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Best of My 2018 - Comics

Favorite Series:

Ms. Marvel (2015-) (Marvel Comics) (Issue #37 coming in January)

This book is just consistently good! I’m relatively new to comics, but Kamala’s 2014 debut series is one of the first I picked up and one of the first comics series that I’ve absolutely loved! It continued into a new run that’s on-going. It’s fun and thoughtful and relevant and relatable and so so smart. I’ve learned so much from Kamala and her friends, and I just really think this is a series anyone can enjoy and everyone should be reading.

X-Men: Red (2018) (Marvel Comics) (11 Issues, Cancelled)

This is actually my first official X-Men team read and it’s brilliant! Like I said, I’m a newcomer to comics, so most of my impressions about Jean Grey were unfortunately formed from Fox’s X-Men films. However, the Jean Grey of X-Men Red is an entirely different woman, for the better! She is shockingly grounded and level headed for someone who just came back from the dead and she assembles (no pun intended) a surprisingly ragtag team (including Wolverine & Honey Badger, Gambit, Nightcrawler, & some exciting new additions) to help her battle a rising cloud of hatred rushing over the world. The content hits a little too close to home, but I’m beginning to understand that the magic of the X-Men is their unwavering ability to fight the good fight against hatred for every new generation.

Hawkeye (2016-2018) (Marvel Comics) (16 Issues, Cancelled)

This is Kate Bishop, the female Hawkeye (it’s only a little confusing), in her very own solo book! She’s a fledgling P.I. on the West Coast (which is dangerously lacking in superheroes apparently). She’s witty and grumpy and I love her so fucking much! This series is honestly just so good. It’s fun and thrilling and silly and surprisingly heartbreaking at some points. With appearances by Jessica Jones and Clint Barton as Kate’s mentors! And colorful (both in character and diversity) new friends and allies. I’ll probably continue to follow Kelly Thompson (the brilliant writer) around after this one. This series is short but oh so sweet.

Saga (2012-) (Image Comics) (On Hiatus but returning)

I swear, I read more than just Marvel haha This masterpiece from Image has been happening for years, but I just recently discovered it and binged it like a crazy person. It’s just so fucking pretty! Fiona Staples (the artist) is simply incredible! But more than that this series isn’t just a pretty face, the story is amazing too! The writing is rich and builds a complex and colorful sci-fi world. The characters are deep and emotional and so real it hurts. Just wow, yeah, it’s about family, love, war, sacrifice, corruption, prejudice, bravery, etc (all the good stuff). A must read! 

Legend of Korra: Turf Wars (2017-2018) (Dark Horse) 

Well, this one is just a no-brainer for me. I love Korra, I love team Avatar, and I love Korrasami. These comics have triggered two rewatches this year, and were everything I needed out of a Korra continuation. My only complaint is that there aren’t more of them.

Favorite Individual Issues/Arcs:

Supergirl Rebirth (2016-) Issue #14 

Kara Zor-el teams up with Superman of China, Kong Kenan and it’s totally awesome!

Supergirl Rebirth (2016-) Issue #19 

Kara befriends a non-binary teenager struggling with their identity and finding acceptance from their family and peers. This is very much so a Kara Zor-El story, rather than a Supergirl adventure. Sometimes people just need a friend not a hero, and Kara finds a way to be both.

Ms. Marvel (2015-) “The Ratio” Issues #32-35 

Kamala and Bruno finally start to work through their issues, but are promptly interrupted by The Shocker. It’s just nice to see Kamala and Bruno working together again. Ms. Marvel at it’s best!

Justice League Dark/Wonder Woman (2018) “The Witching Hour” Issues #1-4 of JL Dark and Issues #56-57 of Wonder Woman. 

I thoroughly enjoyed this entire arc. It was awesome and totally worth juggling both series. I didn’t think I was going to care much for Dark, but I quickly fell in love with every single one of the characters. The team dynamic is glorious and it’s fun to watch Wonder Woman work with these less savory anti-heroes like John Constantine, Zatanna, & Detective Chimp. It’s got some really cool Wonder Woman moments, which is what I’m here for, but doesn’t let her completely overshadow the rest of the team.

