What is Oldtron Podcast? Comic books, comedy…ish…yet another brand for this four year audio adventure across AIN’T IT COOL NEWS, POPTARDS and…that’s it really. We’re good, but not that good. I’m Rob Patey. I’m hosting Mark Miller. We have been known as Optimous Douche and Ambush Bug, but we’re not proud of it. Happy wedding Jadles,  come back soon.


Save as (right click to take on go)


  2. VALIANT BOOK OF DEATH: HARBINGER (4:30): Joshua Dysart – w, Kano – a
  3. (FUTURE BOOK) JUGHEAD #1 (12:20) Chip Zdarsky – w, Erica Henderson -a
  4. ARCHIE #3 (17:15) Mark Waid – w, Fiona Staples – a
  5. Christmas 1978 with Uncle Drunkell Miller (24:40)
  6. (FUTURE BOOK) GRUMPY CAT #1 (33:35) Ben McCool, Ben Fisher, Royal McGraw, Elliot Serrano – w, Steve Ui, Michelle Nguyen, Ken Haeser, Steve Ui – a
  7. News…ish Alert…ish, Dynamite Gets Feministic…ish (43:37)
  8. JUSTICE LEAGUE #44 (52:10) Geoff Johns – w, Jason Fabok – a

Please share, please hire us, please talk to us robpatey@comcast.net or @robpatey or @mark_l_miller.


What is Oldtron Podcast? Comic books, comedy…ish, but most importantly it’s a sign of respect. Since the short, but sturdy stick of our usual geeky podcast tripod,  JD, is taking a break I don’t want to sully his poptards brand with my editorial flippancy. If I Rob Patey be behind the editing, OLDTRON PODCAST should bear the shame.

Yes, this is Spoiler Alert. But worse.





  1. Eeeeeemails (3:19)
  2. MIRACLEMAN BOOK FOUR: THE GOLDEN AGE #1 (15:18) Neil Gaiman – w, Mark Buckingham – a
  3. ALIENS & VAMPIRELLA (21:10) Corinna Bechko – w, Javier Garcia-Miranda -a
  4. MOCKINGBIRD #1 (27:00) Chelsea Cain – w, Joelle Jones – a
  5. TOIL & TROUBLE #1 (32:00) Mairghread Scott – w, Kelly & Nicole Matthews – a
  6. PLUTONA #1 (40:40) Emi Lenox & Jeff Lemire – story, Jeff Lemire – w, Emi Lenox – a
  7. WE STAND ON GUARD #3 (49:35) Brian K. Vaughan – w, Steve Skroce – a

Please share, please hire us, please talk to us robpatey@comcast.net or @robpatey or @mark_l_miller.



That’s’s right kids, another episode of your least favorite moment in audio and comic booking. Email comments and complaints to robpatey@comcast.net


AMBUSH BUG (MARK MILLER) AND I (ROB PATEY a.k.a. OPTIMOUS DOUCHE AIN’T IT COOL NEWS) embark on the following time coded journey.

  • Tweets & FaceBooks of the Week & Mini FABLES Review | 2:00
  • JUSTICE LEAGUE #43 | DC Comics | Geoff Johns, Jason Fabok | 5:25
  • BOOK OF DEATH II #2 | Valiant | Robert Venditti, Robert Gill, Doug Braithwaite | 18:36
  • SECRET WARS BATTLEWORLD: HOUSE OF M #1 | Marvel | Dennis Hopeless, Marco Failla | 29:00
  • SECRET WARS BATTLEWORLD: HOWARD THE HUMAN #1 | Marvel | Scottie Young, Jim Mahfood |36:10
  • Christmas 1983 with Uncle Drunkel Miller | 42:50
  • SECRET WARS BATTLEWORLD: SECRET LOVE #1 | Marvel | Michael Fiffe (I), Felipe Smith (II), Jeremy Whitley, Gurihiru (III), Marguerite Bennett, Kris Anka (IV), Katie Cook (V) | 51:00
  • WELCOME BACK #1 | Boom Studios | Chris Sebela, Jonathan Brandon Sawyer | 1:01:00

Download to take with you EVERYWHERE!!!!!


