THE RACK: Freedom

SHE DIED IN TERREBONNE: Episode 38

THE RACK: Ask Yavin IV #4

THE RACK: Staff Picks

Agreeable Comics at SDCC 2010

THE RACK: Locked Inside

FIGHT!: Interlude

THE LONELIEST ASTRONAUTS: On The Road, Again

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THE RACK: Get Money

FIGHT! Round 2

THE RACK: Hands On

SHE DIED IN TERREBONNE: Episode 37

THE RACK: Ask Yavin IV 03

In which I compare two writers’ approaches to Superman.

This is from Garth Ennis’s Hitman, a series which helped cement Ennis’s reputation among fans as a writer that hates superheroes and views the genre with no small amount of cynicism:

This is from the second issue of J. Michael Straczynski much-hyped Superman run. In an interview with Comics Alliance, Straczynski stated that the point of his storyline was that it:

[...] humanizes him, puts him within our reach, and just that alone affects both sides. Flying over the country at several times the speed of sound, you miss the details, you miss the personal stories happening down below you where you could be of use.

“What can I do to help? I mean, besides using my powers to help get you to the hospital quickly. That’s outside of spec for this freshman year, ham-fisted soul searching that I’m supposed to be doing because the famous guy writing me has completely missed the point of my character.”

Update: Doctor Scott has the medical POV on this scene

Mark Brooks posted this on Twitter and it is now my go-to picture for whenever I hate the world.

Photo by Sam Lau

THE RACK: Staff Picks

GO READ THIS: Directors On Comedy

Sean Witzke linked to this fantastic roundtable with Judd Apatow, John Landis, Edgar Wright, Todd Phillips and Adam McKay talking about comedy in film:

Landis: I do think the biggest things about Animal House were the score and the photography. I wanted it gritty and dark. You asked about danger. I’ll tell you one more true story: When I showed the movie to Ned Tanen, the president of Universal, for the first time, he stopped the movie after the black bar scene, actually stopped the projector, and stormed out. A little bit later we get a memo that we have to cut the whole road trip to the bar. ‘There’ll be riots! There’ll be riots!’ So we showed the movie to Richard Pryor. And Richard sent a hand-written note, on blue stationery: ‘Ned, Animal House is fucking funny and white people are crazy.—Richard.’ And that’s the only reason we were able to finish the film.”

THE RACK: Do you think it’s gonna make him change?

THE LONELIEST ASTRONAUTS: Unspecial Effects

A debate ensues.

Available at SDCC 2010