quote:Originally posted by profh0011: Pete felt guilty about lying to Gwen all this time. He finally wanted to get married, but felt he wanted to be honest with her. So, in his guise as Spidey, he "kidnapped" her (the same way he'd "kidnapped" Peter Parker twice already right in front of Gwen-- heh) and swung around town with her, trying to to convince her "I DIDN'T KILL YOUR FATHER, DAMMIT!" in between her screaming. He got tired of lugging her all over, and finally took a breather... on top of the Brooklyn Bridge. (NOT George Washington Bridge-- somebody PLEASE get Gerry Conway a guide book to NYC!! Gil Kane had already drawn the art-- you CAN'T mistake those two bridges for one another unless your memory is as bad or worse than Stan Lee's.) He figured, up there, she can't get away, and she'll HAVE to listen. "WHY should I believe you???" she screamed. "Because..." He took off the mask. ("...I'm the guy who loves you!" In a state of SHOCK-- she stepped backwards, lost her footing, and FELL OF THE DAMN BRIDGE! Key up Kane-Romita art, exactly as before, "SNAP!" Only this time, it was ENTIRELY his fault. Imagine the GUILT!!! Oh, my-- HORRORS!!!!!
I love this scenario!
Registered: Jul 2003
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quote:Originally posted by Stu Rat: Peter and Mary Jane were never married, but lived together in sin?! What kind of filth is Marvel trying to peddle to kids these days![/i]?
Hey, don't knock livin' in sin!
<pinches Stu's butt>
-------------------- "Suck it, depressos!"--M. Lash
From: The Underbelly of Society | Registered: Jul 2003
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"Part of the problem with the controversy behind One More Day is the understanding of what was retconned overstates the extent of what was done. Everything that happened in the last twenty plus years of comic book history happened! The only difference is that Peter Parker and Mary Jane Watson weren't married. They still dated. They still lived together. They still love each other. They just weren't married. Judging from the letters and death threats we received, I think some people were confused. It all still happened. Here's my attitude, if anyone is upset about the marriage going away, then they must all be pro gay marriage. Because if you're pro gay marriage, you understand the distinction between a marriage and a civil union -- that a civil union is not equal to a marriage. We downgraded Mary Jane and Peter to a civil union. If that bothers you, then you're pro gay marriage."
These writers just don't learn.
Don't reply to fans on the internet, you only make it worse. Or in the case here, say something extremely stupid and make it much worse.
I don't get why Dan Slott, Mark Waid and so many others feel the need to defend themselves, or in this case, Joe Q's decision. Its basically an unwinnable arguement--they can only hope it goes away over time.
From: If you don't want my peaches, honey... | Registered: Sep 2003
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posted
"New Ways to Die" kind of reminds me of a late 80's/early 90's plotline. Kind of like Maximum Carnage, actually. Tons and tons of fighting, lots of different characters, but not really all that much happening. JR Jr's art is great though.
I agree about the Spider-Tracer subplot. Other than an off-handed mention here and there, next to nothing has been done (by Spidey; ipso facto, by the writers) to address this.
From: If you don't want my peaches, honey... | Registered: Sep 2003
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posted
All subjective I guess. But I really do love his art, especially on Spider-Man, Daredevil and other 'street level' things. I did like it on Thor too.
Can't really explain why, though . Artists with similar styles I really don't like.
I read an interview with him where the person asked him about all the usual critques he gets on his work (generally the same stuff over the last 15 years) and he said "hey I draw and that's how it comes out" or something like that. He's JR Jr., y'know? I'm being partially facetious, I wonder sometimes if I like his art because knowing he's around provides me some level of comfort as to what's happening at Marvel.
But he's probably my favorite artist to do Spider-Man actively working right now. Him and Bagley actually (who took me years to like).
All that being said, I wouldn't mind seeing JR Jr. on something he's never done before. I really liked his Hercules covers.
[EDIT] - first time I ever really took notice of his art when I was about 11 and bought "Punisher War Zone" off the stands with my brother. Chuck Dixon writing, Romita Jr. on art, featuring the Punisher. If you don't like one of those three things, talk about not liking this entire series! But I actually thought it was awesome. I reread around age 18 and still thought so...wonder what I'd think now?
