Sup Nerds! Following on from last week’s list of famous Cosplayers, which got a bit of discussion started on the page, which is always good I have my Top 5 Local Cosplayers. Some of these lovely people, I’ve met through our marts, and have built great friendships with. You will also get the chance to meet this lot of maverick renegades, today if you stop by Walkabout for our always awesome Comic Mart/ Pub Quiz/ Cosplay Competition and Karaoke. I’ll also leave links to their pages if they have one so you can go leave them some love from us here at the BGCP So let’s get started!
5. Harley Kim – Kim is one of the many people I met at MCM Scotland last year when I had just started on the page. She has put in some amazing work on her costumes which include Black Canary, Psylock and of course Harley Quinn. This lovely lady will be judging our cosplay competition alongside some others on this list
4. Lee Robertson – This fellow admin, to the page has, cosplayed as Spidey a good number of times to help flyer for our marts, and we love him for it. Also a fantastic artist who usually has a table at our marts, so if you see him either today or tomorrow, be sure to drop by and take a look at his amazing sketches
3. Gemma Wilson – Another friend and judge of tonight’s cosplay competition, this hilarious and mental mummy, has cosplayed both Hit Girl and the Baroness from G.I. JOE. It’s always a good laugh too meet Gemma and is someone who can quote Adventure Times Lumpy Space Princess brilliantly
2. Keith Brown – Our resident foam wizard, seriously, you ask this guy to make something, good chance he could whip it up accurately purely from foam camping mats He has made his storm trooper, Iron Man and also his amazing space marine armour from foam and tonight he has mysterious new costume that he is keeping under wraps
1. Mike Lawson – Mike is one of the coolest guys I know and is super creative in his art form. I first met him at MCM Scotland last year when he was cosplaying as G1 Optimus Prime, which was amazing by the way . He’s always a good guy to get tips and tricks on how to make costumes or even styling the paint work. His recent cosplays include Dredd, Ash from Evil Dead series and another new cosplay he’s throwing together for today’s shenanigans
Hope you enjoyed this week’s list, and remember to drop by and meet these legends in person today at our Hootenanny happening all weekend @ Walkabout
- Next Week: Top 5 Batman moments-
Welcome to Devil Talk, an ongoing perusal into the life and times of everyone’s favourite superhero with pointy bits on his mask, Daredevil! And since this is a Daredevil column, it’s about time we talked about Frank Miller. Miller’s run on the title as a writer and artist had an incredible impact on the series, and elements from his stories are still being felt decades later. The ill-fated 2003 movie was heavily based on Miller’s work, and it seems reasonable to assume that any future media will follow suit. Let’s have another look at Frank Miller’s time with Daredevil, to see why his run proved to be so influential. Strap in…
Initially, Frank Miller was only hired as an artist, starting with issue #158 in 1979 and working with writer Roger McKenzie. In the preceding years, the title had never really escaped Spider-Man’s shadow, and although sales had been consistent enough that it had never been cancelled, things weren’t looking good for our hero in red. Miller’s art was a hit with fans, though, and was soon hired to write the series as well as draw it. Miller shook things up considerably with his first scripted issue (#168, in 1981) featuring the introduction of Elektra.
It was a bold move. Elektra herself was a classic femme fatale, and fans loved her. Significantly, though, Miller demonstrated that he was more than willing to mess with Matt Murdock’s history, by revealing that Matt had met Elektra while they were both at college, and that she was his first love. That’s quite an audacious revelation, considering we’d never heard of this Elektra character before now. It worked, though, because Elektra was such a cool addition to the book. It wouldn’t be the first time Miller would delve into Murdock’s past.
