video for Kanye West’s monster, especially given such recent direct points of comparison as the clips for Scissor Sisters’ “Invisible Light” or West’s own “Runaway.” To the table occupied by the former’s dizzyingly trashy recreation of giallo and other groovy-age staples and the latter’s go-for-baroque parade of sexual, racial, and self-mythological neurosis, “Monster” brings a cornucopia of played-out “sexy dead model” visuals I saw in a fashion magazine, like, ten years ago. Moreover I think the whole sentiment behind “Monster” loses something when removed from the self-loathing draped all over My Beautiful Dark Twisted Fantasy; conflicted tracks like “Runaway” contain both sides of Kanye’s macho-asshole schtick in the way that the tough-guy songs just don’t. Finally, once you’ve read Nitsuh Abebe’s suggestion that Nicki Minaj should have been represented by a shapeshifter rather than a pair of good/evil twins, you really can’t unsee it. It’s like (as I’m fond of mentioning) when I learned that the Frankie Pentangelli role in The Godfather Part II was supposed to be filled by Pete Clemenza until it fell through over a wage dispute with Richard S. Castellano.

* Happy birthday to my favorite author, J.R.R. Tolkien. I love you, Professor!

* Finally, HOLY SHIT

* Quick note: I am creating this post from 30,000 feet above the American Midwest, so apologies for the airplaine-wireless-mandated lo-res images.

* Like the comics blogosphere’s own version of the Jelly of the Month Club, Tom Spurgeon’s Holiday Interview Series is the gift that keeps on giving. Recent entries of note include interviews with beleaguered Malaysian political cartoonist Zunar, esteemed Drawn & Quarterly associate publisher and publicist Peggy Burns (perhaps my acquaintance of longest standing in all of comics), and garrulous webcomics craftsman Dustin Harbin.

* The most informative of the bunch so far has to be Spurge’s interview with CBR News Editor (and my friend) Kiel Phegley. Kiel serves up a survey of the state of the industry that I think will really impress you with its insight and candor, not just “coming from a CBR editor” if that’s the kind of thing that’s inclined to turn you off but coming from anybody.

* I wrote up Anders Nilsen’s masterpiece Big Questions for the first installment of Comic Book Resources’ Top 100 Comics of 2010.

* Speaking of year-enders, Tucker Stone lists his 20 Best Comics of 2010. Many fine choices on there.

* Tim O’Shea interviews Axe Cop‘s Ethan Nicolle. It’s fascinating to learn that Axe Cop is written largely through actual, literal play. I also had no idea the Nicolle Brothers have a print Axe Cop miniseries on the way from Dark Horse called Bad Guy Earth.

* Marvel’s keeps moving in the direction of day-and-date digital releases, but they’re smaller movements than I expected to see by now.

* Curt Purcell has a few quick thoughts on Battlestar Galactica. He’s also looking for recommendations as to which shows to watch next. Curt, The Sopranos and Deadwood are the best shows. The Wire is very good except for the final season. You know I loved Lost.

* And Now the Screaming Starts’ CRwM pleads for Bernard Rose’s Candyman. The post includes an anecdote that makes me really disappointed in Philip Glass.

* Fine writing by Zak Smith/Sabbath on the “Riddles in the Dark” chapter of The Hobbit and what it means for fantasy storytelling and RPG storytelling alike.

* Brian Chippendale’s last few Puke Force strips have been really good.

* Aeron Alfrey has posted a fine selection of video game covers over at Monster Brains.

* Whoa, what is up, Michael DeForge?

* Renee French titled this image “Shatner.”

* Real Life Horror 1: TPM’s Rachel Slajda presents the year in Islamophobia — to me the most dispiriting development in an already dreadful year.

* Real Life Horror 2: Glenn Greenwald continues to chronicle the harsh treatment of WikiLeak source Bradley Manning by the U.S. government. That’s the “how”; I have a feeling this lengthy round-up of revelations provided by WikiLeaks in 2010 is the “why.”

* Related: The story of #mooreandme, the vociferous Twitter protest of comments made by Michael Moore and Keith Olbermann dismissing and mischaracterizing the rape allegations against WikiLeaks’ Julian Assange and a link retweeted by Olbermann to an article outing the accusers.

* Real Life Horror 3: I’ve been remiss not to have linked to this already, but my home land mass of Long Island appears to have sprouted a serial killer.

* Every time I read stories like this — and that’s often — the phrase “of historic proportions” pops unbidden into my head.

* Today Marvel announced its next event comic: Fear Itself, with a core miniseries by Matt Fraction and Stuart Immonen. It sounds like fun in the heroes vs. villains mode Marvel’s modern mega-events have traditionally lacked, and best of all if you like me are a giant nerd, the Hulk and the X-Men are neck-deep in this one too. Click that link for my thoughts on what this says about Marvel’s view of its “Heroic Age” experiment with smaller mini-events.

