posted
Here's a request if anyone picks up this title: could you post a review/your thoughts on First Wave (the miniseries)? This is one I'm on the fence about. In theory, this is the kind of thing I'd love. But from what I've seen in interviews and previews, I have serious doubts about whether DC will actually produce anything of any real value. The opinions of other Legion Worlders is something that might at least convince me to give it a try or give it a full pass.
PS - still waiting for that Viking review, Lardy
From: If you don't want my peaches, honey... | Registered: Sep 2003
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quote:Originally posted by Cobalt Kid: PS - still waiting for that Viking review, Lardy
Yeah, and there's somethin' else I owe ya, too. I haven't forgotten but never seem to get around to it.
As for Viking, issue 5 came out last week. I believe it's the last issue, but I'm not sure. After I read 5, I'll post a review of the series on this thread.
-------------------- "Suck it, depressos!"--M. Lash
From: The Underbelly of Society | Registered: Jul 2003
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posted
One of the great things The Walking Dead is doing at Image, since its one of their major sellers, is promote the other comics the company is producing, by offering free preview pages at the end of each issue. In the latest issue #70, we get a preview for Turf by Jonathan Ross (who I'm told is a minor celebrity in the UK) and Tommy Lee Edwards, an artist I don't know that well.
Even though it was 6 or so pages, I thought it was pretty good! Good enough where I might buy issue #1. The premise seemed interesting enough and I like stories set in Prohibition/the Roaring 20's; I don't see many new ones so that always raises my curiousity. I'm not 100% sure what the premise is (are there aliens or vampires or something?) but the preview made me want to learn more. The artwork by Edwards, who as I said I don't really know much about, was also quite good.
Any of you Walking Dead readers read this? I know there was a preview for Choker last month, but I read a page or two and quickly became distracted by the muddled art and gave up on it.
From: If you don't want my peaches, honey... | Registered: Sep 2003
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posted
Today I read New Avengers: Luke Cage today; the reasons I picked it up and then read it are as follows:
I've never been much of a Luke Cage fan and in fact considered him silly 70's character for a long time. When Bendis brought him into New Avengers and it became obvious he was one of Bendis' favorites, I was against it at first. It was only begrudgingly that I've really come to grow to love Luke over these last couple of years. I think Cage is one of Bendis' great successes at Marvel--he's really fleshed the character out and made him someone I care about.
Meanwhile, I'm loving a ton of gritty crime comics these days--a genre I've always loved--and I've been in the mood for more of it. So I picked this up on a whim.
It sat in my pile until today when I saw Lash's post on John Arcudi made me push it to the forefront of my reading pile.
My reaction was: surprisingly, I'm glad I bought it and I think there's some potential here. It was a pretty enjoyable first issue, I'm curious as to what's going to happen in this little story and will likely pick up the rest of the mini.
A few thoughts:
- John Arcudi is a master storyteller and that shows here. He can balance an issue in a way that progresses the plot, keeps you heading towards each new page with interest and at the same time provide strong action sequences, great humor and good dialogue. He's one of comic's current great under-appreciated writers these days.
- The series starts out as a superhero story with Ronin and Spider-Man making appearances and gradually devolves into a gritty crime story (albeit with Hammerhead and Mr. Negative). I liked how that was done purposely to show the transition from one genre to the other in style as well as story.
- Luke Cage continues to become more likeable over the years. I love his relationship with Jessica and his growing sense responsibility and how that makes him feel more and more confined (anyone with kids would relate as I'm beginning to learn) but he struggles to maintain his principles. And here, he is taken out of that struggle and put into a situation from his older days, but this is still the same, modern Luke. The entire premise creates lots of subtle drama.
- One caveat is the art is not for everyone. Eric Canete is very manga-esque with an overly exaggerated cartoony look that isn't my favorite. But it is pretty dynamic and I can go with it because I liked the story.
The storyline itself will likely turn out to be a solid crime story but not anything that is going to be ground-breaking. I've never collected a Luke Cage comic before and so I'm okay with that--I can always pick up a solid crime story if its of good quality.
Would I recommend it to anyone? Kind of. If the art really isn't your bag, it might turn you off. But if you're looking for something a little grittier with a hero you might know, this might be the thing for you.
