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Superman’s Pal Jimmy Olsen: Who Killed Jimmy Olsen? by Matt Fraction, Steve Lieber, and Nathan Fairbairn

I have generally not been in favor of Big Two superhero comics going “realistic.” That’s mostly because what counts as realism in superhero comics looks more like cynicism or nihilism from any other point of view, and because superhero comics are inherently one of the very most artificial artforms ever devised by the hand of man.

So I’m happy to point out that Who Killed Jimmy Olsen? is very artificial, and revels in it. The only other series I’ve seen that has as many introducing-this-character-with-their-fantastic-logo! boxes is Paul Grist’s deeply quirky Jack Staff. But this book does that trick one better: the person being introduced every single time is Mr. James Olsen himself, our hero and main character, in an unending sequence of sillier and sillier locutions about Superman’s wingman.

(I’m pretty sure I remember “Superman’s wingman” somewhere in the middle there. Nearly every way you could think to describe the Olsen boy are already in this book.)

Perhaps I should back up slightly.

Superman’s Pal Jimmy Olsen was a famous Silver Age title, from the era where comics were flagrantly artificial and their audiences were assumed to be entirely made up of children who would age out within a year or three. It ran for twenty years, and regularly turns up in random internet “have you ever seen this insane thing?” collections. (Two words: Goody Rickles.)

And Jimmy, as a character, is closely associated with that era. He doesn’t get the full-force opprobrium directed at some kid sidekicks, since he was intermittently depicted as an actual adult (if a juvenile, silly, easily-distracted one) and had an actual job that made sense in the context of the comics. But he was often comic relief in core Superman stories, and his own title was, to use a technical term, regularly batshit crazy (in the best possible way).

So Mr. Jimmy Olson comes with some baggage. And the 2019 series about him – by writer Matt Fraction, artist Steve Lieber, and colorist Nathan Fairbairn; collected as Superman’s Pal Jimmy Olson: Who Killed  Jimmy Olsen?  – leans heavily into the silliness, providing not just a goofy Jimmy, but a very weird take on Batman, an extended Olsen family with shocking connections to Lex Luthor (who also gets an extended family), the aforementioned massive number of story-introducing boxes, and a lot of just plain goofiness.

For example: the book opens with a story from some piece of product entitled Superman: Leviathan Rising Special #1, which I gather from context was some kind of crossover event thingy. (“Crossover event thingy” is a technical term in corporate comics.) In that story, Olson wakes up in Gorilla City, surprisingly married to an interdimensional jewel thief after a long night of drinking gorilla-strength champagne, and ends up in the possession of a cat that vomits astoundingly large and sustained streams of blood. Complications quickly ensue.

This all seems like random goofiness. Nearly all of it will become very important to the overall plot of Who Killed Jimmy Olsen? Note: I am not saying any of it becomes any less goofy.

The actual plot of the main story takes a while to coalesce, and is told out of chronological order. My sense is the playing-with-time stuff isn’t to be daring or stylistically inventive; it’s just another way to be randomly goofy and confusing. I liked and appreciated all of it; those who like more straightforward superhero stories may be annoyed or bored.

So we get Jimmy causing trouble, having to flee Metropolis for Gotham City, having his Life Model Decoy (named something slightly different I don’t want to dig through all the pages to find) “murdered,” and hiding out as an oddball “modern” version of himself (Timmy Olson, cringe YouTube sensation!). We also see Jimmy’s fabulously wealthy family (stuck-up brother, boho playwright sister), Jimmy’s deep family history (return to the frontier days of New Obsterstad with the feud of the Olsson and Alexander families!), Lex Luthor lurking around the edges of the story doing that I-am-such-a-villain hand-wringing gesture, Jimmy’s landlord/lawyer, a very silly very minor villain, an interdimensional would-be conqueror, and a rapidly-increasing death count of people close to Jimmy.

Again, we don’t get any of that in order: we get bits and pieces of all of it, smash-cutting from one Jimmy Olson story intro to another, and it all coalesces about halfway through this twelve-issue miniseries.