Man of Steel (2018) 

This is actually a mini series, just six issues, from Brian Michael Bendis that revamps both Superman and Supergirl’s current Rebirth runs. New information about the destruction of Krypton surfaces along with an unknown foe. Clark and Kara team up to defeat a villain hellbent of killing the last Kryptonians. I was hesitant to read this, because I’ve never actually read a Superman solo series, but I couldn’t resist. It’s a great story. Superman/Clark feels much more like a real person in this than I’ve ever seen him in comics (though once again I’m new and haven’t read much Superman). There are tons of great Super Cousins content and the new revelations about the destruction of Krypton are exciting for any fan of Kryptonian heroes. 

Why “Justice League” is One of the Best Shows Ever Made

Let’s talk about one of the hottest topics of the week . . . the Justice League. What is perhaps the most exciting and mindblowing crossover superhero team in comic book history, the idea of DC comic legends like Superman, Batman, Wonder Woman, Flash and many others coming together to fight off the baddest villains in the DC multiverse is an idea too good and too profitable to pass up. The team has seen many incarnations across many mediums over the years. Many are heartfelt and memorable, others we’d like to forget. But Today I‘m talking about my introduction to the team; Bruce Timms animated run on the JL and the rise of the larger expanded DC animated universe, also known as the “Timm-verse“. After all, what better time to talk about this show than it’s 16th anniversary?

Oh, also the JL movies out I guess. Yeah, cool.

Premiering on November 16th, 2001, the Justice League animated series was an in-canon spinoff of the previous highly praised series Batman TAS and Superman TAS, both also produced by Bruce Timm. It offered everything it’s predecessors offered and more with tighter, more concise animation with fewer errors, faster paced action, thicker plots and schemes and best of all an unforgettable dynamic between the main cast. For all these reasons, It is easily my all time favorite TV show, and it gets even better with Unlimited. I’ve been thinking a lot about just how amazing this show is and watching some episodes in retrospect, it hasn’t gotten old in the slightest. Here are just some of the reasons why Justice League and Justice League Unlimited kick so much ass.

1. A strong showcase of multiple DC characters

When writing a long format piece like a film or television show, juggling multiple main characters is no easy task. It’s a great challenge to make each character involved feel real, distinct and like there really is crucial difference between them and the rest of the cast. Without doing this, there’s no real reason for an audience member to pick their favorite outside of who is the most physically powerful (hence Power Rangers). The best way to go about it without resorting to clichés too often is to make a central theme of the show all about interaction; express each characters personality in how they react and perceive each other. This show gets it, and as a result has excellently portrayed DC icons really show their chops in a way where everyone can pick a favorite based on their personal preference. It’s hilarious to watch the stern, cynical, no-nonsense Batman work off of the lighthearted, goofball Flash, and it feels extra sweet when in spite of their comedic banter they really express that they have nothing but respect for each other. The Flash is made all the more goofy by Batman and Batman is made all the more bruiting by Flash. Then of course you also have the noble boyscout Superman, the proud but compassionate Wonder Woman, the militant authoritative marine Green Lantern, the spunky and hard hitting Hawkgirl, and finally, the stoic and softspoken Martian Manhunter. All of them become lovable for different reasons and bring their own signature charm to the show. Not only do they work well off of each other, they each get a healthy dosage of screentime to do something silly, something badass, something sad, something touching. This show perfectly balances these heroes to really make them seem like a team and it becomes a fun discussion to talk about who in the group is your favorite. Not like a lot of other DC properties where they constantly insist Batman should be your favorite because he can beat anyone, solve anything by himself and really, if not for him the rest of the characters would apparently be incompetent assholes. Here he’s WAY more interesting because he still has badass moments but he‘s allowed to need help every once in a while. It also helps that the show has SUPREME acting talent like Kevin Conroy, Phil Lamarr, Clancy Brown and George Newbern.

This element of the show only gets better in Unlimited by the way. the team expands to lesser known characters like Green Arrow, Vigilante, Vixen and so on, and each one of them gets their fair share of badass likeable moments and nobody ever feels like they ever get too much or too little exposure. Except the Question and Star Girl. the Question should have been on screen way more often because he’s the best part of Unlimited and Star Girl was the worst part of it because everytime she appeared she was a snarky condescending bitch who ended up getting her ass kicked more than anyone else. 