From: If you don't want my peaches, honey... | Registered: Sep 2003
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quote:Originally posted by Officer Taylor: Unsurprisingly, a search for a Punisher thread yielded no results, so here I'm taking a few moments to review a the latest mature readers Punisher series called Punisher Max.
Certainly, I'm not the guy who picks up every grim-and-gritty generic franchise vigilante title that comes along, but there are two reasons I did: Jason Aarons and Steve Dillon. The former I know as the writer of his creator-owned Vertigo title Scalped, which is one of my top five favorite comics I'm currently picking up. The latter is a terrific artist best known for his work with Garth Ennis on Hellblazer, Preacher and the first year-plus worth of Punisher stories wrote (plus a mini last year that revisited their Punisher storyline). I'm a big fan of both of their work, so checking this out was a must.
Basically, Aarons is channeling Garth Ennis on this project so far, seeking to capture that blend of over-the-top violence and dark humor that Garth and Steve brewed in their run. What Aarons adds to the mix is his penchant for writing the criminal element, particularly the Kingpin.
This series deals with Marvel Universe characters Fisk and Castle but is outside of continuity. What this means is that Aarons can potentially do whatever he wants with these characters without impacting their roles in the proper "canon". Particularly, Aarons is giving us his version of the Kingpin's rise to power as a potential solution to the menace to the underworld that is Frank Castle. It's a pretty clever idea where the mob families conspire to make Castle believe there'a a person who rules them all in order to draw Castle into a trap. Problem is, Fisk, one of the mob boss's right hands, is orchestrating the ruse but is obviously fully intending to make it a reality with Fisk filling the role for real!
So far, so good. However, if you're not a fan of the Ennis/Dillon style, you're probably not going to like it. If you like Criminal, this is a much less subtle and nuanced type of crime comic and may not be to your liking. There's eyeballs popping out and bullets to thru the eyes left and right. All with the darkest of dark gallows humor in play. It also sucks that this is one of Marvel's numerous $3.99 comics with no extra pages.
What's kinda nice is that Aarons makes it clear, especially in how he and Steve tell issue 2, that there's very little difference between the supposed good guy and bad guy in their methods and ruthlessness. In some cases Fisk actually comes off as more sympathetic as we see the events that made him into who he is and the subtle moments that show us his love for his son. So far, this is definitely much more the Kingpin's story than it is the Punisher's.
Overall, I recommend it highly with the asterisk that it may not be your cup of tea. If you haven't enjoyed the stuff that Garth and Steve have done before, you won't like what Jason and Steve are producing here.
Having just completed #5, I feel very confident in recommending the first arc of Punisher Max when it's released in trade form. As the arc progressed, the more comedic elements began to take a back seat to the darkness and grittines to the story and left us with a satisfying conclusion that also sets up the next arc "Bullseye" very well.
The arc was very aptly called "Kingpin" because as my earlier review states, it's more about the Kingpin's rise than it is about the Punisher. In fact the two characters don't even cross paths much at all in the arc. What we find out is what drives Wilson Fisk and exactly how far he's willing to go to achieve his goals. Suffice to say, he's willing to go VERY far.
There's also a gripping confrontation between the Punisher and an Amish assassin! It's actually played pretty straight as the guy used to be a killer but retired to Amish country. To save his sick wife, he takes a contract for the Punisher. Though the confrontation isn't funny, seeing him pursue his prey in a horse-drawn buggy is kind of a sight gag. He inflicts some serious damage on Frank, but the way Frank gets the upper hand is a little disappointing.
So overall, I don't think anyone will find the first arc of Punisher Max disappointing, assuming they realize what kind of story they're getting into.
-------------------- "Suck it, depressos!"--M. Lash
From: The Underbelly of Society | Registered: Jul 2003
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posted
Well, the unfortunate news about cancellation of Warlord reminded me that I'll need to get my Mike Grell fix somehow in the coming months. I was enjoying Warlord so much that I actually was already going out of my way to pick up his other titles. I picked up John Sable, Freelance: Ashes of Eden and I liked it so much that I placed it firmly in the "Any Recommendations?" thread--I think it was excellent story-wise and the artwork was simply so damn good that it was worth the cover price alone.
The John Sable miniseries ended, and I'm glad there will be another one in a few months. In the meantime, Mike Grell is providing artwork for someone else's story for the first time in like 20 years: The Pilgrim, with a story by Mark Ryan (whom I don't recognize) and published by IDW, like John Sable.
