Report what comic books you have read today--and tell us a little something about it while you're here!

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Ah.

LITTLE ORPHAN ANNIE – JANUARY 1932:

Annie happens upon a curiosity shop owned by Chinese businessman Wun Wey. He sells her a string of “beads” for $5. In reality it is a string of pearls. Later, “Daddy” estimates their worth to be $5000.00. The next day they both visit the shop. It turns out that Warbucks and Wun Wey are old friends, and Wun Wey recognized Annie from a photograph Warbucks had once shown him. According to Warbucks, “Wun Wey is Chinese – a Mandarin – his is one of the oldest families in all China. But, in a way, he is more than Chinese – he is cosmopolitan – a citizen of the world.

“He holds degrees from Oxford and from two of our leading universities. He speaks at least eight languages perfectly, and as for being just a storekeeper, no one knows how far his business interests extend. He is a great merchant and a great gentleman. He makes his headquarters in that little Oriental shop because he loves to be among the treasures of his own country. Once, while in China, I did what he chose to consider a favor for his family. Such a man never forgets a friend… or an enemy, either.”

After that, Warbucks begins staying out late at night and letting his business slip a little bit. Annie asks Flophouse Bill about it, but he doesn’t know what's going on. He briefly considers having Warbucks tailed, but ultimately decides his partner has a right to privacy. Secretly, “Daddy” has been concerned about raising Annie by himself. Annie asks Wun Wey about “Daddy’s” behavior. He seems to know something, but remains tight-lipped.

Hanging around Wun Wey’s shop, Annie meets Trixie Tinkkle, an ex-showgirl who has since put on some weight. Her family once had money, but lost it in the crash. She likes flashy jewelry but has no taste. Harold Gray drags the situation with “Daddy” out for a bit, but you see where this is going.

Kill or be Killed #18-20: This wraps up the series by Brubaker and Phillips. I don't think it was their best work, but a lot of creators would be doing very well to achieve this creative team's average. I think it went on a bit too long, and really it ended pretty much the only way it could.

Lazarus #27 and 28: This is the prelude to the Fracture storyline, and the last issues before the series switches to a quarterly book. Here we find out what happened to Jonah Carlyle after being dumped into the North Sea (I believe). A pretty good two-parter, and makes me realize how much time this series spans.

Mata Hari #3: This came out in April, to give you an idea how far behind I am. This series is just okay. I think this series would work better if it was told in a linear fashion. 

Moonshine #9-11: Two storylines move forward with Lou Pirlo working on a chain gang, and the Holt clan dealing with some mobsters. The pace picks up a bit with these issues, and I dug them. It seems to me that Azzarello and Risso are hitting their groove here.

Ha!! The fact that you consider this to be "behind" is hilarious. (That should give you an idea of how behind I am!)

Travis Herrick (Modular Mod) said:

Mata Hari #3: This came out in April, to give you an idea how far behind I am. This series is just okay. I think this series would work better if it was told in a linear fashion. 

 

Big Hard Sex Criminals Vol. 2: Deluxxxe
Matt Fraction, writer; Chip Zdarsky, illustrator
Image Comics, 2018

This is me realizing that I enjoyed the first two Sex Criminals collections, then completely forgot about it. So the second big collection includes issues # 11-20, which covers trade paperbacks volume 3-4. The first arc opens with a new Sex Criminal, an orderly with a manga fixation that creates some really weird effects. Myrtle Spurge (aka "Kegelface," the head of the Sex Police) is having an affair with Jon's psychologist to gather intelligence. Alix is another Miami Sex Criminal, with a thing for falling (first off bridges, then all sorts of other base jumping).

There are also several "meta" sequences, in which Fraction writes about writing: first one where he describes the things he should have Zdarsky draw (but didn't, because the artist is an obsessive nut-job), then a lengthy one with the co-creators on panel discussing the difficulty of writing a scene. For longer than the scene would have taken, I think. Boring to me, despite my love of arty writing. Write the thing, don't write about writing the thing! 

There's also another Sex Criminal with a real fetish, which seems to involve being humiliated. Jon and Suzie try to set goals for their relationship--after deciding that she does not want to keep robbing banks--which eventually results in Suzie taking a library job out of town. Kuber Badal reveals himself as someone who may actually be the one in charge of the Sex Police. So there are some major changes here, enough to open up lots of future possibilities. 

...I read.FUTURE QUEST #5, the recent DEATHSTROKE, and a few-months back GREEN ARROW where he fights the Parasite. (Copies put away for now.)

...Wednesday (it's now early-early Saturday) I read Dynamite's new PROJECT SUPERPOWERS #2 (#1 had been read on an earlier day) and the Daffy Duck/Joker crossover

I didn't realize the DC Villain/Looney Tunes crossovers were happening until after the weekend, at which point the only two I could find were Lex Luthor/Porky Pig and Harley Quinn/Gossamer. I bought them because I really liked Batman/Elmer Fudd and I sort of like Legion of Superheroes/Bugs Bunny (I didn't read the others). These new crossovers left me cold. The artwork was good, but Lex/Porky I found too predictable.  I expected that Harley/Goss would lean heavily towards fan service, but I expected more than just fan service. Partially, I just don't like what they've done with Harley's character since the New 52, (though the concept of a Harley no longer fixated on the Joker is interesting).

My two cents, adjusted for inflation.

Emerkeith Davyjack said:

...Wednesday (it's now early-early Saturday) I read Dynamite's new PROJECT SUPERPOWERS #2 (#1 had been read on an earlier day) and the Daffy Duck/Joker crossover

David López's Panel Syndicate eComic BLACKHAND IRONHEAD #5 is described as the "season finale," so hopefully there will be more. It's a satisfying conclusion to the first story arc, full of shocks and surprises, and it leaves the title heroes with big changes to deal with in the next arc.

The series has a distinct Astro City vibe for me, so I would recommend it to the many fans of that series. You can try it out for free!

I liked the Porky Pig/Lex Luthor issue enough, but if that's the best of them, I'm glad that's the only one I bought. I recognized Gossamer on the cover of Gossamer/Harley Quinn, but I have to say that I had never known that was his (?) name.

The Elmer Fudd/Batman issue was fairly brilliant, and the best one I've read of these crossover issues.

Unless you count the Bugs Bunny/Superman miniseries from...Lord knows when. I loved that one!

JD DeLuzio said:

I didn't realize the DC Villain/Looney Tunes crossovers were happening until after the weekend, at which point the only two I could find were Lex Luthor/Porky Pig and Harley Quinn/Gossamer.

Re-reading the manga series Tramps Like Us, which I first told you all about a while back.

I recently had to rearrange my entire basement, thanks to a pinhole in a pipe that surfaced on Thanksgiving Day. That little pinhole led to new carpet in three rooms, the walls being painted, and all the furniture, books and bookshelves moved around to accommodate the work. When I put everything back, I found I was missing the 11th book, so I bought it ... so I had to read it ... so then I started reading the whole series from the beginning.

I misspoke about the opening; it is Sumire who dumps her fiance when she learns he got his other girlfriend pregnant. And Sumire is just as appealing and frustrating in how she deals with Momo and Hasumi, but overall, I'm enjoying the series as much as I did before.

Batman #26 (Dec 1945/Jan 1946) -- Includes "The Year 3000" featuring Brane, the Batman of ... well, you can guess.  

I love this era of Batman -- high adventure, little morality plays, gangsters straight out of Central Casting.  They're like little B-movies.   Chester Morris in "Batman Meets Boston Blackie,"

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