CONVERGENCE #0 REVIEW: Finally Feeling the Fangeezer Love

Writers: Dan Jurgens & Tom King
Artist: Ethan VanSciver
Publisher: DC
Reviewer: Rob Patey (aka Optimous Douche, Ain’t It Cool News)

Thank you DC. I show my appreciation to creative teams constantly for melting the cockles of my heart, but I can’t think of any time I was truly moved by the simple inception of a series from a publisher. For the impatient the plot is thankfully simple, Superman of Earth prime is in the hands of Brainiac. Brainiac is an urban kleptomaniac. He’s also more addicted to puzzles than mental wards, and what a grand puzzle Superman’s infinite deaths and infinite triumphs across time and quantum strings would be to unlock for a creature always seeing the most logical patterns as its purpose.

Like the New Gods and Apokolips are constructs capable of navigating the cytoplasmic bleed between universes (see GODHEAD in GREEN LANTERN), Brainiac plays the same tricks, but ups the ante against their Godly travel beams and hover chairs to add time into his malicious of city abduction: “What’s the plan Brain?” “Not to just capture cities in a bottle, but to capture the zenith of all cities in all universes in…all…time…periods to examine what makes the idea of Superman so unyieldingly pervasive he is always spared the final fate before being born anew.

“Sounds Meta Optimous, didn’t you bitch slap ULTRA comics and every other issue of MULTIVERSITY for such 4th wall faux pas?’ Indeed, and CONVERGENCE made me realize that my disdain for the Morrison Meta versus Jurgens doesn’t stem from too far of an aesthetic distance, but frankly one that is too close. I love story. I know real life never seems to allow the story world in. From mermaids to UFOs, most of the mystical in this world stems from myopia and booze. The meta here is not breaking my 4th wall that I know can’t be, it’s breaking the 4th wall for my favorite characters. Which makes sense since SUPERMAN not Rob Patey can and has done everything. It’s a story about deconstruction, not a fucking pamphlet chiding me for seeing through the complete fucking deconstruction of heroics and then getting pissed at me for complaining the rebuild looks like the same shit from before. CONVERGENCE is apologizing in a sense for the New 52 forgetting to change for the sake of comics, instead of in fear response to Marvel studios.

MULTIVERSITY is ambitious, especially for one man. The scope of CONVERGENCE with 3D universe movement and 4D time travel would be career suicide for only writer. And I’m not talking the whole series; I mean Jurgens was wise to get King at his side for the extra pages sans any ads in just this issue.

So that’s it, in glorious and intimately character rich, but also epic in scope storytelling. A compendium in the back shows where Brainiac the mainframe has been telling his green screen dummy terminal clients of cunning to swipe cities from, but most of us have seen the checklists already to suss out the timeframes of occupying the new universe of Pax Brainiac.

Now let’s get meta ourselves for a second to see what could be next.It says the worlds are in a contest to see which survive, I buy it for the 3 as yet unannounced titles adding to the already announced Fanciful 49. I’ll take it, and honestly no longer complain about a chunk of the shelf being prostituted to new media and parent company interest. The fight is futile, and as much as I want a DC Universe brimming with a ton of Elseworlds, I will satisfy myself with restitution over a satisfying end to my comic youth. It’s infinitely healthier than petulantly pining because my desire can not bend the will of billion dollar companies. It’s in part also really really delusional.

Part of my peace is from seeing Jurgens, THE writer of my youth, a man who could so subtly weave together wisps of continuity from tale-to-tale to reward the OCD, but never deliver references so obtuse that new readers would get a real nosebleed from the metaphorical cross-sell. This unique talent of Dan’s has been wasted in the New 52 until now. You don’t give a man who used to Check Mate great stories on a three tier Star Trek chess board one flat fucking checkerboard from CVS. And if you do erroneously put Dan on just one book, you make sure it is an exploration of every quintessential moment in DC history like CONVERGENCE.

CONVERGENCE is also the first book in ages truly for comic fans with cosmic consequence. We need stories ripping apart and past the linear. Comic reader imagination is more acute than the average bear who only sees comic movies. This curse to bend the boundaries of danger, has put us to a point where the stories of city, state and even nation are simply too myopic in scope to really affect us. We have seen our own cities under fire at this point, which means comics, to meet their thrill schill of brand, frankly need to raze fucking everything from the God particle flashing until the final Kelvin of entropy hits zero across all stars.