To my mind, if you’re going to do a superhero story, or even a story set in a superhero world (this is more of the latter; Jimmy is always central, and most of the important characters don’t have powers), you need to be at least halfway lighthearted. We all know every ending will be happy, all deaths are temporary, and all drama is momentary. And Who Killed gets that tone right: it doesn’t make fun of its own story too much, but it doesn’t try to pretend this is about the fate of the world, either.

To my mind, this is what good comics in a superhero milieu looks like: fun, with consequences to actions but not overly invested in them, full of random oddities and an overall sense of possibility.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

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Black Hammer: Age of Doom, Part I by Jeff Lemire, Dean Ormston, (and in smaller letters) Dave Stewart and Todd Klein

Hey! Shit actually happens in this book! And those things largely validate my “get off the pot and actually say XYZ” grumblings from the previous books, which also makes me happy. [1] Once again, I’m not claiming any great powers of reasoning or insight: this is a pastiche superhero comic, and the plot beats are thuddingly obvious. They were just massively delayed for reasons that I tend to believe owed more to “I want to tell some only vaguely related stories first” than “this Other Stuff is actually important.”

This book follows the first two Black Hammer books (one and two ) and the very much sidebar (and baroquely-titled) books about Sherlock Frankenstein and Doctor Star Doctor Andromeda (my post will go live in three days as I type this; let’s see if I remember to add the link!). And it leads pretty directly, I expect – with the caveat this this series has been all about the fakeouts leading to extensive unrelated flashbacks up to this point – into the next volume, which is titled Age of Doom, Part II.

(There’s no third volume of Age of Doom, which could be ominous, but there are seven more volumes after that. They could all be flashbacks – Black Hammer ’45 pretty obviously is, for one – but I choose to believe that even this series will move forward in time once it exhausts all other options.)

Anyway, this is called Black Hammer: Age of Doom, Part I  but, as I just pointed out in tedious detail, it’s not actually “Part 1” of anything. It’s either part three (of the linear story) or part five (of all previous volumes). Like the rest of the main series to this point, it’s written by Jeff Lemire and drawn by Dean Ormston, assisted by colorist Dave Stewart and letterer Todd Klein.

And it’s still stuck on the moment at the end of the first volume, when the new spunky female Black Hammer arrived on “The Farm” from Spiral City, discovering the five or six superheroes living there (do we count Talky Walky? I do) after The Event and we the audience saw one of those supposed heroes, the witchy Madame Dragonfly, immediately steal Hammer’s memories for what we have to assume are nefarious purposes.

(Note that we get a different flashback version of that scene in this volume, following the big “everything you know is wrong” moment, and the new version means that the old version could not have possibly happened that way…which is really annoyingly lazy storytelling.)

So we open  this book with another return to the moment where Hammer announcing she’s remembered everything and is going to have a reckoning, and she of course immediately disappears. (Gotta keep the tension up somehow!) From there, we get a couple issues of Hammer in various weird worlds (first a transparent ripoff of the bar between worlds from the end of Sandman, then not-DC Hell and a couple of other mystical places, just in case any of the slower readers aren’t convinced Dragonfly is behind it), while the main cast decide to figure this out and get sidetracked by their various inamorata deciding that, yeah, OK, we can have sex now.

Again, Lemire is making it clear, even to the slower kids in the back, that the two reality-warping characters are…what’s that again? oh, yeah, warping reality.

Eventually, in time for the last of the five issues collected here, we finally get to see Everything We Know Is Wrong. (Well, Everything We Know about the Farm. I bet we know some wrong things about the death of the previous Hammer, and maybe the Anti-God, too.) And we get a big cliffhanger moment on the very last page, as we must when a Part I is going to lead directly to a Part II.

As before, I can appreciate the storytelling and character work – both Lemire and Ormston do good panel-by-panel and page-by-page work here, making engaging people, moving them around convincingly, and making them all interesting – while still finding the overall structure silly and ungainly and massively derivative and entirely airless. I still think Black Hammer is a very well-done version of a thing I would be hard-pressed to say is worth doing.