After that, Miller continued to give new shape to Daredevil’s world. For one thing, the violence was ramped up considerably. Goons caught up in gangland wars were killing each other in cold blood. Elektra was a bounty hunter, but also an assassin. Miller didn’t create Bullseye, one of DD’s most dangerous foes, but under his pen Bullseye became truly psychotic, murdering civilians on a whim. Daredevil himself would often give into violent rages, and even be tempted to kill. Miller’s vision for the title was like early Martin Scorsese crossed with schlocky martial arts flicks. It all felt a world away from the carefree Daredevil of the sixties. At his best Miller was adept at running several storylines at once, allowing the plot to slowly reach boiling point. Daredevil, Elektra, the Kingpin, Daily Bugle reporter Ben Urich… all the characters in DD’s world, becoming ever more entangled, the danger growing with each issue.
Miller continued to tamper with Daredevil’s origins. He introduced the character of Stick, a crotchety old man who also happens to be a powerful ninja, with all of Daredevil’s superhuman radar senses. It’s revealed to us that Stick helped young Matt Murdock control his newfound powers after being hit by the radioactive canister that took his sight. To fiddle with the origin Stan Lee invented for Daredevil took a lot of guts, but Miller is just adding to the origin story, not changing it completely. Comics retell the origins of their heroes all the time, but Miller gave Daredevil’s origin a shade of psychological depth it didn’t have before. Young Matt’s anger at being pressured by his father into studying, while at the same time being bullied for being a bookworm, was there in the very first issue in 1964. Miller took things a step further, by telling us Matt actually gave into his anger and fought the bullies, and it felt great. Later, when Matt tells his father what happened, his father is furious that Matt disobeyed him, and hits him. His father feels guilty immediately, but Matt flees, and realises his dad can be wrong too. If his dad can be wrong, anyone can.
Marvel Comics have always had plenty of melodrama and hand-wringing, with characters dropping to their knees and yelling, “Curse you, God, for making me this way!” at any given moment. Deep psychological insight, though, was pretty rare. It’s no ones fault, really; back in the sixties and early seventies superhero comics were geared exclusively towards kids, maybe some college students. By the eighties, though, the Marvel Age of comics was growing up. Miller’s Daredevil pre-dates the likes of Watchmen and Miller’s own Batman: The Dark Knight Returns. Both books were a kind of watershed moment, when comics started to be taken seriously. In the same year as DKR, Miller also returned to Daredevil, for possibly his finest DD tale, Born Again.
Miller’s previous Daredevil stories were grim and gritty, but they also had cool ninjas. Born Again was a different beast altogether. The story sees Karen Page, Matt Murdock’s old girlfriend, returning after a long absence. She tried to make it as an actress in LA, but has hit rock bottom, addicted to heroin and known only for her ‘stag films.’ Desperate, she sells the only thing she has of value: Daredevil’s true identity. The information makes it’s way to the Kingpin himself, who uses it to destroy Matt Murdock’s life, and eventually his sanity.
When Miller killed off Elektra in his previous run, at the height of her popularity, he portrayed Matt as being tormented by her death, even going so far as to exhume her body in the crazed belief she wasn’t really dead. The title’s supporting cast, like Foggy Nelson, would remark that Matt had changed, had become unhinged. In Born Again, Murdock is pushed to breaking point. Seriously, even if you hate Frank Miller, read Born Again. There’s far too much going on in it to discuss fully here. It’s the culmination of everything Miller did for the title, and it’s impact is still felt today.
In a way, this is Frank Miller’s real legacy on the book. Matt Murdock would never be the carefree swashbuckler he was in the early days. He would always be someone frighteningly close to the edge of sanity. Even in his lighter moments, it always seems like it’s just the calm in the storm, and that he could lose himself again at any moment. After Miller, Daredevil’s world was a much darker place.
What do you think of Frank Miller’s run on Daredevil? What do you think about Miller’s other work too? Comments always appreciated!
Last time, I finally made some inroads into the vast Mobile Suit Gundam anime franchise by watching the very solid war yarn, Stardust Memory. On the back of that, I thought I’d try to strike while the iron was hot and follow it up with another Gundam series I’d been recommended; 1989’s six-parter, War in the Pocket. What I got was certainly not what I had expected.