From: If you don't want my peaches, honey... | Registered: Sep 2003
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Composer Ray Ellis dies at 85 Arranged 'Chances Are,' 'Splish Splash'
By Mike Barnes
Oct 31, 2008, 08:30 PM ET Composer Ray Ellis, who arranged such classics as "Chances Are" by Johnny Mathis, "Splish Splash" by Bobby Darin and "Standing on the Corner" by the Four Lads, died Monday in Encino of complications from melanoma. He was 85.
During a career that spanned almost 65 years, the Philadelphia native also arranged for acts including Tony Bennett, Doris Day, the Drifters, Connie Francis, Judy Garland and Ray Price.
Ellis, in collaboration with his son Marc, wrote original music for many of the animated series produced by Filmation Studios, along with the original "Spider-Man" cartoon, "The NBC Nightly News" and "The Today Show." Father and son also created music for game shows including "Sale of the Century."
In the late 1940s and early '50s, Ellis played tenor sax in the Gene Krupa Band and the Paul Whiteman Band and performed on live TV with jazz combos on WCAU in Philadelphia.
He was discovered in 1955 by Columbia Records producer Mitch Miller, and under the famed bandleader's guidance, Ellis arranged a string of top 10 records for acts including the Four Lads, Mathis, Bennett, Darin and Chris Connor.
Ellis also recorded instrumental albums under the Ray Ellis and His Orchestra banner for Columbia and RCA Records.
With Jerry Wexler at Atlantic Records, Ellis arranged R&B classics for the Drifters ("Under the Boardwalk"), Brook Benton ("There Goes My Baby"), Ben E. King ("Spanish Harlem") and Etta James ("C.C. Rider"). He did arrangements for Billie Holiday's last album, 1958's "Lady in Satin."
Ellis became A&R director at MGM Records in 1959, creating hits for Connie Francis ("Where the Boys Are"), Frankie Laine and Clyde McPhatter ("Lover's Question"). Later, he worked with such artists as Lena Horne, Judy Garland, Barbra Streisand, Anthony Newley, Michelle Lee, Liza Minnelli and Maurice Chevalier.
Most recently, Ellis worked on projects with Adam Sandler, Barry Manilow and Bette Midler. During his retirement years, he was involved in fundraising efforts for the Ojai Music Festival.
Among Ellis' survivors is his wife of more than 60 years, Yvette.
Registered: Aug 2003
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posted
Well, another one of the greats gone. It seemed to me about the time the DVD set was coming out that most of the people involved with the show were already gone or dropping like flies. And STILL no original recordings have turned up. (sigh)
When I started learning about Ray Ellis a few years ago, I commented that there seemed to me to be a heirarchy when it came to composers doing film soundtracks. You had those who did feature films. Then you had those who "only" did tv shows. And then you had those who did tv CARTOONS. This does not diminish the people or the work they did in the latter 2 categories. Let me put it this way: I love John Williams' work on LOST IN SPACE more than anything he's done since. Really! (The scores for the 1st 2 STAR WARS movies were wonderful, of course.) A lot of GREAT tv music from the 60's-- and I consider the 60's to be quite possibly the best-EVER era for tv music (seriously, can ANYBODY name ANYTHING since that measure up??) has taken decades to show up on LP, CD, whatever. We're still waiting for SPIDER-MAN.
It was wonderful to read of the various things Ellis was involved in-- "Spanish Harlem" is one of the all-time greats (though even I have to wrack my brain sometimes to remember exactly what it is an "arranger" does). Mitch Miller, a favorite of mine when I was a little kid (no really) turns out to have had a big impact on who worked for Columbia, bieng their R&D man (he also signed Bob Dylan-- ain't that a kick?).
Several months ago, with my help, another fan put together a comp with as many instrumental covers of Ellis' SPIDER-MAN music as we could find in one place. We did this because, apart from it being a cool idea, the original recordings have still not turned up anywhere. I'm playing the SPIDEY COVERS disc right now. I suggest anyone who hasn't gotten a copy yet go do it! They may not be his recordings, but they are his songs.