[1] Trust me, this is me happy. At least as happy as I get about manipulative third-hand superhero tales.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

All-Star Cast Celebrates Ed Asner’s Life
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All-Star Cast Celebrates Ed Asner’s Life

HOLLYWOOD, Calif., (November 2, 2021) – In Partnership with Turner Classic Movies and sponsored by MeTV, relive the classic holiday tale of It’s a Wonderful Life with a star studded cast including Jason Sudeikis, Rosario Dawson, Mark Hamill, Martin Sheen, Mandy Patinkin, George Wendt, Lou Diamond Phillips, Phil Lamarr, Ben Mankiewicz, Ron Funches, Ed Harris, and more. Real life uncle/nephew pair Wendt and Sudeikis are slated to play the roles of George Bailey and Uncle Billy for this year’s broadcast. For one-night-only, this live virtual table read takes place Sunday, December 5, 2021, 5:00 PM PST. Hosted by Tom Bergeron, the 2021 Virtual Gala will be a tribute to the wonderful life of Ed Asner and benefit The Ed Asner Family Center(TEAFC), which promotes mental health and enrichment programs to children with special needs and their families.

“My father’s passing has left an indescribable hole in my heart.  For our annual fundraising gala this year, I want to honor my father’s legacy as both a legendary actor and a staunch advocate for people of all abilities. I would like to thank Turner Classic Movies for partnering to support our effort to raise much needed funds for special needs families and I am eternally grateful for the support shown by our amazing cast. I would also like to thank MeTV for their generous sponsorship of this event,” says Matt Asner, son of Ed Asner & Co-Founder of The Ed Asner Family Center.

For a minimum donation of $25, your entire household can enjoy this exclusive experience. Commemorative holiday gift collections will also be available to purchase, including custom artwork and a limited edition T-shirt, all created specifically for this event. In addition, the collection will include The Official Bailey Family Cookbook with recipes inspired by “It’s A Wonderful Life” and a 75th Anniversary Blu-ray of the film. The event will feature an incredible silent auction with items perfect for the holiday season and a spectacular musical intermission.

Tickets will be available at: http://teafc.org/wonderful.

In addition to the Ed Asner tribute, the event will honor Mike Darnell, President of Unscripted and Alternative Television at Warner Brothers, along with his family. The cast will include Mike’s daughter and Social Director of TEAFC, Chelsea Darnell, autistic actors Spencer Harte and Domonique Brown (TV’s Atypical) along with neurodivergent TEAFC members Ryan Booth and Lucas Salusky. Victor Nelli (TV’s Superstore, Brooklyn Nine Nine) will return to direct.

“As the parents of autistic children, Matt and I saw a desperate need to create a safe and welcoming community for Special Needs families,” explains Navah Asner, Co-Founder, The Ed Asner Family Center. “The Center provides arts and vocational enrichment and critical mental health services to these individuals and their families, creating a unique space to learn, interact and thrive.  My dear friends, the Darnell Family, are an extremely important part of our overall community and the Center. We are thrilled to be honoring them this year for their commitment and advocacy.”

The Ed Asner Family Center is also proud to announce their 2021 Gala Sponsors: A&E Network, ABC 7, Abigail Disney, Apploff Entertainment, Arthur Smith Co., Carmen & Tonia Finestra, Center for Autism, Disney, Disney+ and Disney General Entertainment Content, Ellen DeGeneres & Portia de Rossi, Extra TV, Ireland Family Foundation, Jean Trebec, MeTV, Netflix, Peter Roth, Plush Beds, Robert & Renee Kelly Foundation, Seacrest Productions, Sony, Team Greenbean, Tito’s Vodka, Turner Classic Movies, Warner Brothers, and WME. For more information on becoming a sponsor, please visit: http://teafc.org/wonderful.

Win a Candyman Digital Code
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Win a Candyman Digital Code

The successful Candyman remake is coming to streaming and home video this week. Our friends at Universal Home Entertainment have provided us with two digital codes which we’re offering to our readers.

In order to win, tell us the scariest memory from your Halloween experiences. Provide good, creative details and have your entry submitted no later than 11:59 p.m., Monday, November 8. The decision of the ComicMix judges will be final.