Set during the same time period as the very first tv run, Gundam 0080: War in the Pocket takes place in the closing days of war between Earth and the off-world colonists of Zeon. Victory for the Earth Federation seems virtually assured, leading Zeon to ever more desperate measures. On the neutral Side-6 space colony however, war is largely something happening to other people, until the conflict suddenly erupts into the heart of their main city. The arrival of battle mechs is a dream come true to the town’s bored, war obsessed schoolboys, but for boastful amateur photographer Alfred, a rude awakening is just around the corner.
Being the first Gundam series produced without original creator, Yoshiyuki Tomino, what struck me most about War in the Pocket is how much it differs from the usual Gundam formula. Stardust Memory is the closest I’ve yet seen to what I would want from the franchise’s typical, politic-heavy action serial format, but War in the Pocket succeeds by offering something completely different.
As the children of World War Two reached middle age, a definite trend emerged in anime of the late 1980s for exploring a child’s view of conflict. Action-dramas Venus Wars and Akira dealt with the teenagers just old enough to be co-opted into fighting, while the melancholic likes of Barefoot Gen and notorious weepie Grave of the Fireflies followed the children displaced by a conflict they had no say in.
War in the Pocket sits somewhere between the two camps, starting out like a Boy’s Own adventure story, as Alfred amuses himself by trying to spy on the adults, taking pictures of a downed mobile suit and eventually latching on to the group of Zeon guerillas charged with destroying Earth’s new model Gundam mech being secretly trialed on the colony. As the story escalates, however, the spirit of adventure is abruptly crushed. The Zeons’ bungle their attempt to steal the Gundam and a bloody battle leaves most of their men dead or dying while Alfred looks on from the sidelines.
One of the typical complaints I have about Gundam in general is its casts of uninteresting or obnoxious characters, but I honestly think this series was more successful in making me care about its players in six episodes, than many others have been in dozens. Indeed, this is an intensely personal series, concentrating less on the wider events than on the loss of innocence for those caught up in the war. Not only Alfred, but also his new-found friend Bernard, a rookie Zeon pilot dragged into the sabotage mission, and Alfred’s neighbour Christina, a Federation soldier. As Alfred becomes increasingly distant from his separated parents, he finds surrogate older siblings in Bernie and Chris, but with them on opposing sides of the conflict, a catastrophic outcome seems inevitable.
Visually, I feel the series has not aged as well as Stardust Memory, despite predating it by only a couple of years. In part, this is probably down to my dislike of Haruhiko Mikimoto’s hyper delicate, doe-eyed character designs, which I think don’t often transfer well to animation, but even the pale, watery colour palette feels strangely tired (maybe it’s just a bad transfer). This aside, the animation itself is reliably smooth and well directed, boasting some very impressive action scenes and a memorably eerie sequence in which Alfred has a nightmare about a nuclear explosion in the colony. The music is also a bit on the treacly side, although this actually does add to the weirdly dreamlike atmosphere present throughout.
Despite being released as part of a tenth anniversary celebration of the franchise, War in the Pocket is such a departure from the norm that it’s difficult to say who exactly it was aimed at. With a few careful changes, it could easily exist entirely outwith the Gundam universe. For that reason, I would hesitate to recommend it as introduction to the wider series, yet, taken in isolation, I think it’s undoubtedly a hidden gem in the Gundam crown. It may not have the raw emotional punch seen in Grave of the Fireflies, but it’s a clever and quietly affecting piece of storytelling that deserves a far broader audience than it seems to get
The series was never released in the UK, but somehow made it to tv in the US (complete with a rather excellent English dub) and is available on R1 DVD. Unfortunately, Amazon sellers are now in full-on price gouge mode for the discs, so be prepared to hunt around for a better deal.
Good evening folks.
This week I was forced to confront an unsettling truth, something that I’ve suspected for some time but can no longer deny. The truth is, good readers, that I have lost interest in Marvel Comics - or their current direction, at least.