"New Ways to Die", which I referenced above, was 'okay'. It wasn't terrible and was relatively fun, but it didn't have much substance. My above correlation to Maximum Carnage is a good one I think, for what its worth. Mindless fun with no real point. I love JR Jr's work so I enjoyed it from that angle. Reboot would hate this arc, trust .
One annoying thing is that Harry is obviously involved in some shady stuff and is possibly Menace (my prediction). Ugh. I hope not. Why bring him back if you're going to retread that nonsense. Harry had his Goblin-esque story in #136-137 back in 1975. Then it was redone in the late 1980's, and Harry died, because the only way to top the 1975 version was to take it to that level. It doesn't need to be done again. Or why bring him back at all?
Next is the Flash Thompson single issue. WHOA. That caught me off guard--Marc Guggenheim, who is generally hit or miss with me has delivered what I would consider one of the best stories of 2008. Certainly the best single Spidey story in a long while. A very powerful story that at long last references Flash's nearly 50 year history of growing as a character and showing the heroism in which he admired so much in Spidey. Kitson's art was fantastic. It definitely left me feeling some emotion, much like All-Star Superman #6 and #10.
Next is the Joe Kelly Hammerhead story with Pacheo art. I generally find Pacheo's art impenetrable and it takes away from my overall enjoyment, and its much the same here. But Joe Kelly's writing I actually kind of like (his JLA the one exception), and he does a really great job here. I've always liked Hammerhead but recognize his generally silliness (which was silly even when he first appeared way back in like ASM #116 or something); so amping him up to be more ruthless and scary is a good thing. Kelly also writes a genuinely funny Spidey, as opposed to Dan Slott and Mark Waid, who kind of force it too often (you've got to let it flow, Spidey doesn't need to be annoying or crack jokes 24/7). Kelly also introduces a new supporting character, Norah, who works with Peter at Front Line, and I'm glad to see her.
Some general comments:
- Spider-Tracer subplot still *dragging* on
- I don't really like Lily Hollister all that much. Its for a variety of reasons: (1) the Harry / Lily / Peter possible love triangle reeks of a retread of the Gwen/Harry/Peter and MJ/Harry/Peter stuff of the past and feels too nostalgic. If Peter has a thing for Lily, and she's the first girl since MJ, then we're all inclined to hate her I think (so I wonder if its no accident and they figured we'd hate her anyway). And so far she hasn't shown much characterization other than the cliches and typical shallow 'rich girl with a conscience trying to do some good in the world'.
- The Front Line transition has been great. Now all they need is Gloria and Betty over there with Robbie and Ben Urich. I miss Gloria and don't like Betty working for the DB.
- Need more JJJ.
- One thing JMS did really well was scenes with Aunt May and Peter. One More Day's 2nd biggest crime was perhaps reducing Peter and May's relationship not to what it was pre-JMS, not even to what it was pre-marriage, but to what it was pre-ASM #200. In other words, no one is writing it the right way. Its not only annoying, its distracting. Man, May should never have been brought back after #400. Its had so little positive effect.
From: If you don't want my peaches, honey... | Registered: Sep 2003
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I can't wait! From the interview, it looks like it should be good too.
From: If you don't want my peaches, honey... | Registered: Sep 2003
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posted
So, keeping up with my continual reviews, I figure with Brand New Day kind of not that new anymore (a year later already, wow) I'll keep trying to review stories and give an honest review about whether they're good or not. Two posts above I mentioned I thought New Ways to Die was 'meh', while the Flash Thompson issue was really good, and the Joe Kelly Hammerhead two-parter was superb.