2. Great Action (and Animation in General)

*this show has more than a few bitchslap moments and I love it for that*

Now, I’ve mentioned before and still hold onto the opinion that Justice League is the best work of Bruce Timm’s. I know many people hold Batman TAS to that stature for it’s intense drama and theming, and I certainly agree it is groundbreaking, but JL and ESPECIALLY JLU perfected what Batman TAS established. Batman TAS was the first look into what would become the DCAU and it very clearly shows that the show writers and animators were still trying to find their voice. If you watch the Batman TAS (especially earlier episodes) with a trained eye for animation you’ll notice more than a few consistency errors, with awkward stills and elements of character designs dropping out of frame here and there. JL and JLU is consistently more crisp and the errors are MUCH farther and fewer between. Not to mention the action and pacing are just better. I LOVE Batman TAS, I never want to make the impression that I don’t, but it DID have a tendency to move a touch too slowly at times, especially for what were supposed to be intense action scenes. In justice League the fighting is dynamic, it’s snappy, it‘s crackling with energy and creativity. Every punch, every kick, every spit in the eye really feels painful due to how quickly and smoothly it happens; you feel the weight of all of it. Each and every fight has a genius setup and plays further into enhancing how badass every character is. Not to mention the stakes are always high, be it on a physical level of how many people could die in the process or what the fight represents in who is in the right and who is in the wrong. One of the best examples is the fight between Superman and Captain Marvel. The context is Superman thinks Luthor is hiding a sinister motive because he can’t find it in himself to trust him, while Captain Marvel is defending Luthor by saying he believes in the merit of giving people the benefit of the doubt. The physical fight really came down to a difference in ideology and Superman losing sight of who he was. The fights are never random; they always serve the theme of the show greatly and the outcome of them further instills the drama of the subject matter. Going along the same example, Captain Marvel delivers a chilling and biding speech at the end of the episode that gives the conflict a bitter sweet resolution. I love it.

Oh, did I mention it’s all in GLORIOUS frame by frame? Yeah, this is right up there with Avatar: The Last Airbender as some of the most glorious and high quality animation to ever hit the airwaves. The easing, the anticipation, the reaction, the timing, it’s all on point.

3. Great plots, better execution

This show has TONS of iconic episodes and plots, whether they be wholly original or inspired by a comic book plot of the same name (like “The Man Who Has Everything”, the only Alan Moore adaptation approved by the man himself). The conspiracy about Superman murdering president Luthor, the invasion of Darkseid, the dark heart, the hijacking of the annihilator armor, both fights with the android Amazo. I honestly can’t think of a single bad episode of this show. I think the reason this shows stories are so strong are largely due to the reasons I already listed above. They play largely into character interaction which usually perpetuates some sort of central theme of the episode (and in some cases we get a showcase of a one time appearing DC character like Captain Marvel or Deadman). They also showcase well choreographed, well animated action that perfectly compliments the conflict and feels very deliberate. This shows greatest tool however, is how it uses escalating stakes. when making an action oriented show or movie, in order to keep the action truly compelling, you have to make it feel like there is something being lost as a consequence of the action. The reason why so many people don’t like Superman is because they don‘t see the drama in it if they feel like he can never lose. But this show ALWAYS makes sure there is something to be lost like mass destruction, the health of our heroes, sometimes straight up death. Or sometimes the fight results in a greater lesson being learned. The point is, the fights are never inconsequential. Something changes as a result of what has transpired. This seems so blatantly obvious but You’d be surprised how much media just throws a bunch of mindless shit at the wall and thinks it’s engaging because there’s a lot of shit going on and that‘s the only thought you have to give to it. This doesn't just apply to the physical fighting either. Everything that goes on is governed by character decision making, NOT by coincidence or happenstance. It’s such an easy trap to fall into to just have shit happen to people out of nowhere and on any other given day it would have never transpired, but real compelling storytelling happens as a result of who is in control of the situation, not nobody having it. So much of new fiction has an issue of “this guy robbed a bank JUST as Spidey was swinging around one day“ or “they were in a bad trap but luckily Batman had JUST the right gadget for the occasion” and other deus ex machina shit where the only reason the day is saved is basically because the heroes got lucky, but here each and every hero involved actually influences something in this show. It also helps that they made the DCAU more balanced physical wise so that more characters are actually a presentable threat to Superman. Also, though not completely necessary, this show will often reference previous episodes as justification for characters actions which makes for great continuity.