This was brought home to me by my reaction to last week’s big news stories about the changes to Captain America, Thor and Iron Man. If I’d been told ten years ago that Falcon was the new Captain America, that Thor was going to be replaced by a woman or that Tony Stark was going down a more confrontational path, I’d probably have been camping outside my local comic shop waiting for the doors to open. Instead my response was to shrug my shoulders and wonder what was for tea.
As a Marvel reader for 25 years it’s a strange feeling to realise that I’m so disconnected from where the line is heading, but it’s definitely the case. Only a few years ago I used to visit comic news sites on a daily basis so that I could read the solicitations the instant they came out. Nowadays, I have a quick skim through the solicits and spend more time on the TPB section in search of interesting older stories being reprinted. Some years ago I switched to TPBs but my pull list slowly dwindled, until only Superior Spider-man was left. Now, with the return of Peter Parker and the reintroduction of Amazing Spider-man, I’m debating whether I should continue with that or cut things off entirely.
There’s no denying that Marvel produces some fantastic titles, and what I’ve seen of new titles such as Ms Marvel and She Hulk has been enjoyable, but I’m just so disillusioned with the overall direction of the line and all the hoopla that goes along with it. The constant stream of line-wide events leading into the next one; the continual spoiling of upcoming events, either through solicits, interviews or by pandering to a media that most of the time really doesn’t care; the interminable storylines by writers who seem more interested in world building than crafting a coherent, entertaining story line. Most jarring of all is that I don’t know who some of these characters are anymore, with many acting in a way that’s increasingly at odds with my vision of who they are and what they stand for.
This isn’t meant as a grumpy old fan rant where I stand on a street corner and decry anyone foolish enough to read Marvel Comics. If you’re still enjoying them then that’s fantastic and I’m glad it works for you. I suppose it’s almost justifying to myself why I’m inclined to stop, as after so many years it really does feel like I’m abandoning an old friend. In the space of five years I’ve gone from teaching an evening class on Marvel Comics to contemplating dropping the entire line, and that brings home to me what a big change this would be.
Does anyone else feel like this, or are you happy with the way things are progressing at the House of Ideas? Sound off in the comments below!
The Neil 52: Week 4
Hello and welcome to this weeks instalment of my year long reading challenge where I tackle story arcs from different titles. Be it in trade form or single issue, drop me a line with any suggestions you would like me to tackle.
Back in the 90’s the antihero was king. Image was on the rise with books such as Spawn, Savage Dragon, Youngblood and WildC.A.T.s. The big two were pushing books such as Lobo, Nomad and Catwoman.
Marvel had it’s own trinity of antiheroes in Wolverine, Punisher and Ghost Rider. All three were riding high on the wave of popularity of darker toned books. Each one represented different areas of the Marvel Universe. Wolverine covered the superhero/mutant group, Punisher is a street level character and Ghost Rider represented the mystical/occult corner.
It is these three characters coming together in 1991 that I’m going to take a look at today…
Ghost Rider/Wolverine/Punisher: Hearts of Darkness
Words: Howard Mackie
Pencils: John Romita Jnr
Inks: Klaus Janson
Colours: John Wellington
Issues Covered: 48 Page One Shot
Like all good things this book begins with a satanic cult sacrificing a young girl on an altar…hold on a minute…I mean bad things! This ritual introduces us to the villain of the piece, Blackheart. If you don’t know the character you are probably more familiar with his father, Mephisto, who is essentially Marvel’s version of the devil.
Straight off the bat we are given the motivations of Blackheart. Fed up with his life in hell that he must endure because of his father, he has come to the human world to corrupt three souls in order to assassinate his father. Now can you guess what three souls he has in mind?
Three men, three letters, all drawn to the small town of Christ’s Crown. A town that exudes Middle American charm and values, now resident to three men that are the antithesis of those values.