Universal City, California, October 26, 2021 – Dare to say his name. Oscar® winner Jordan Peele (Get Out, Us) and director Nia DaCosta (Little Woods, Disney’s upcoming film The Marvels) expand on the infamous Candyman legacy with “a new horror classic” (FOX TV) that is “smart, stylish, and scary as hell” (Danielle Ryan, /FILM). Certified Fresh on Rotten Tomatoes with a score of 84%, Metro Goldwyn Mayer’s (MGM) CANDYMAN is back and yours to own on Digital November 2, 2021 and on 4K Ultra HD, Blu-rayTM and DVD November 16, 2021 from Universal Pictures Home Entertainment. All versions come packed with over an hour of bonus features including a never-before-seen alternate ending, deleted and extended scenes as well as special featurettes taking viewers behind-the-scenes of the film and deeper into this complex and deeply resonant contemporary take on the bone-chilling urban legend.

For decades, the housing projects of Chicago’s Cabrini-Green were terrorized by a ghost story about a supernatural, hook-handed killer. In present day, a visual artist (Yahya Abdul-Mateen II; HBO’s Watchmen,”Us, forthcoming Matrix Resurrections) begins to explore the macabre history of Candyman, not knowing it would unravel his sanity and unleash a terrifying wave of violence that puts him on a collision course with destiny.

Yahya Abdul-Mateen II leads an incredible buzz-worthy cast in CANDYMAN, which also stars Teyonah Parris (If Beale Street Could Talk, Wandavision, forthcoming The Marvels), Nathan Stewart-Jarrett (Generation, Misfits) and Colman Domingo (HBO’s Euphoria, Ma Rainey’s Black Bottom, Assassination Nation). A bold, expansive take on the tragic and terrifying urban legend, CANDYMAN is produced and co-written by Academy Award® winner Jordan Peele and directed by rising filmmaker Nia DaCosta, the first Black woman to helm a #1 film at the box office!

EXCLUSIVE BONUS FEATURES ON 4K UHD, BLU-RAYTM, DVD AND DIGITAL:

  • ALTERNATE ENDING
  • DELETED AND EXTENDED SCENES
  • SAY MY NAME: Filmmakers and cast discuss how the horror at the center of Candyman is both timely and timeless, which is a tragedy in and of itself.
  • BODY HORROR: We explore director Nia DaCosta’s influences in the subgenre of body horror, and what Anthony’s physical transformation means to the story.
  • THE FILMMAKER’S EYE: NIA DACOSTA: Take a closer look at director Nia DaCosta, and how her singular voice and perspective were perfect to tell this story.
  • PAINTING CHAOS: Filmmakers reveal how Anthony’s artwork evolves throughout the film and how they strived for authenticity in recreating Chicago’s vibrant art scene.
  • THE ART OF ROBERT AIKI AUBREY LOWE: Composer Robert Aiki Aubrey Lowe reveals some of the unconventional methodology he used to create the unique and haunting soundscapes sounds of the film.
  • TERROR IN THE SHADOWS: A behind-the-scenes look at how the analogue shadow puppetry scenes were created and an unpacking of why this ancient artistic medium was the most conceptually relevant for depicting the legends’ cycle of violence.
  • CANDYMAN: THE IMPACT OF BLACK HORROR: A roundtable discussion moderated by Colman Domingo about the nuanced relationship Black Americans have with Candyman, the horror genre and the overall idea of monsters and victims.

CANDYMAN will be available on 4K Ultra HD, Blu-ray, DVD and Digital.