Conclusion:

Justice League and Justice League Unlimited is fantastic for all the same reasons many shows out there are fantastic. It gracefully juggles attention between a diverse set of characters, it perfects the Bruce Timm animation style with crisp and consistent animation and it has high stakes manifested by the characters being in control of the conflict. It certainly isn’t the first to accomplish any of these things, but it IS one of the very few shows ever put out to pull it off just so darn effectively. For those reasons among many others, Justice League is EASILY my personal favorite show of all time. Bruce Timm Himself once said it’s his favorite of his productions because it’s the only one he can go back to and still wholly enjoy every time, and I wholeheartedly agree.

Justice League - A Review

I have long been a DC fan, and as such, a devotee and defender of the DCEU films (apart from Suicide Squad of course. There’s no defending that!). I thoroughly enjoyed Man of Steel, I felt that Batman v Superman was unjustly derided and (as we all know) Wonder Woman was a great success. However, I now find if very difficult to defend the latest instalment of the superhero franchise, Justice League.

The film is a mess. And not a fun, entertaining yet problematic mess. It’s complete fucking catastrophe. Watching the film makes you wonder how the thing ever got made and who the hell thought it was a good idea to release its current state. For anyone that doesn’t know, the project was the result of many behind the scenes disagreements, meddling and reshoots. Original director and creative force, Zach Snyder (Man of Steel, Batman v Superman, Watchmen) had to leave the project half way through shooting due to personal tragedy. With Snyder gone, the studio was left to tamper with the film as much as they wanted. Previous DC films having received critical backlash for being too morose and sombre, they brought in Joss Whedon (The Avengers, Avengers: Age of Ultron) to rewrite the script, to add ‘levity’, and shoot the extra scenes. While this may have seemed like a positive move at the time it has seriously hurt the films potential. ‘Levity’ and humour are not the same thing. Whedon’s sections (which stand out like a sore fucking thumb) are not amusing or compelling and add very little. In most cases actually detracting from the films potential. The quippy one-liners that he has peppered throughout the film simply don’t work and don’t suit the characters or tone of the film and its expanded universe. Batman is not Tony Stark. And ‘comic relief’ character The Flash just comes across as annoyingly two-dimensional.

Of course, the studio should have stuck to its guns and completed Snyder’s vision. But they can’t take all of the blame. The real blame lies with the Internet fanboys. You complained that this Superman was too brooding, BvS was too solemn, you wanted DC to be more like Marvel. Well, here you go. This is what you get. Happy now? You ruined it.

Ironically, the film shares a lot of the same problems most of the Marvel movies have, in particular Whedon’s own Age of Ultron; a plot so basic you could write on the back of a postage stamp, an undeveloped villain and CGI so dreadful it looks like an advert from an Xbox game circa 2004. The whole thing looks and feels like a live action cartoon. Because of this it’s all just really silly and unengaging. The villain (a CGI piece of shit called Steppenwolf) never seems like a threat and is rendered so badly that he’s more likely to perplex and dishearten audiences than terrify them. Despite the fact that apparently thje worlds greatest heroes must unite to stop this unrelenting force, there’s never any sense of danger or threat. The real villains of the piece are the producers, who I felt more anger and hatred towards throughout than I did towards the lacklustre Steppenwolf.

Snyder may be a divisive director but I’ve always enjoyed his output, as he tends to make films with big ideas, messages and themes. Justice League has none of that. It’s a very basic film aimed at thick kids. Snyder has never sank this low before. While he works mostly in comic book worlds he has always made the films relevant, interesting and deep enough for adult audiences. JL is also very much missing his talent for visuals and set pieces. Despite what you may think of BvS there were some truly stand out and iconic scenes. Not so here. There is very little that is striking, impressive or memorable.

If I was Snyder I would be petitioning for the studio to take my name off of this thing. I wouldn’t want any association with it. As for Affleck, I’m a big fan of his take on Batman. Before the film was released there were rumours that he may be trying to leave the role at the earliest opportunity. I was disheartened by this, but after sitting through Justice League I’m with him. Get out now Ben, you’re better than this!

So you thought Man of Steel and Batman v Superman were depressing? Well, this is really depressing. For a completely different set of reasons. Hopes were high after the success of Wonder Woman. My faith in the DCEU and superhero movies in general is now at an all time low. I can’t defend this…

INTERVIEW: Priest & Cowan on Deathstroke and Real World Violence

SPOILER WARNING: The following interview contains spoilers for “Deathstroke” #11, in stores now.