The book progresses pretty much as you would expect. Blackheart attempts to coerce each hero to his cause, he shows them visions of their greatest desires in order to tempt then but all three day no. So naturally Blackheart takes the hump and kidnaps the little girl of the owner of the guesthouse that all three heroes just happen to be staying at. Convenient eh?
Well our three heroes act accordingly, save the girl and go kick Blackheart back to hell where he belongs.
To be fair it’s pretty formulaic stuff. What raises it above what could be seen as an attempt to cash in on the popularity of the three main protagonists is Mackie’s writing.
In 1991 Howard Mackie was building his own Ghost Rider mythos with the monthly book and the character had never been as popular than in that era. He had a great handle on the characters voice and motivations. There was always a great balance between Dan Ketch and Ghost Rider. Because of this, Hearts of Darkness feels like a Ghost Rider book with Wolverine and Punisher as guest stars. I am a Ghost Rider fan (I have a complete run from the 1990 series to the current incarnation) so I don’t have a problem with this.
Mackie has never been a subtle writer and true to form he hammers home the books themes. He is trying to explore the nature of heroism, where the line between good and evil is and when is it acceptable to cross it…a lot of ‘dark side of the soul’ stuff. The book skirts that fine line between being a fun read and being too heavy handed on a few occasions. I do love Frank Castle’s speech as he obliterates Blackheart.
My main problem with the story is that the book is too short. The prestige one shot format does give enough space for the story to unfold but it is essentially just two issues worth of material. I feel that if this had been give at least a four issue mini series then so much more could have been done with it. That being said it is still one of my favourite Ghost Rider stories of the 90’s.
Marmite, you either love it or hate it. The same can be said about the art of John Romita Jnr. Here he comes fresh off his run on Daredevil and, while he had experience of both Wolverine and Punisher, this was his first crack at Ghost Rider. I think he does a great job, but then again I am a Romita fan. His character work is fantastic, each of the three heroes ooze charisma and Blackheart is a Lovecraftian nightmare.
One page in particular stands out, the transformation from Ketch to Ghost Rider. Each panel is another stage in the transformation, capturing the visceral horror of flesh melting from bone.
Sure, I may be viewing this book through the rose tinted glasses of nostalgia. I was the demographic when it was released after all. I still feel it holds up today as it represents what was good about the the 90’s and doesn’t fall foul of many of that eras failings. It’s a dark toned book from the ‘dark era’ of comic books but it still manages to entertain.
Catch you all next week for another instalment of The Neil 52.
Keep it BGCP!
No More Heroes”
Written: Gordon McLean
Artwork: Caio Oliveira
Lettering: Kel Nuttal
No More Heroes is an absolute joy to behold. An intriguing and enthralling “who dunnit?” set in a world where heroes and villains are part of everyday life. It was originally released as a self published 4 issue release and was only available to buy online through their website. It was the professional comic debut for both Gordon and Caio, but in the best possible way, it does not feel like a first outing, as the quality is higher than Charlie Sheen on his day off.
The story begins with our hapless protagonist, Sid Millar, an average guy who is thrust in to a world that is anything but. One drunken night while hanging out with friends, Sid receives a text message from an anonymous number asking, “Should I kill myself?” After establishing that none of his friends are responsible for sending the message, Sid is coerced into responding “Yes”. This may have been the biggest mistake of his life as the following day he finds out his actions may have caused the death of supreme crime fighter, “Dark Justice”.
The problem is compounded when Dark Justice’s former partner/sidekick “Black Fury” , turns up looking for answers and forces the guilt ridden Sid into helping him figure out what happened and who is responsible. As Sid becomes embroiled deeper and deeper into the investigation, things get serious real quick. With exciting twists and turns in the story and a cast of crazy characters including a guy who can rip off any appendage (yeah including that one) and use it is a weapon and a villain named Jack Slaughter who wouldn’t think twice about blowing up zoo animals with a Rocket Launcher (honestly…it does happen), you will not be disappointed after reading this.