  • 4K Ultra HD delivers the ultimate movie watching experience. Featuring the combination of 4K resolution, the color brilliance of High Dynamic Range (HDR) and HDR10+, which delivers incredible brightness and contrast for each scene and immersive audio for a multidimensional sound experience. 
  • Blu-ray™ unleashes the power of your HDTV and is the best way to watch movies at home, featuring 6X the picture resolution of DVD, exclusive extras and theater-quality surround sound.
  • Digital lets fans watch movies anywhere on their favorite devices. Users can instantly buy or rent.
  • The Movies Anywhere Digital App simplifies and enhances the digital movie collection and viewing experience by allowing consumers to access their favorite digital movies in one place when purchased or redeemed through participating digital retailers. Consumers can also redeem digital copy codes found in eligible Blu-ray™ and DVD disc packages from participating studios and stream or download them through Movies Anywhere.  Movies Anywhere is available only in the United States.
Shang-Chi Steelbooks from Best Buy, Target
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Shang-Chi Steelbooks from Best Buy, Target

Best Buy

Marvel Studios’ Shang-Chi and The Legend of The Ten Rings stars Simu Liu as Shang-Chi, who must face the past he thought he left behind and confront his father, leader of the dangerous Ten Rings organization. The film also stars Awkwafina as Shang-Chi’s friend Katy, Meng’er Zhang, Fala Chen, and Florian Munteanu, with Michelle Yeoh as Ying Nan and Tony Leung as Xu Wenwu.

Beginning November 12, “one of Marvel’s best origin stories” (Sean Mulvihill, Fanboy Nation), Shang-Chi and The Legend of The Ten Rings will be available to all Disney+ subscribers. The film also arrives on all digital stores such as Apple TV, Prime Video and Vudu with exclusive bonus features.

Target

In addition to the traditional disc releases, the studio announces Steelbook exclusives coming from Best Buy and Target.

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Fangs by Sarah Andersen

I did not intend this to turn into Sarah Andersen Week here at Antick Musings, but why not? She’s funny, and the two books I read nearly back-to-back are funny in very similar ways, which could potentially be interesting.

Fangs  is a small unjacketed hardcover, stylish and blood-red. I believe it was Andersen’s fourth solo book, following three collections of her “Sarah’s Scribbles” strip (and the graphic novel Cheshire Crossing, with novelist Andy Weir). There is a goth-y young woman on the cover, as you can see. Readers will generally assume she is a vampire, and assume that this is her story.

That’s correct: she’s Elsie. On the first page, she’s in a bar for monsters, meeting a new young man (Jimmy). They quickly start a relationship, and we quickly learn this is not a book that will tell us a story – like Sarah’s Scribbles, these are funny comics about a situation, and this situation is “what if a 300-year-old vampire goth girl fell in love with a vaguely hipster werewolf?”

So Fangs is a lot like a collection of a gag-a-day strip (not all that surprising, since Sarah’s Scribbles has run as a daily strip off and on, and this project originally appeared on Tapas in a similar format) – every page is a separate strip about Elsie & Jimmy, with some kind of vampire or werewolf-themed joke.

Humor is always subjective, but I thought Fangs was clever and funny – as funny as Sarah’s Scribbles, and a bit more clever, as Andersen clearly was having a lot of fun assembling these jokes from the intersection of relationship-humor and horror-humor. There’s also an underlying sweetness to it: you get the sense that these two people haven’t really connected with anyone else in a long time, and having each other, in all of their quirky oddities (supernatural and personal) to be with is a wonderful thing.

This is a short book, but who knows? Maybe Andersen will come back and give us more comics about Elsie and Jimmy. There’s no reason this couldn’t keep going for a long time, or come back for somewhat longer stories. (What would a vacation look like for them? Do either of them have families the other one gets to meet?) And, even if she never does, this is a fun, sweet package as it is.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

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Girl in Dior by Annie Goetzinger

Sometimes you read a book because it’s there and you’ve heard of it. Maybe you don’t remember exactly what you heard about it, or why, or in what context, but it’s been in your head and you’re pretty sure it was for positive reasons. The world is full of books: you need to stretch sometimes and that’s an easy way to do it.

That’s more or less how I came to Girl in Dior , a graphic novel by Annie Goetzinger originally published in France in 2013 and translated into English for this 2015 NBM publication by Joe Johnson. It’s available in Hoopla – is there a reason why every Internet-era business needs to have a stupid and infantilizing name? – an app my library system uses to provide various digital things (TV shows, movies, comics, audiobooks, even ‘real’ books) – and I started reading it after realizing How to Read Nancy was far too dense to dive into on a Saturday afternoon. (And don’t get me started on its aggressively hostile introduction, by some academic who was at pains to be clear he hated comics, modernity, 90% of all artists ever, the concept of sequential art, and anything else the reader might possibly love or respect.)