First, the artwork is incredible again, just like Warlord and John Sable. But second, and unfortunately, the storyline didn't really wow me. I found the general story to be a bit too vague for a first issue so that I'm not left interested enough to continue. Worse than that, the narrative was pretty choppy so that it was a little hard to stay focused and find out what exactly is going on. It just seemed to jumble around all issue without any real direction and that comes from the writing. It relied very much on Grell's artwork, which was delivered beautifully, but I felt carried too much of the issue.
So I can't really recommend anyone check this out unless you're really dying for Grell's artwork. Meanwhile, try to find yourself the recent John Sable miniseries and you'll be happy you did.
From: If you don't want my peaches, honey... | Registered: Sep 2003
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posted
Here's one that shortly may make the jump from this thread to "Any Recommendations?" and even to its own thread. I'm talking about Turf published by Image Comics, written by Jonathan Ross and artwork by Tommy Lee Edwards.
Turf has a double-whammy: an exciting, awesome premise and a creative team that is able to execute it on every level.
First, the premise is just really cool. It takes place in the Prohibition days of the Roaring 20's in NYC, which is an era I love to read about but never really get to it seems (particularly in Chicago, NYC or other major US cities). It has vampires. It has gangsters. It has a plucky female reporter who is appalled at the willingness of people to indulge in excess even though it supports organized crime. And yes, it even has aliens. The last of those being one I just have no idea how its going to fit in.
The execution hits on every level so far. It's funny and the creative team obviously is acknowledging the combination of all of the above elements is a little funny. Yet, the entire story-telling and dialogue plays it completely serious, which is how I think it should be done here. So you, as the reader, feel completely engaged. The story is tight and moves fast, with solid pacing. And the sheer amount of story you get in the first issue is fantastic...it took me twice as long to read as a normal DC or Marvel comic these days.
Interestingly, I just committed to another vampire comic with a section that takes place in the 20's, American Vampire by Vertigo. Other than those two factors, the two series are completely different however and comparing the two doesn't really show much.
Jonathan Ross is I guess a big celebrity in Great Britain, but I've never heard of him in my corner of the USA. What I do know is that he is providing a solid story, great dialogue and interesting characters. He apparently is a true comic fan too, as I quick check revealed he was the guy who did that incredibly awesome Steve Ditko documentary for the BBC a few years back. This guy is no celebrity visiting comic books. He's a comic book fan who is able to cash in on celebrity status to pursue his hobbies.
Tommy Lee Edwards provides some great artwork as well. I'm not all that familiar with him, but I like his style. It's loaded with detail character designs, with inks that add a ton to each page and detailed backgrounds, all things that are a must for this reader. It has a very noirish feel with bits of horror, which fits for the style of the story. It's definitely a style unlike any other I'm reading these days. Perhaps the closest artist in style is Sean Phillips from Criminal.
Everything clicked for an excellent #1, which was worth every penny. I will definitely be picking up #2 and #3 and hopefully go from there.
Also, a great letters page introduction by Mark Millar who reminds me why he's so damn likable.
From: If you don't want my peaches, honey... | Registered: Sep 2003
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quote:Originally posted by Cobalt Kid: - You definitely have to review those Ghost Rider trades! I've considered picking them up myself but have not yet. One fresh recommendation from you will tip me that way since you haven't let me down yet!
With the prospect of my CBS having a big back issue sale on FCBD, I felt the time was right to finally read the first Jason Aaron Ghost Rider trade "Hell Bent and Heaven Bound", which I'd snagged last year and was saving for whenever the mood hit. The combo of the recent mention above and the knowledge that my CBS has most of the subsequent issues beyond the first trade made the timing right.
And you know what? Aaron delivers once again! You KNOW the guy can write when he can take one of the Marvel characters I've had the least affinity for over the years (not to mention a lack of any definitive creative run on the character, IMO) and make me enjoy the heck out of it!
Let me qualify this a little. There are two things that may be viewed as hindrances to your enjoyment of this trade: 1) The story itself is incomplete. This is clearly Book One of the longer arc that Aaron is telling and is more like a set-up for what is to come than a story with a beginning, middle and end. 2) The beginning or the impetus for the plot itself occurred before this trade under another writer. I think Aaron catches us up on what we really need to know, however, so the second is probably less a hindrance than the first. Heck, I'll help ya out with the second myself---Read on!