* Also on Robot 6 today: Tom Brevoort’s and Brian Hibbs’s recent diametrically opposed comments on the effect the proliferation or reduction of titles starring the same character(s) has on sales. Some commenters take issue with my read on this, but I do think I have it right: Based on their own constructions of the issue, one of them is flat wrong about this. Or both! Brian himself clarifies things in the comments.

* It’s always fun when folks stumble across the antecedents for Benjamin Marra; in that vein I give you Joe McCulloch on Joe Vigil’s Dog.

* My sudden-onset appreciation for the comics of Gabrielle Bell has been one of 2010’s great comics-reading pleasures for me.

* Longtime ADDXSTC readers may recall that my interest in World of Warcraft first arose from my enjoyment of videos in which players engaged in some grade-A jackassery of the sort not envisioned by the game’s creators. In that vein, I present “300 Naked Orcs”: Three hundred players created entry-level orc characters and simultaneously attacked an 85th level NPC that no one ever expected anyone to be stupid enough to try to kill. And they killed him. It’s a thing of idiotic beauty.

* DeNiro, Pacino, and Pesci in Scorsese’s next Irish-gangster picture? I’ll eat that shit whole. (Via Alex Segura.)

(Warning: I don’t really reveal any plot points but I kinda blow the contours of some of the big scenes here, so SPOILER ALERT in that sense.)

The outpouring of acclaim for Darren Aronofsky’s Black Swan just goes to show you: Movie nerds love pale brunettes with eating disorders. (I oughta know!) I really don’t know how to explain the plaudits otherwise.

Sure, there are tiny fragments of a great, or at least a scary, horror movie sprinkled throughout this story of a newly minted prima ballerina who’s cracking under the pressure. The Exorcist/Shining/Jacob’s Ladder/Lost Highway blink-and-you’ll-miss-it glimpses of wrong things (the drawing that blinked, the first of Nina’s doubles) and jump-scare things-that-should-not-be (“sweet girl,” and (of all things) Nina turning in mid-frig to see Barbara Hershey’s mommie dearest asleep in the chair) had me shivering in my seat. And the film’s undergirded by three entertaining performances, too. Mila Kunis nails the smiling smoker’s sexuality of an artsy version of the sort of girl my wife used to call a “College Jen.” Vincent Cassell is an absolute pleasure to watch every time he’s on screen, taking the French choreographer cliché and clichéing the hell out of it, yet always keeping him on the lighter side of the dividing line between hot-blooded genius and sexual predator so you never feel all that bad for rooting for him to do something sacré bleu! whenever he shows up. And I guess Natalie Portman deserves her Oscar for her “Raging Bull, but with bulimia instead of the Pasta Tour of Italy” physicality. I mean, I don’t think I’m ever going to think of Nina Whatsername again, but it was a demanding role and she really sold the idea that her ruthlessly honed physical condition bespoke fragility rather than strength. Moreover, her body language following her transformation at the end of the film was totally different and riveting; you could easily have convinced me they CGI’d her face on someone else’s body, like the Winkelvi.

But I think I just rattled off everything the movie has to recommend it. Most of the horror, the body horror in particular, is just sort of a yawn — anyone who’s watched a single David Cronenberg film (even the Viggo Mortensen crime ones!) has seen better/worse, and even the nastiest/cringiest material here, like the peeling scene in the party restroom, struck me by how not skeeved out I was by it. And almost all of the grand-finale scares (“sweet girl” excluded) weren’t just not scary, but laugh-out-loud ridiculous: Winona Ryder in the hospital room, the drawings and paintings, the transformation in the bedroom, the fight in the dressing room. Was Aronofsky going for camp? That’s what it felt like, which is sure to do a number on the effectiveness of any movie that’s trying to show someone scared out of their wits.

I found myself chuckling at the film’s dramatic moments on a far too regular basis as well. Right from the jump, with the wooden mean-girl gossip and giggling of the ballerinas, the film established that any point it could make, it would make with a sledgehammer’s subtlety. Tomas explaining that the Swan Queen would have to have both a dark and a light side as a mirror’s edge doubles him; infantilized Nina reporting the news of her success to her mother with “He picked me, Mommy!” rather than “I got the part,” which is what pretty much every human being I’ve ever known in the performing arts would say and I assure you I’ve known some damage cases; anything involving Winona Ryder; and my favorite, Nina’s failure to connect with the Black Swan aspect of her role depicted in shockingly, hilariously straightforward fashion as the result of the female equivalent of blueballs. The film’s egregious overscoring and overcaffeinated camerawork further undercut both the scares and the soul, browbeating you when they should be letting your brain do the work.

It’s a shame, it really is, and I’m disappointed. Usually the scary movies that get a lot of critical traction turn out to be pretty damn good, from The Silence of the Lambs to Mullholland Dr. (with which this film has quite a bit in common, obviously) to even There Will Be Blood (ditto), but this just didn’t work for me as either a horror film or a drama. On the other hand, the girl from That ’70s Show goes down on Queen Padme Amidala. For Your Consideration!

* 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?

* Quick housekeeping note first: I posted a quick guide to some of DestructorComics.com’s navigation features. I think they’re pretty neat.