Girl in Dior, I learned after reading it, is a fictionalized account of the first ten years of Christian Dior’s high-fashion house, founded in 1947 in Paris. It centers on a young woman, Clara Nohant, who is the primary piece of fiction: she is a minor reporter for the launch, later becomes a model for Dior, and ends by marrying a rich client. (Thus encompassing most of the potential dream-jobs for the book’s audience.) I think she’s just there as an audience-insert character, and to have a gamine, Audrey Hepburn-esque face to provide a through-line, but it does make me wonder why the book couldn’t or didn’t focus on Dior himself (surely the more interesting figure) or, considering the audience is primarily women who care about dresses, instead digging into one or more of the large group of women who worked for and with Dior to do all of this – one of his major designers, or models, or seamstresses, or several of the above.

Instead, Girl in Dior is lighter, more of a travelogue – Clara thinks Dior’s work is wonderful, but she’s not deeply invested. Her story is light, her crises few and easily solved, her endings entirely happy. The book has a lot of detail and color: Goetzinger is particularly good at both drawing the dresses to be very particular and using color to make them pop off the page, in a comics version of the sensation they caused on runways in the late ’40s.

I think I wanted more about the real people and less of “look at this gorgeous dress,” which is on me. Girl in Dior is very much a “look at this gorgeous dress” book, and my sense is that it’s deeply researched and carefully assembled to show specific, distinct gorgeous dresses from those first few Dior collections. There’s extensive backmatter to detail chronology, the sources (year and season) of the dresses shown in the book, quick biographical sketches of the historical people who appear (from Dior to Lauren Bacall), lists of potential careers in fashion and types of fabric and accessories, and, finally, a bibliography. This book was clearly very heavily researched, and I have no doubt that everything in it (except Clara) is as close to true as it’s possible to be seventy years later.

And it is gorgeous, full of sumptuous expensive formalwear for rich, thin, young, connected women  [1] ready to be elegant and sophisticated (and maybe just a bit useless) after the war years. I always want more context and cultural criticism; I always want more why and less “remember this thing?” Again, that’s entirely on me: Girl in Dior is a lovely evocation of a time and place – I haven’t even gotten into Goetzinger’s faces, which are magnificent, deeply specific, and much less pretty-pretty than the dresses she draws. If any of that sounds appealing, check it out.

[1] Pick at least two.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

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Portugal by Pedrosa

I don’t know if Cyril Pedrosa – who mostly goes by just his last name on his comics, in the European manner – really just does one big book every few years. That’s been my experience of his career: Three Shadows over a decade ago, Equinoxes  a few years back, and now Portugal (from 2017).

And it seems to be the life of his main character here, a Portuguese-French cartoonist named Simon Muchat: Simon had a reasonably successful career making “books,” as his agent and girlfriend call them, but is in a slump as Portugal opens. He’s teaching art in schools, doing some advertising freelance work, but feels completely unmotivated. About anything at all.

And that leads to the obligatory question of how much of Pedrosa is in Simon. The question is obligatory; the answer, though, is unknowable to any of us on this side of the paper. Pedrosa’s grandfather immigrated from Portugal to France in the 1930s and stayed; so did Simon’s. Portugal is largely the story of that family history – or, rather, how a chance trip to Portugal started Simon to re-engage with life, and led him to start trying to track back that family history. The focus is on Simon, and Pedrosa never drops into flashback to tell the stories of earlier generations: we see everyone and everything through Simon’s eyes in the present day.

Portugal is loosely organized into three large sections, after a short prologue with Simon in the mid-70s, a young boy on his only previous trip to Portugal. Each of the three is named after a man in the family: first  “According to Simon” himself, then his father, then his grandfather. But that’s not “according to” as in that’s who is telling us the story, it’s more of a sense of how far back in time Simon has gotten at that point.