So we begin Aaron's story with our protagonist Johnny Blaze reeling from the revelation that everything he knew about his spirit of vengeance was wrong. He's learned that rather than getting his powers and role from Hell, the source of everything he's gone through is actually an angel from Heaven using Johnny as a tool. This angel, Zadkiel, is actually following in Satan's footsteps and is staging a second coup against God and looks to be closer to pulling it off than Satan ever was. Somehow, in ways that are unknown, Johnny is an unwilling pawn in Zadkiel's plan and always has been.
So that's where Aaron picks up. Johnny is mad as hell <pun intended> and is looking for a way to find a way to get to Zadkiel and exact his vengeance against the entity whom he now knows is resposible for all his misery. Thing is, Johnny has no idea how to get to Heaven and confront him and is grasping at straws. "Hell Bent and Heaven Bound" is basically the story of the first two stops Johnny takes on that quest.
On the surface this comes off as kind of a retread of the overall arc of Garth Ennis's Preacher, and their are some definite similarities on the surface. Aaron's humorous touches and knack for violent moments mirror Ennis's quite a bit. There's a bit with a cannibal that feels very Ennis-esque, for example. But I'd say so far there are enough differences and unique touches to distinguish it enough for me to overlook the similarities.
One thing I really liked about Aaron's work here is that he gives Johnny a voice and an attitude that don't make him feel generic. Johnny's really rough-and-tumble and has really no room for melodrama. I suppose some could argue he's cut from the same badass cloth as other grim-and-gritties like Dirty Harry or the Punisher, but there's a voice to him that feels fresh irregardless. Since Johnny never made any real impression on me before, I'd say that's a definite step up.
This trade is absolutely packed with action! That can sometimes be a bad thing, but here I'd say it serves the character and the nature of the plot very well. It definitely leans toward the horror side but is peppered with plentiful helpings of dark humor. I mean we've got the cannibal character, killer ghosts haunting a stretch of highway, a Christian priest turned Satanist mass murderer, a killer who tries to save his victims' souls and, best of all--a horde of relentless killer nurses! All in one trade!
The art? Not the best I've ever seen, but overall, I liked it. Both artists suit the mood of the story very well. Both are a little scratchy and prone to ugly facial features and body types, but it serves the stories very well. I doubt anyone would want pin-ups of any given page, but it works.
What unifies it all is a pretty cool style of coloring. It's what I'd describe as kind of a water coloring/oil painting hybrid that I have either not seen before or haven't seen much. It's a clever choice as I think more garish traditional colors may have hurt the sketchier drawing styles of the pencillers.
I think the main thing to say about this trade is that it was a fun read. There's a sense of a bigger story which may leave some dissatisfied, but think of it in terms of the title character's vehicle--Aaron is taking us on a ride on a big badass hawg that leaves a big flaming trail in its wake. It's smart, it's cool and it's wicked fun--everything a concept like Ghost Rider should always have been. I will definitely be completing the story ASAP!
-------------------- "Suck it, depressos!"--M. Lash
From: The Underbelly of Society | Registered: Jul 2003
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"God damn it, I hate having to play the Devil’s Advocate. First off, I did not buy this issue. I’m not buying anymore of this miniseries, nor am I buying anymore Green Arrow. Because I already get that the execs at DC are more worried about how much money the books make, and I will not support the direction they’ve decided to go in by giving them my money. However, I will read them, because I still want to know what’s going on and what they are doing to these characters.
I just, I… I understand the way Roy is acting. The grief, the pain. God knows how many times I continue to lash out because of my grandma’s death 11 years ago. Lashing out at Mia and Donna and nearly everybody. I got the reference Krul made to the Titans issue he wrote about Roy and Lian almost immediately. Getting condolences, honest to God condolences, from Rose of all people, it made sense. Her family life is more screwed up than most of the other Titans.
However, they can’t put Cheshire on the cover if she’s only going to be there for the last three pages. That woman has absolutely no right at all to try and kill Roy because of what happened to their daughter. She lost whatever right she had when she was willing to conceive another child as a replacement for her daughter if Mockingbird was serious about the bomb threat in Villains United. And then she uses THAT child as a human shield. A. Human. Shield. If anyone deserves to be maimed and killed, it’s that witch.