* Tom Spurgeon breaks the news that Fantagraphics will be publishing Daniel Clowes-designed collections of Crockett Johnson’s Barnaby, arguably the great as-yet-uncollected classic comic. Over on Robot 6 I have a brief spiel about why I think the strip will work in the Tumblr Age.

* Also on Robot 6: Please pay Michael Kupperman, you monsters.

* Here’s more engrossing writing on life after recent developments in World of Warcraft by Bruce Baugh. I think the points he raises here about constructing a player’s early experience to maximize enjoyment in the immediate term and the impact of the story in the medium-to-long term can apply to pretty much any form of narrative storytelling.

* Moreover, as I think I’ve said before, it’s really only after reading Bruce’s posts of late that it’s occurred to me that the “line-wide event” model of superhero comics publishing developed by Marvel and DC over the past half-decade echoes the way WoW is set up. Like, okay, here’s this new expansion pack, and now everyone has to deal with the Lich King, or now everyone has to deal with natural disasters caused by a crazy dragon; here’s this new event, and now everyone has to deal with Captain America fighting Iron Man, or now everyone has to deal with President Obama offering a Cabinet position to the Green Goblin because he shot an alien on live TV. If you figure that there’s some sort of nerd collective unconscious that welcomed both these developments, you can also see why that collective unconscious has rebelled somewhat now that the events aren’t quite so all-encompassing, or indeed jostling up against one another in a way that confuses readers looking for one single direction to march in.

* Benjamin Marra on Fox News. Benjamin Marra in The New Yorker. I’ll take “Sentences I’m Delighted to Be Able to Write” for $1000, Alex. (Via Bill Kartalopoulos.)

* Speaking of which! Pitchfork’s Ryan Dombal interviews David Lynch about his burgeoning career as a recording artist.

* I really like today’s Wolverine contribution to the Covered blog from Patt Kelley simply because the header he added to the image, USE YOUR CLAWS MY BELOVED, is a band name waiting to happen. Click the link to see what he’s riffing off of.

* Matt Madden is absolutely right: This photo of Killoffer by Ana Alexandrino is one of the greatest photos of a cartoonist of all time.

And do click that link — it’s a con report on the RIO Comicon from Jah Furry, and he’s got a lot of terrific photos of what looks like a very vibrant artcomics scene.

* Finally, David Fincher should do a shot-for-shot remake of Fight Club with Justin Timberlake as Tyler, Jesse Eisenberg as the narrator, and Kristen Stewart as Marla.

* 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!

* Ooh, look, Jeet Heer uncovered the cover for Paying for It, Chester Brown’s prostitution memoir! Check the comments to watch noted comics aesthetes recoil.

* The way this excellent Dan Nadel essay on Jack Kirby’s California years for Vice magazine is spread across six hitcount-whoring pages is irritating, to be sure, but don’t let that stop you from reading it. It’s a beautifully written appreciation of Kirby’s art and anti-war humanism. One thing I come back to a lot when thinking about Kirby and about Grant Morrison is Tom Spurgeon’s contention that Kirby’s idea of Anti-Life (essentially, war) is a lot more challenging than Morrison’s (essentially, being a fascist creep). No reasonable person can think up reasons to support Morrisonian Anti-Life. Kirbyan Anti-Life, on the other hand–well, you know.

* More Vice: Nick Gazin interviews Chip Kidd on his new book of superhero pop-culture ephemera, Shazam!, as a part of his latest comics review round-up. I like how he pretty much openly sticks it to Jon Vermilyea and Koren Shadmi, as if that really were the role of the critic after all. (Maybe he’s kidding, I dunno, it’s Vice and the dude says he hates cats so there’s obviously something wrong with him. Also, add the damn comics-only RSS feed already.)

* This is a pretty terrific interview of Charles Burns by the Onion A.V. Club’s Sam Adams. The bits on color and William S. Burroughs’s Interzone were especially interesting. (Via Tom Spurgeon.)

* Jeremy Renner really has no idea what his role as Hawkeye in Joss Whedon’s Avengers movie will be like. What an odd experience it must be to sign on to one of these big movies-by-committee without knowing much more than your character’s name.

* Here’s a trailer for Moon director Duncan Jones’s new movie Source Code. Two thoughts: 1) Wow, he sure knows what he likes, huh? 2) Inception sure opened some doors, huh? 3) The quality of this film notwithstanding, I wonder how much longer “watching major forms of transportation blow up in trailers” will last as a thing.

* Matthew Perpetua assembles a mix that shows the softer side of the Smashing Pumpkins. Well, it includes “Drown” and “Rhinoceros” and such, so “softer” is relative, but you get the idea.

* Lots to chew on in this Tom Ewing piece on Kanye West’s new album My Beautiful Dark Twisted Fantasy. Some of it’s even about the music!

* Curt Purcell liked last night’s Robert Kirkman-written episode of The Walking Dead a lot more than I did.

* Today on Robot 6: Box Brown on the COEXIST bumper stickers.

* Hellen Jo sure can draw.