All these months later, and storied DC Comics characters are still lining up for their respective debuts in the publisher’s Rebirth reality. This week sees the reemergence of that jaundiced, feral freak, The Creeper, along with his Fourth Estate alter ego, Jack Ryder. To make the return all the more odd, it takes place in the pages of “Deathstroke #11,” by Christopher Priest and guest artists Denys Cowan and Bill Sienkiewicz.

Priest and company have hardly taken the typical approach to Slade Wilson or his terminations with this series, opting instead for something just as violent, but far more introspective. That’s especially evident with this latest issue, a frank examination of gun violence and vendetta–not in Gotham or Metropolis, but real world Chicago. When multiple perpetrators of gang murder turn up dead themselves, journalists flock to cover the story of a potential serial killer. Is this justice, or the kind of “eye-for-an-eye” vigilantism that only feeds the cycle of violence? Perhaps an assassin with an eye-patch may prove the best testimony.

CBR: Chicken and egg question: Did Deathstroke #11 start with the outline, or the knowledge that Denys and Bill would be the art team?

Art from “Deathstroke” #11

Christopher Priest: The issue began as an inventory story, which is an issue we prepare and hold in case there are production or scheduling problems with the book. I wanted to do an anti-violence story and thought, what better place to do an anti-violence story than Deathstroke — a book that all but glorifies violence. As I see it, my run does not glorify violence so much as it examines the consequences of violence and the effect living this lifestyle has on this man Slade Wilson. I thought a stand-alone inventory issue would be a great platform to make a more forward-leaning statement about those consequences.

At the time of commissioning, there were many stories about the rising toll of shootings in Chicago, with 2016 being a record-breaking year in terms of gun violence and homicides. I thought this tragic situation would make an appropriate platform for my story, and discussed it initially with film director and producer Reginald Hudlin (“D’Jango Unchained,” “2016 Academy Awards®,” “Marshal”), who is now a principal in Milestone Media Inc. I invited Reginald to co-write the issue, but he was busy at the time directing the upcoming biopic “Marshal.” He did share his views on the culture of violence—including Hollywood’s role in it—and suggested my story might work as an urban spin on the classic western “A Fistful of Dollars,” wherein the beleaguered townsfolk hire the gunslinger Clint Eastwood to resolve their problems by means of violence. “Dollars” is a cautionary tale and an anti-violence statement in its own right, and Reginald’s suggestion provided the direction I ultimately pursued.

I thought the story would be a great fit for Milestone Media in its renewed relationship with DC Comics, and had hoped for a mini Milestone reunion by inviting Reginald and Milestone co-creator Denys Cowan to join me. I was incredibly pleased when Denys said yes and worked the “Deathstroke” story into his busy schedule. Denys then brought along our longtime friend Bill Sienkiewicz as well as longtime Cowan letterer Willie Schubert (“The Question,” “Legends of The Dark Knight,” “Lone Wolf & Cub”).

Was there ever any resistance to this story?

Priest: DC has been unqualified in their support of this story. I was actually prepared for a fight and kind of expected the story to get dumped somewhere along the approvals process, but both Bob Harras and DC Publisher Dan DiDio were extremely supportive, making me feel a little like a dope for, essentially, doing to the company what I’d experienced for so long — making assumptions along cultural lines. I kind of owe the company an apology for my having suited up for a fight that never happened.

Art from “Deathstroke” #11

Obviously, every project is different, with its own mood and pace. Denys, were there any particular challenges when putting pencil to paper on this one? Anything you wanted to try?

Denys Cowan: The challenge of this story was to try to convey the city of Chicago and the people who live there, because the city is as much of a character in this story as Deathstroke is. I tried my best to show this… and with the excellent story by Priest and the inks by Sienkiewicz, I’m very happy with the way this issue came out.

I don’t imagine this applies to anyone on this call, myself included, but there are those who don’t want politics to infringe on the escapism of their comics reading experience. What’s your take on that?

Priest: Read other comics. [Laughs] The way I see it, there are so many choices these days and so many genres from both major and indy publishers, that there should be room for a myriad of approaches. You know, once there was a Cary Bates approach and a Denny O’Neil approach, with Chris Claremont emerging as a kind of amalgam of the two: the high-energy larger-than-life superhero action but character-driven and grounded in reality.