That all makes it sound very deliberate: it’s not. Simon is aimless when Portugal begins, and only slowly gathers any aim as the book goes on. He’s still drifting until very deep into the book, still just going along with whatever happens, and only shows some interest in family stories and the details of life in Portugal. So this is the story of a reawakening, in a way: one connected to history and heritage in a very personal way.

Pedrosa tells this story at a distance, though small talk and background voices, with gorgeous watercolor panels that lend a slow, deliberate rhythm to this fairly long book. It took Simon a long time to climb out of his ennui; we’ll see it happen slowly, and learn with him. This is a lovely book, with a quiet personal story told quietly and well – it may not be for all readers but those who can engage with it will find a lot to love.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

DC FanDome Media Roundup
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DC FanDome Media Roundup

Throughout the day, DC FanDome has been whetting appetites and tickling fancies for all ages. Below are some of the film and television announcements and teasers.

Perhaps the biggest release to date has been the first look at next July’s Black Adam film. Star Dwayne Johnson hosted the behind-the-scenes look at the eagerly-anticipated feature. Johnson was first attached to the project way back in 2007 and has been its champion through numerous changes of studio personnel.

In addition to Johnson, the film will feature Aldis Hodge as Hawkman; Noah Centineo as Atom Smasher; Quintessa Swindell as Cyclone, and Pierce Brosnan as Doctor Fate.

Over at the CW, Grant Gustin will finally sport comics-accurate yellow boots in the eighth, and possibly final, season.

HBO Max unveiled the news that both Titans and Doom Partrol have been renewed for fourth seasons. The third season of Titans is almost complete and the DP is about halfway through its run. And coming January 13, the ten-part Peacemaker series, spinning out of The Suicide Squad will make its debut.

Young Justice: Phantoms, the fourth season of the animated series, dropped episodes one and two today. New episodes will follow every Thursday beginning this week. The series is produced by Warner Bros. Animation. Greg Weisman, Brandon Vietti and Sam Register serve as executive producers

Among the first direct-to-HBO Max films, Blue Beetle, had some key art unveiled.

Pennyworth, the Epix series looking at a possible background to Batman’s faithful butler, has been renewed for a third season and will move to HBO Max, consolidating their DC offerings.

The Netflix adaptation of Neil Gaiman’s Sandman released its first look at Gwendoline Christie as Lucifer.

Catwoman receives her first animated feature Catwoman: Hunted with Elizabeth Gillies voicing Selena Kyle/Catwoman. The additional voice cast includes Jonathan Banks as Black Mask, Steve Blum as Solomon Grundy, Keith David as Tobias Whale, Lauren Cohan as Julia Pennyworth, Zehra Fazal as Talia al Ghul and Nosferata, Jonathan Frakes as King Faraday and Boss Moxie, Kirby Howell-Baptiste as Barbara Minerva/Cheetah, Kelly Hu as Cheshire, Andrew Kishino as Mr. Yakuza and Domino 6, Eric Lopez as Domino 1, Jacqueline Obradors as La Dama, and Ron Yuan as Doctor Tzin.

The adventure follows her attempt to steal a priceless jewel. The heist puts her squarely in the crosshairs of both a powerful consortium of villains and the ever-resourceful Interpol as well as Batwoman (Brooklyn 99’s Stephanie Beatriz). Shinsuke Terasawa directs from a script by former DC assistant editor Greg Weisman.

The film arrives February 8 followed in 2022 by Constantine: House of Mystery!, Teen Titans Go!, DC Superhero Girls: Mayhem in the Multiverse, Green Lantern: Beware my Power, and Battle of the Supersons, the studio’s first CG-animated film. Fans can also get Batman: The Long Halloween – Deluxe Edition.

Finally, after years of delays, the first teaser for The Flash was unveiled, hinting at Michael Keaton’s Batman, one of many caped crusaders to appear in the film which is based on the controversial Flashpoint miniseries. In a striking bit of convergence, this film introduces the DCEU’s version of the multiverse several months after Marvel’s third Spider-Man feature does the same thing.