No matter what they do with this book, hero or villain, that doesn’t make it right. It doesn’t make it right what they did to them. To try and spin something emotional and meaningful out of not one, but two, attempts at shock value feels wrong. They took the easy way no matter how you look at it.
Yes, I have heard people say that this has made Ollie and Roy interesting again. Well, in my opinion, if they decided the only way to make Roy interesting was to maim him and kill Lian, he doesn’t deserve to be an interesting character. They should’ve just killed him as well."
Okay, now to sound less harsh. Taking a note from someone else, I'm still going to reserve final judgment for this book as a whole when I've read the last issue. Of course, I guess it sounds like I already have. But it's a cliche. The standard "take away everything a superhero holds dear" cliche. I'm just trying to be honest about how I felt about it, mind you. I have nothing against use of loss and tragedy, or the maiming or death of a character for the sake of a good story. Martian Manhunter, the Superman and Lois Lane of Earth-2, Pa Kent. But that's because they had roles in the story. Arsenal and Lian were in Cry for Justice for like, two pages. They had nothing to do with it.
I read the interview on Newsarama, and the statement about making loss mean something again in comics. Yet I'm reminded of the two other Titans who were treated in a similar manner. Risk and Red Star.
Risk: He had his arm ripped off by Superboy-Prime in Infinite Crisis. One Year Later, he basically devolved into white trash, living in a rundown shack and popping pills for the buzz. Deathstroke offered him a place on Titans East, he helped facilitate Bombshell's death, and then got to use Cyborg as a punching bag. Then he shows up in the Superman-Prime special for the Sinestro Corps story, where he gets his OTHER arm ripped off. We haven't seen him in nearly three years since. Is he dead? In prison? Getting rehabilitated?
Red Star: Lost his entire family at Prime's hands in Infinite Crisis. Pantha got her head punched off (and has since become a joke) and Baby Wildebeest had a hole blown through his chest. How much coverage was done on the loss Red Star suffered? One issue of Johns run on Titans, two pages in the Superman-Prime special, and one panel on the first page of Blackest Night: Titans.
So, at the... worry (I'm not saying risk) of sounding jaded, I fail to see the logic in having to ruin two characters for the sake of a story about loss when there were two others who were already suited for it. Of course, these four aren't the only Titans characters who've received treatment like this. There's about 30 of them, and while the Titans have suffered before, it all seems to have become a more consistent/frequent trend ever since Lilith Clay was killed by that Superman robot in Graduation Day. 30+ in the last six or seven years.
The art, well... I'm not exactly sure what to say. I understand the first few pages were a dream, but, I guess I'm gonna have to stay on the fence in regards to a good or bad opinion.
-------------------- I want to be hated by lies - Bring Back Lian Harper
posted
SK, please keep reviewing the Arsenal issues, as I def won't be getting them. Your thoughts are reflecting my own thus far on the overall direction of the GA verse.
From: If you don't want my peaches, honey... | Registered: Sep 2003
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posted
Okay, I stopped by my back-up CBS today to get some Lone Ranger back issues and made an impulse buy where I totally succumbed to the nostalgia of my youth. I actually went and picked up Shadowhawk #1 by Image Comics.
I know what you're thinking: Cobie, are you crazy? But hold, faithful, lurker! You may have seen me speak of this before but when I was 12-14, and Image Comics was just starting, Shadowhawk was my favorite! When my father decided we were canceling all Image Comics after like the 3rd or 4th month, I pleaded my case and was able to keep both Shadowhawk and Spawn. I've always had a soft spot for Shadowhawk ever since. It was my gritty comic of my youth.
So, where does that leave me now? Well, the premise is the original Shadowhawk is back, after dying 10 years ago (after having AIDS when that was a serious new thing for comics). The premise itself is enough to excite me.
The execution, on the other hand, was merely "okay". Not bad, mind you, but not anything really spectacular. Putting aside any rose-colored memories of the original series I may have, this new relaunch is by all new comers on the creative team whom I don't know, with Jim Valentino overseeing things. My problem is they basically write Shadowhawk as a Frank Miller Daredevil type in terms of grittiness while the artwork is a bit more superhero-y than I would have liked. They bring the question up right in the comic: is he superhero or vigilante? I'd like them to decide and go with it.
Much too much time was spent with Shadowhawk fighting a super-villain. This is a #1--I need the supporting cast laid out and I need the entire spirit of the series established. That was a negative. How they are going to get this together since he's 'back from the dead' is beyond me but I hope they do.