DC films are very much grounded in reality, while the main grouping of their superhero comic books tend to read more like animated series in terms of their heightened reality and high-octane action. Everything is really loud and really bright and occasionally silly, with colorful villains like Abra Kadabra and so forth. But The Dark Knight was so good, it actually worked without the costumes. I mean, if Bruce Wayne had been a Bond-style vigilante rather than Batman, that movie would have still worked.

If I were writing Justice League, the book would probably not be something DC fans would want to read because it would be far less larger than life and would echo life as we know it. I mean, what if there really were a self-appointed group of godlike people “protecting” us? How would the world respond to these people? My JL book would examine the real-world conflicts, challenges and consequences and be less concerned about the next galactic menace the heroes would have to fight.

Art from “Deathstroke” #11

This isn’t to criticize writers who write the bang-zoom stuff; these are very talented people doing a great job. But I, personally, don’t read those comics unless I have to for research because they don’t appeal to me, and nobody is writing “JLA: The Real World,” which would appeal to me. It’s also possible I am simply not the audience for mainstream superhero comics because so much of it is just too cranked and too loud for me. I want the real world—or as close to it as I can get—and then pop the heroes into it.

Cowan: This isn’t a political issue to me. Gun violence is a human problem. We deal with this subject in the context of a thriller type story.

Still others might ask why Deathstroke the Terminator is the right guy to relay questions about the cycle of violence in the real world. Do you think audience perception of Slade is a hurdle or an advantage in telling a really charged, meaningful story?

Priest: I think only Nixon could go to China. If DC is going to do an anti-violence story, it really has to take place in “Deathstroke” in order to have real credibility. You had to send the most staunch anti-Communist crusader to talk to Mao in order for any agreement to be trusted by both sides.

I went into this one cold. In fact, I read this digitally without having seen the cover. So when the Creeper shows up, it was maybe the last cameo I expected to see. It’s almost a shame most other readers will have already seen him on the cover. How did the Creeper become part of the equation?

Priest: For this story, I wanted Deathstroke to be portrayed, more or less, as a force of nature. He has very few lines. The story is told by a point of view character. I thought that POV character should ideally be a reporter; someone who could ask questions. I did not want to the book to preach to the readers “Violence Is Bad!” I wanted to preach a good sermon. A good sermon is like a good court summation: tell a story, ask pointed questions, which lead the hearer to draw their own conclusion.

I initially wanted Lois Lane, but there was so much going on in the Superverse that we looked elsewhere. When Jack Ryder came across my desk, I felt Ryder — a former Jerry Springer-type — would be perfect. The story is built around Ryder however, as it developed, it became obvious that if we have Ryder in the book, readers would expect The Creeper to make an appearance.

I actually did not want Creeper on the cover, but this is the first post-Rebirth appearance of the character, so it made sense that DC would want to play that up. Hopefully, the way the book is written, most readers will have all but forgotten about The Creeper until he makes his entrance. I think it still works.

What’s important to you right now, as storytellers in, let’s call it 2017? What do you personally want to explore or say or ask? What do you want to get out of it?

Art from “Deathstroke” #11

Cowan: As a storyteller in this medium, I’ve always tried to explore the human experience using extraordinary superheros to entertain and reach people. It’s just as or maybe more important in 2017 to continue to do that.

Priest: I’m still trying to decide if I’m having a good time or not, and how long I’ll be writing comics. It’s a lot of hard work, and there’s this big team the editor has to corral, like herding cats. I worry that I’m really not in sync with what is popular and what sells these days, which is probably why I am not offered leading, or A-List titles. A friend told me last week, “Dude, that [Denny O’Neil] era is over.” Man, I really hope not. I loved Cary Bates’ Superman and Flash, But Denny took Superman and grounded him in reality — got rid of Kryptonite and de-powered him, then wrote him introspectively. It should not be zero sum. Grant Morrison’s “JLA” was certainly larger than life and sold a gajillion copies, obliterating my “Justice League Task Force.” So, do I still belong here? I guess that’s for the readers to decide.

I’d like to be writing novels and exploring other creative avenues. As of this writing, there are lots of possibilities and I’m really kind of shocked that so many people have approached me to work with them. It’ll likely be at least another month or so before I know for sure what 2017 looks like.

Art from “Deathstroke” #11

The post INTERVIEW: Priest & Cowan on Deathstroke and Real World Violence appeared first on CBR.com.

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