This Review Originally Ran on Comics Bulletin
Saturday, March 30, 2013
Wednesday, March 27, 2013
Sometimes the most universal truths can be found in the smallest slices of life. That’s what makes independent documentaries so powerful, engaging, and entertaining. Not only do they show you little worlds to which you’ve never had access, but they oftentimes also tell the larger story of what it means to be human. Armed with this intellectual conceit, a bag of Funyuns, and a couple of Miller beers, Daniel Elkin curls up in front of the TV and delves deep into the bowels of Netflix Streaming Documentaries to find out a little bit more about all of us.
Tuesday, March 26, 2013
Monday, March 25, 2013
Saturday, March 23, 2013
Friday, March 22, 2013
Thursday, March 21, 2013
Tuesday, March 19, 2013
In these economic times, finding inexpensive entertainment is difficult. Thank goodness for the local comic shop and a slew of comics nobody cares about anymore! Each week Daniel Elkin heads on out to Empire Comics Vault in Sacramento, CA and grabs a comic from the bargain bin (for 25 cents) to see what kind of bang he can get for his solid quarter. These are those tales.
February 20, 2013 – paid 25 cents for:
THE H.A.R.D.CORPS #13
Published by: Valiant Comics
Written by: David Michelinie
Pencils by: Yvel Guichet
Inks by: Rodney Ramos
Colors by: David Chlystek
Letters by: Rob Johnson with Joe Albelo
Editor: Bob Layton
YOU WERE A PUTZ – BUT YOU WERE OUR PUTZ!
December of 1993 brought us NAFTA, id Software's Doom, Wayne's World 2, Schindler's List, and the album Lethal Injection by Ice Cube. It saw the re-election of Omar Bongo as President of Gabon, and the death of the legendary Frank Zappa.
December of 1993 also brought us the publication of The H.A.R.D. Corps #13 from Valiant Comics.
It's an old adage that you shouldn't judge a book by its cover. That's hard to do sometimes with comic books. My initial reaction to this cover was something along the lines of …. mmmm … OK ... Brown.
Not really a lot of dynamism here, nor any particular eye-catching wonk to inspire an impulse purchase. A matter of fact, this cover is kinda off-putting, kinda icky, kinda “what were they thinking”. I mean comic books are, in part, a strong visual medium and, in a sea of titles, it behooves the publishers to use the cover of their book to make it stand out. Even though brown may possibly be the most beautiful color in existence, I don't quite see how this cover does that. I'm sure the marketing department at Valiant had loads of words they used to justify this decision. But brown? Then again, it works for Cleveland.
Let's just jump in, shall we?