Before I bid adieu, I must take a moment of art awe. Beauty bleeds off every page from the grandiose all knowing Brainiac mainframe belittling a much oddly older looking Superman Prime (how do I know earth designate for taunt Superman, high collar and doll part articulation points is how I know), to the moments of sincere reaching out Superman delivers to an ever changing by comic epoch Vril Dox. Another part of the Van Sciver allure for me is that I believe he’s the hardest working man drawing comics right now. Anyone who professes a desire to paint comic pictures for a living needs to hit a con and witness the exhaustive pace VS performs at to be granted A-list titles. It takes more than talent folks to turn a job into a career, dependability and desire can sometimes help balance a less deft hand’s chances. I have stood afar more than once over the years on show floors watching Ethan multitask like a 12 year old who lost their Adderall, graciously greet an fan who walks up to the table and never relent from producing new pages or commissions. I stand at a distance because I swear a lot and his kids are usually with him. I’m not a stalker, just a guy who marvels at that which he can’t do and will never ever taint kids if I can help it. The magic of youth, like the magic of comics seems to fade with each passing year as commercialization makes cynicism a core attribute.

I care about Jurgens (though he is ironically one of the last comic writers I have yet to personally kibitz with), I care about VS, I care about DC and I God dam right care about comics breaking the boundaries of convention as much as opening day blockbuster projections. CONVERGENCE is the first series in so long who also seems to give a shit about me. Thank you again Dan, truly.

Scott Snyder Unchained – New York Comic Con Interview

Scott-Snyder-Rob-PateyHey hey everyone. Not a lot of pre-amble required here. I went to New York Comic Con and jumped into the first slot I could get to speak to one of the most influential voices at DC and in comics; Scott Snyder.

Rob Patey (RP): How you doing man?

Scott Snyder (SS): Running on fumes. Do you need me to stand is this another video interview?

RP: No this is Ain’t It Cool, I’ll be recording on my palm pilot and taking a lithograph at the end. So you’ve written BATMAN, SUPERMAN UNCHAINED, AMERICAN VAMPIRE…I know I’m forgetting something what is it?


RP: Right, underwater horror with Sean Murphy. And the recently announced BATMAN ETERNAL.

SS: That’s right.

RP: Excellent, so what’s happening in BATMAN ETERNAL?

SS: Well, it’s the first time we’ve tried a weekly series, which excites me. Writing-wise I’m really only involved in the first arc of it. In terms of terms of design and structure I wrote the bible with James Tynion who is just a mastermind of story. He writes TALON and RED HOOD and some other exciting stuff coming out this year. So we plotted out a giant story that would really transform Gotham and be a very very bombastic big sensational game changer of a narrative.

batman-eternalWe then decided to invite a bunch of our favorite writers in to tell their arcs on any characters or elements of Gotham that they want as long as they pushed the main arc forward a little bit. So the big story is rolling with all of these small turns about your favorite villains, gang wars, GCPD. All of the things you can’t deeply explore in BATMAN because he has to be center stage all of the time.

RP: Awesome, I was just talking to James in artist alley and he’s really stoked to be doing this book. You guys have done a lot of books now together, how did you guys hook up?

SS: He was my student in a writing class seven years ago. I really loved his stuff and he was a huge comic fan. I then started teaching comics, so we stayed in touch and he sent me some of his scripts and I really needed help with the back-up stories in BATMAN. So I thought those would be good training wheels so he could get in the door. And now the grasshopper has become the master and the teacher. He’s a man I now admire as a colleague. It’s been inspirational to the teacher in me to watch him grow. The stuff he has coming out this year is really thrilling.

RP: You recently just farmed out a bunch of AMERICAN VAMPIRE stories in the midway anthology that came out. What’s happening for the future of AMERICAN VAMPIRE building off that book that took us into the 1960s.

SS: We’re coming back in March actually. I’m literally back from the AMERICAN VAMPIRE Bloody Mary Brunch. The next arc will be bringing back Pearl, Skinner, Felicia, the vassals, the Dracula character…everyone comes crashing together again in the first arc.

RP: So what year are we in?

SS: 1967, it’s going to be Easy Rider meets Straw Dogs, meets the Magnificent Seven. At least that’s how I think of it. It’s a mish mash of all my favorite 60s fun and violent films.

RP: So the series is going to keep advancing through time, no pauses for a prolonged period?