Picking up there:
(1) Mark Waid and Marcos Martin offered a two-parter featuring Spidey & a group trapped underground and the Shocker. My thoughts? Wow, what a really great story! I was surprised at how much I enjoyed it. A few more specific things: - Marcos Martin! Where did this guy come from? I buy like a gazillion comics a month and the name didn't ring a bell. He's excellent! Seriously, he might be my favorite Spidey artist since BND started. Great, great stuff, with different characters to draw, cool settings and some really fluid Spider-Man action that reminded me a little of Ditko while also a little of the guys working on Jonah Hex these days whom I LOVE: Darwyn Cooke, Jordi Bernet and others.
- Mark Waid: I love him, and yet sometimes he leaves me stone cold. Its no secret I didn't like the threeboot at all once the final product was delivered, his FF run I hated and his recent Flash run left me super-cold. Yet, the Mark Waid I know has given me some of the best comic book runs I've ever read in my lifetime! Waid's Flash, Ka-Zar, Captan America...hell, *so* many great stories I've just found to be excllent. And his Spidey story? Great! A very solid, excellent read. Good characterization, plotting, action, and the typical Mark Waid beginning - middle - end of character change that have always made his stories so good. Probably my favorite Mark Waid story in the last 2-3 years (I'd count 52 but that's a whole other animal).
- Two-parters: the best thing about the current Spidey set-up is the different story lengths there giving us, with big 6 parters, one-shots, three-parters, etc. Like the Joe Kelly Hammerhead story, a nice solid two-parter is refreshing and nice. I like it. I like the entire set-up.
- Shocker - I love the Shocker, one of my favorite Spidey villains. Not to say he's one of the toughest (he ain't), scariest (he definitely ain't) but also not one of his corniest (hay, the Shocker isn't a total loser, he's pretty groovy in his own right). I also like that his motivation is generally making some paper (that's money to uncool people). Today's hip-hop fans can relate to the Shocker.
So yeah, it was good.
(2) Roger Stern & Lee Week's story. WHOA, WHOA, WHOA!. Roger, where have you been? Please, please, please write more Spidey stories! What a terrific standalone issue! Great super-hero action with so many elements of what makes Spidey great! Sure, its not the most important comic of the month but its sure one of the best scripted / paced / action-packed deliveries I've seen in awhile. Typical Roger Stern, every story he writes is like he's teaching a class on how to write comics.
And Lee Weeks is great as usual. He should get his own ongoing title. His style seems to be suddenly be back in vogue at Marvel these days after years of it not. The artists Bendis and Brubaker work with seem to evoke bits of Lee Weeks IMO.
(3) Part 1 of the Molten Man / Harry Osborn story. And here's where I can't give every issue of Spider-Man a gold star. Oh Marvel...oh Dan Slott...when you take it to the level of continuity, you better know we fans will use our microscopes and we are a tough bunch to get some generosity out of. I really want to love Dan Slott's Spider-Man work because I loved his She-Hulk and other stuff. But its been hit or miss with me. And here...it feels like a miss thus far. Granted, he can still save it with Part 2, but I'll tell you why.
- the explanation for why Harry's still alive. It makes sense sure, but it lacks any real drama, its overly simple and it feels like "okay, lets just get this out there and over with and move past the issue forever." UH-UH. I know Harry's history like I know my own. I experienced everything that happened to him. Spider-Man fans want answers, so you better be prepared to give them to us. Sure, I like the use of the villain who helped out and it made sense, but couldn't it have been even a little more dramatic and appealing in delivery?
- But the part that irks me is the treatment of Liz Osborn (or is it Allen again?) and young Normie. Now Harry looks like a deadbeat Dad, which if thats the case, why the hell even bring him back? Harry is troubled, we get it, stop beating me over the head with it but do you really need to drag him through the mud *again* to show us? And Liz is a part of Spidey's history for even longer than Harry, so surely she deserves an equal amount of respect. I can only hope she ends up in a good position at the close of the second part.
I like the Molten Man too, so good to see him. Young Normie I find highly annoying but its not like you can just wish him out of the series, right? (oops!)
So 2 out of 3 right now. Good solid Spidey stories like we've been promised but when continuity is a factor its just too difficult to tackle still, and that's only Harry Osborn, not even MJ.
From: If you don't want my peaches, honey... | Registered: Sep 2003
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. Artists with similar styles I really don't like.