They also need to remind me and show new readers what makes Shadowhawk different from Daredevil or Batman or other vigilantes. A black superhero isn't that rare anymore and I don't think he has AIDS now, so what makes him different? Let's get into that.
On the plus side, the artwork was very good, and I'm reminded why I like the characters look so much.
I'm also curious on whether they can resolve the back from the dead bit in a cool way. I'd like to see a real restoration of a cast and secret identity--if they can accomplish that, it'd be a big bonus.
Also on the plus side is that this really is the original Shadowhawk who is a no-nonsense badass. I hated when the next Shadowhawk was a young kid who was enthusiastic and naive and it basically made me stop collecting. Invincible already has that covered. The idea of a Daredevil that has crossed the line and keeps crossing it, while knowing he's done so and hating himself for it--that's a bit more intriguing to me. I'm hoping we get more of that.
I'm willing to give this series another 2 issues on nostalgia alone, which is something I wouldn't afford many other comics, even DC and Marvels. They need to win me over, and then I'll make a decision. I *want* to like this series because I have a soft spot for the character. But he's no Spider-Man or Legion, meaning I won't buy his series just 'cuz. I need a solid delivery every issue story-wise and art-wise.
From: If you don't want my peaches, honey... | Registered: Sep 2003
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posted
Okay LW, I've got a random review for you, and specifically for Lardy. I picked up Astonishing Spider-Man & Wolverine by Marvel Comics the other day despite initially reading the solicitation and thinking it would get a HARD Pass. The reason is really that who in the world needs another Wolverine comic, or another Wolverine/Spider-Man comic? Well, as a major Spider-Man fan, after a little while, I started to think, maybe I actually do.
Then I saw Comic Book Resources gave an incredibly rare 5 out of 5 stars in its review of #1 which made me stand up and take notice. I shouldn't have been surprised: artwork is by Adam Kubert, who I have always loved and the writing is by Jason Aaron, who has been getting a shower of praise from Lardy, myself and the general comic book critic community for a long time. Aaron is the man, and this thread is chalk-full of reviews of comics Lardy has picked up based on his name.
My general reaction was: this is a pretty groovy Spidey/Wolvie story! I'm pretty glad I got it, and I'll definitely get the next two issues (making it highly likely I'll complete the six issue mini). The premise caught me totally off-guard, as I was expecting a street-level type story with ninjas or gangsters, which is kind of the stereotypical team-up these two heroes have. WRONG. We've got time travel, dinosaurs and pure superheroey goodness from the get-go. I can not only dig it, but I was feelin' super-fly about it.
Kubert's artwork is terrific and as a longtime fan who loved his Ka-Zar and Hulk in the Savage Lad stories, I was pleased as pie to see Kubert doing dinosaurs, cavemen, volcanos and all other manner of visual treats. (Spoiler that might influence you: the tale is *not* in the Savage Land).
But the real treat was the writing. Aaron is renowned for his seriousness and grittiness in Scalped but here he shows he can be a completely different writer when he wants to be. The story is serious, but there is a certain amount of fun to the plot. Aaron also just nails Spider-Man's voice, something many writers struggle with. He's funny, he's ironic, he's self-referential, but he's also brilliant, courageous and moral. I'm suddenly wishing he was writing some Amazing Spider-Man stories!
Aaron's real dynamic is the Logan/Peter relationship which he gets very well. These two aren't exactly pals and get under each other's skin quite a bit. They don't hate each other (like the forceful Batman & Superman hate each other nonsense of the late 80's/90's), but they really don't enjoy being around one another. And it makes for all kinds of awkward, tension-filled scenarios that Aaron loads with great dialogue.
I think this was a solid buy. Any Spider-Man fans looking for a Spidey fix but hating the current ASM, this might be for you. It also is a distinctly superhero story with sci-fi overtones.
One disclaimer I'd add though is this isn't exactly the most earth-shattering story of the year in terms of sense of importance, so I don't to overstate it. It fits within the category of 'terrific little yarn but in the grand scheme of things relatively unimportant to the larger mythos', which are types of stories I enjoy quite a bit (unless the maturing friendship between Peter and Logan counts as important to you).
From: If you don't want my peaches, honey... | Registered: Sep 2003
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