SS: We were just talking about this at the brunch; the series is going to come all the way up to the present. There is a gigantic cumulative finale that’s been in the outline since day one.  We’ve always known where it’s going to end. The thing that’s been surprising to Rafael Albuquerque and our editors is that along the way we made up characters that we didn’t think would have their own stories, like Calvin or Felicia or Gus even. Bit now they’ve become so important they’ve earned their own arcs. We’ve known the main road from beginning to end, but we’ve also been able to take these side paths along the way that have been incredibly exciting.

AMERICAN VAMPIRESo it’s going to be Cycle 2, number 1, really really big relaunch. When I gave up AMERICAN VAMPIRE because I had SUPERMAN and BATMAN, and Rafael had some stuff he wanted to do, I figured it’s not a big deal; we’ll just come back. Now, I’ve always struggled with anxiety and depression and giving up AMERICAN VAMPIRE was really psychologically difficult for me. I did not see that coming at all. It was very tough those first few months off. I thought at first it was because I didn’t have a creator owned, but I did have THE WAKE, which I love. I was still down…anxious. I finally realized I simply missed the characters and working with Rafael. I was frustrated. So I couldn’t be happier to coming back or more grateful to fans who have been very vocal to us personally, privately and publicly.

RP: I’m one of the public ones who yelled SNNNYYYYDDDEEER like Kirk when I heard about the hiatus.

SS: It really means a lot man. We cannot wait for you guys to see what’s next. From the bottom of my heart it’s the best time I’ve had on a book.

RP: This next question is from one of my four fans, how do you want your time to be remembered at DC 20 years from now?

SS: Oh my God, that’s a tough question. I have a golden rule in the class I teach, it was told to me by one of my first teachers, “You can only write the stories that you want to read more than any other when you leave this room.” It doesn’t’ have to be he smartest, best or funniest. It just has to be the one you want to have read because it means something to you personally. What I hope is that people look at the stories and see that’s the compass we’ve used on these books; from BATMAN to AMERICAN VAMPIRE to THE WAKE and SUPERMAN UNCHAINED. They might not be the best stories in t8eh world, but these are the ones that affect me personally as I’m writing them. I hope that shows.

RP: How hard was it taking on BATMAN in the context of the New 52, being one of the few titles that brought over baggage from before FLASHPOINT?

SS: Very hard and super intimidating. When I took the gig I thought I was going to be writing BATMAN seven hundred and eighty whatever and then they told me after I signed on it was going to be BATMAN 1. I had kind of half nervous break down about it. Super intimidating, especially to know you’re building the mythology from the ground up.

It basically came down to talking to the other Bat writers and deciding what thing we wanted to keep and what we wanted redone. Over time it became clear that the origin itself couldn’t  be kept because of the changes in CATWOMAN, in BATGIRL and other books. BATGIRL is now Jim’s biological daughter so that changes things. James Jr. if he’s born 6 years ago, like in YEAR ONE, he a child. Well, he’s not – he’s a full grown adult.

RP: Who is also utterly insane.

SS: Right, the Falcone and Maroni families all have different histories as well so these pieces just don’t fit together anymore and DC was adamant that we need a new origin. It is baggage and there are a lot of things from continuity that are still there from KNIGHTFALL, NO MAN’S LAND, CATACLYSM, which I love, and I keep that in mind when I’m writing. We just really try never to address them and simply go forward with new stories. This is a Batman born in modern day and even though those stories are there this is our version and will proceed as they would be told in modern context.

RP:  Where did you come up with the Court of Owls?

SS: I came up with it because I grew up in New york, on the Lower East Side. I always loved going out to the South Street Seaport, I live pretty close to it. I don’t know, I always loved the idea you can know the factual history of your city or neighborhood it self, but you never know the lives that were lived there. So it’s always fascinated me, this notion of Batman knowing the city better than everyone else. So you can know the geography, the present day sociology, but you can’t know the lives of generations over generations. So what of we built a mystery that exists inside those crevices, the secret layered history. The catacombs of Gotham almost. That would be something that we should Batman to his core, because he would realize he didn’t know the city as well as he thought. It’s a haunted and changing city, the past is fully unknowable, it’s the city looking at him and saying, “I’m a mystery and I always will be.” That was the impetus, then picking the right symbol. He owl idea spoke to me because of Owl Man and owls are predators Bats.

RP: Shifting gears, SUPERMAN UNCHAINED. What drew you to the character and the project?

SS: I’ve always been fascinated by the character. I love at the end of the day he’s just a guy trying to do the right thing. When I take on a new character I always like to go back to the origin material to see if there’s stuff that  excites me and I can turn into something modern. Sometimes you don’t find anything, but with Superman I was looking at the old stories about him fighting during WWII, you know throwing Nazis out of subs and being in the crosshairs of some Japanese warplane. The violence of those issues surprised me as well, he’s willing to kill. So, I thought what if there was a Superman that arrived seventy-five years ago on the anniversary of when ACTION 1 was released and he was actually the Superman that existed back then, but acting in secret until now. It challenges all the things that the modern day Superman has become and represents. Wraith is the ghost in history; he’s part of the machine, this kind of secret organization that does what it wants militarily. Wraith is the hand that pushes things forward in a creepy way. He’s an invisible force in history that changes things.

SUPERMAN UNCHAINEDSo, I wanted Wraith and General Sam Lane to be able to say to Superman, “You like to think you’re above all of it, but this will end. As Clark, imagine going into the Planet 50 years from now, everyone will we dead. What’s he going to do? Start over?   You’re still going to be young, so why are you doing this? As Superman you float above all of it, saving kittens and stuff, what’s going to happen when North Korea or someone does something cataclysmic and you don’t want a bomb to be dropped? You’re going to evacuate everyone and become an enemy of the state so both of these identities can’t last so you might as well come over and actually be the person you’re supposed to be a Superman of a country. Otherwise you be welcome in any country and they will try to kill you. So that’s the idea on how to create something new while bringing in all the old characters like Lois, Jimmy and Perry.

That’s it folks keep an eye out for Scott’s new releases and return to yore as we move into 2014.

MY DREAM STORY FOR BATMAN ETERNAL: I want to close out with the story I would most like to see in BATMAN ETERNAL and I want all of you to tell me yours. (No I didn’t bother Scott with this.

The Women of Batman. They all love him and they all need him in some way; Catwoman in an animalistic way, Vicki Vale career wise and in a hero worship sense. How do the other men or significant others in these women’s lives compare to the Bat and what does it do to those people who try to get close to the ladies while they hold a torch?


WEDNESDAY COMICS Way Back Review 7-8-09

Wednesday ComicsWEDNESDAY COMICS #1
Writers: Lots of Guys at DC
Artists: Likewise
Publisher: DC Comics (Obviously)
Reviewer: Rob Patey ( aka Optimous Douche – Ain’t It Cool News)

The View from 2012: Still hate this for every reason I mentioned in my review. Although, I’ll admit a reading of the trade might be more tolerable.

This was a lot like dry humping for three hours. Damn enjoyable in parts, mildly chafing in other parts and a climax that you know is just seconds away, but sadly never cums (bar-um-pum). Why? Because you have to wait until next week for 8 more panels, the next stream of consciousness, a new character to enter and have enough time to maybe introduce themselves. In an age of immediate gratification and an ever increasing fan-base of trade waiters salivating for full completed stories, this cartoon strip newspaper concept defies all logic. There’s some good stuff inside these pages, but this format is simply painful.

Also, not to be cheap or anything, but…$4.00 for 15 pages of stories on paper quality so poor that Ben Franklin could have used it to roll his joints seems like an egregious screwing of the fan-base. The last time I was taken advantage of like this, she/he at least bought me dinner first, was kind enough to give me a roofie and I never had to pull out my wallet once. The big houses have always justified price increases by delivering a more polished product; how they justify the spartan WEDNESDAY COMICS at $4.00 an unfolding simply boggles my mind.

Now perhaps there is a demographic out there that has a nostalgic fondness for receiving this rationed depression-era style of doling out a story. Well, demographic, this run-down is for you.

When you transform WEDNESDAY COMICS from its Comic Shop News layout (did your comic shop confuse the two? Mine did) to newspaper format you are greeted with an…ad. Granted it’s a really cool ad announcing the DVD release of “Robot Chicken”’s Episode II, but yeah, it’s still an ad. Keep unfolding and the first story presents it self:

BATMAN: Azzarello/Risso: “Every time I turn this on it’s like I’m signaling failure.” Wow, what a great line delivered by Jim Gordon about the Bat signal. Batman basically agrees and we find out a millionaire has been kidnapped. The millionaire will be killed at midnight and there are no ransom demands. Midnight strikes on the clock…end! Batman is obviously Bruce Wayne (he’s a douche) and by the bat graphic in the intro panel we can assume this vignette is a nod to the golden age. Risso’s art supports my theory, and quite well I might add.

KAMANDI: Gibbons/Sook: The last boy on earth laments being the last boy on earth as he paddles through a submerged New Your City. I’m not a huge fan of dialogue free, narrative heavy comics, but I won’t fault anyone for this approach. Unless Kamandi has a volleyball in front of him with a face painted on it, it would be rather silly for him to speak out loud. This piece ends with Kamandi meeting a mysterious stranger.

SUPERMAN: Arcudi/Bermejo: Superman is fighting an alien that ends up reaching out to him telepathically. Yeah, that’s pretty much it. Bermejo’s art, though, is spectacular – where have they been hiding this guy? He’s not The Gimp, let him out of the basement and put him on a real book please.

DEADMAN: Bullock/Heuck: Again, too much narrative. I now see a pattern forming and I’m reminded of why I’m not a big fan of the Silver Age, where narrative ruled over dialogue. Basically, you learn who Deadman is.

GREEN LANTERN: Busiek/Quinones: One of my two favorites in this comic newspaper. I was a huge fan of NEW FRONTIER and this takes the same tonality and approach. Busiek does what he does best, telling the story from the vantage point of the little people instead of the hero.

METAMORPHO: Gaiman/Allred: My second favorite; I simply love good old deprecation. This was like a trip back to X-STATIX and JUSTICE LEAGUE EUROPE all rolled into one. METAMORPHO pays homage to the Silver Age while unmercifully mocking it. Misogyny and sexism abound; this was like a modern day sensitive metrosexual visiting AMC’s MAD MEN.

TEEN TITANS: Berganza/Galloway: I hate the DC “kid book” style of art, so I went into this one with a bad taste on first glance. However, Berganza takes a page from Johns’ portrayal of Lex Luthor, which I found interesting. Are the bad guys really bad or just misunderstood?

STRANGE ADVENTURES: Pope: I love Paul Pope, but I’ve never been a big ADAM STRANGE fan. Basically Ranagar gets attacked by space pirates.

SUPERGIRL: Palmiotti/Conner: OK, so Supergirl is back to being a cute kid instead of a role model for camwhores. Cool. She chases Krypto and her cat.

METAL MEN: Didio/Lopez/Nowlan: If the Metal Men have the mentality of children why didn’t Rex Hunter shrink them in stature? Because right now they come across as mongoloid adults. Rex takes the metal gang to a bank to learn how the banks will collapse in the next few years. A heist occurs, yet Rex holds the metalloids at bay, except gold…naughty, naughty gold.

WONDER WOMAN: Caldwell: Look, kids, Wonder Woman is now a 14 year old Japanese girl that drops acid before bed. I don’t know what was going on in this thing. The panels bleed together more than a suicidal hemophiliac and Wonder Woman floats while talking to some birds. Pass…

SGT. ROCK and EASY CO.: Kubert/Kubert: Nazis beat the piss out of old Sarge.

FLASH & IRIS WEST: Kerschel/Fletcher: Probably the most complete story of the collection, Grodd has Barry Allen by the short hairs chasing the electrical current of a bomb. After chasing to the supposed destination, Allen learns that Grodd pulled a fast one and is going after his girl Iris. Iris’ story is more of her whining that Barry is never there for her and the bitch leaves a note to end their marriage. Ahh, only in the 60s was divorce so void of emotion.

THE DEMON & CATWOMAN: Simonson/Stelfreeze: OK, my whole Silver Age theme theory is blown out of the water when Selina Kyle is casing the Demon’s house and she mentions how she Googled him. Boy, will she be in for a surprise in three weeks when we get to part 1 of 12 of the actual robbery.

HAWKMAN: Baker: I loved the POV on this one letting the story be told by one of the eagles under Hawkman’s control as they go after an airliner that has been hijacked.

One of the reasons I read comics is for the consequences and how they transcend throughout the entire universe. While each story had some palpable danger, with so many Silver and Golden Age nods to coincide with the delivery format, nothing really seems to matter in WEDNESDAY COMICS.

I had some fun with several of the vignettes, and perhaps in a “$2.00 – 10 pages a week” format I would be more enticed to stay with the more enjoyable stories. But in this format, with the hefty price tag I’ll just keep buying my regular comics on Wednesday…not WEDNESDAY COMICS. You know what? Even the fucking name is confusing. I’m done…

FINAL CRISIS #4 (of 7) 10-22-08

The view from 2012: This wasn’t my review, but I am quoted as saying how little this event changed the DC Universe. Ohhh how wrong I was – this made continuity such a mess that New 52 was a necessity.

Final Crisis 4FINAL CRISIS #4 (of 7)
Writer: Grant Morrison
Artists: JG Jones, Carlos Pacheco and Jesus Merino
Published by: DC Comics
Reviewed by: BottleImp(with lotsa help from the rest of the @$$Holes)

“I have been reading all of the ancillary titles for FC and guess what? You don’t fucking need to. Just like we didn’t need to read 52 or COUNTDOWN or any of the muppet baby crises that we were told we had to read. Here’s FINAL CRISIS in a nutshell. The big three get sidelined. Darkseid first gets his ass kicked by Orion, becomes a nightclub owner and then broadcasts the anti-life equation. Libra was important, now I can’t find him or what he’s up to. Barry Allen returns to a world ruled by the broadcast anti-life equation. Yes, we waited this long for fucking algebra.” –Optimous Douche

“Yeah, FINAL CRISIS and DC in general is a mess. None of the titles reflect any of these big changes going on. Wonder Woman is a she-dog in FC, but fighting Beowulf in her own title. Barbara coming out to the Tattooed Man? Lower level crook or not, she would not just be out in the open like that. And what about Ollie introducing basically all of the Flash’s family to the same criminal? Because it worked so well in IDENTITY CRISIS when criminals knew about the family of heroes. On top of that, we’ve got too much unexplained shit going on. Morrison is flitting around from Turpin to Tattooed Man to Ollie to Mister Miracle. No real cohesion. No care that the reader may not know these people. And the rest of DC is just suffering for it. They are cowering in fear that because of the negative feedback they received when the New Gods dies three times last year, they are telling stories that don’t relate to this supposedly giant crisis. Why do we need a FINAL CRISIS tie in focusing on Geo Force or Black Lightning?” –Ambush Bug

“The irony for me is while you say why do we need a Geo Force/Black Lightening tie in, I actually found that aside more compelling than the main title, which I find sort of hard to get into. In fact I think most of the side light books are tons better than the main attraction.”-Jinxo 

“It just looks like DC doesn’t have a plan here. And can’t have a plan, because Morrison doesn’t have a plan. He may have one, but he’s not telling anyone. That’s why none of the main titles are referencing FINAL CRISIS and that’s why the ties the other BATMAN books have with RIP don’t go past the extent of “I don’t want to talk about the Batman thing right now.” To DC, that’s a crossover mention that is worth putting a RIP banner across the cover. I call bullshit. DC needs to learn that you can’t make a stable table with one or two legs. When that one leg fails to support the rest, the table topples over. That’s what’s happening with DC.”-Bug

“Come up with something original. Calling Morrison’s book FINAL CRISIS is a laugh. What will be the “final” outcome of this? I can’t see it. There’s no way they are going to allow the entire DCU to be a dark cesspool. INFINITE CRISIS irrevocably changed things, this book will not. I’m not hating it, and I like to see the little guy shine, but you could have just as easily called the thing Darkseid’s Revenge or something….”-OD

The preceding quotes were taken from @$$Hole email exchanges. Are you reading this, DC editorial staff? Do you see the problems that keep cropping up in regards to this “major event” book? ‘Cause even though the plot itself isn’t bad—always interesting to see heroes up against seemingly insurmountable odds—this title isn’t living up to the hype surrounding it. Events in FC have no bearing on the vast majority of DC’s comic titles…why should the reader be concerned about a character–say, Superman–when it is made perfectly clear in the three Superman family titles that he’s doing just dandy off on his own little adventure?

It’s this lack of cohesion that really kills this miniseries. No matter what good things may come out of it (personally, I find Morrison’s explanation of Kirby’s mysterious “Anti-Life Equation” to be fairly interesting, and at least makes it clear why Darkseid’s spent so much time looking for the darn thing), FC is doomed by poor planning and false advertising. As Optimous Douche wrote, FC is not the be-all, end-all of the DC Universe. It’s not going to change anything. Just take it for what it is—an overblown miniseries that’s been stretched over far too much time and far too many ancillary titles, and a story that is nowhere near as compelling as Dan DiDio or Grant Morrison would like us to believe.

Also, Kalibak now looks like a grumpy version of Mr. Tawny, the Talking Tiger. What the fuck is that about?