Although the art is in black and white, the characters colourful personalities really bring this story to life. Like that dodgy Channel Five programme of years ago, the artwork is “bold and beautiful” and expertly captures the characters expressions and frenetic action sequences throughout this exciting 4 parter.
Gordon McLean states that he was inspired to write “No More Heroes” after having heard Mark Millar, Frank Quietly and co at a comic convention talk about how awesome it was to work on creator-owned titles, as it gave them the freedom to write what they wanted. Directly following this, on the train journey home no less, Mclean wrote the script for #1 of “No More Heroes”.
The connection with Mark Millar did not end there as he was first contacted by Caio Oliveira through the Millarworld forum and we should all be glad that these guys got together to give us such an interesting and fresh take on the usual superhero stories we are exposed to.
At the start of it all “No More Heroes” was funded with McLean’s redundancy money after losing his job, as well as the money he got from selling his Playstation games; now that’s a serious sacrifice for us geeks so my heart went out to the guy when I discovered he had lost money from a lot of potential sales after “No More Heroes” was uploaded to the web as a torrent file and was downloaded by 1600 plus readers. Rather than sit and stew about this McLean used it in a press release to show that his comic had gained download figures comparable to Kirkman’s “The Walking Dead”, now that’s a big deal when you think about the popularity of this comic Titan.
Anyway, just thought I’d include this as it was pretty inspiring stuff for any potential writers and artists out there.
“No More Heroes” is the real deal, please seek this out and read it as soon as you can…but do me a favour, give the guy some of your hard earned money for his efforts.
We are proud and excited to announce that the man himself, Gordon McLean, will be at our very own BGCP comic mart “Bruce Wayne’s Annual Hootenanny” at Walkabout in Glasgow on 19th and 20th July and has had a limited run of “No More Heroes” printed for sale. If you want to get your hands on one of these little beauties, you had better be quick.
Until next time
ONLY TWO MORE DAYS GUYS!!!!
Comics, Art, Jewellery, Cosplay, Cakes, Beer, Music, Pub Quiz, Karaoke, Cosplay Competition, Artists vs Artists, Dancing, Camera Crews, Podcasts, Batman’s Birthday, BGCP’s Birthday, Conga Lines, Musical Statues and Cards against Humanity.
What’s not happening this weekend?
Carrying on from my last review, this week’s Pip’s Pick (which is a little later than usual, my apologies) is, of course, The Umbrella Academy: Dallas. At this point in my writings, it’s pretty obvious I love the writing of Gerard Way in any shape or form - the guy is talented, and that’s something that even his haters tend to find hard to argue with.
The Umbrella Academy: Dallas was the much anticipated sequel to The Umbrella Academy: Apocalypse Suite, and in fact takes of from almost exactly where the audience left off at. Spaceboy, the half-human half-space monkey is not morbidly obese and depressed, leaving his brother, the Kraken, to more or less take over leadership duties. Rumor, having had her throat cut in the previous volume, has lost her powers and holds a grudge against her sister, Vanya, the White Violin, now paralysed in a hospital bed after the events of the Apocalypse.
Without giving too much away, Dallas is most definitely the best of the two Umbrella Academy series’ that have been released so far in my opinion. We have the introduction of the most fantastic and strange, psychotic, time-traveling serial killers who arrive to kill The Boy (or, as many call him, Number 5). We see an array of situations and incidents occur, including the death of one of the Academy, time travel, Godly intervention, the Vietnam war, ghostly possession, and the assassination of JFK. Needless to say, this is one mini-series that keeps you on your toes.
What I love about The Umbrella Academy in general is that you never know what to expect next. No matter how many times I re-read the volumes I manage to pick out bits I missed the previous times. However, as I said before, Dallas seems to be the most interesting story from the series to date. Along with brilliant and bright visuals from artist Gabriel Ba, the story springs up at from from the page. Way’s writing and insane ideas come across as something that shouldn’t work, but does work in the best way possible. The characters leave you loving or hating them, and the dialogue is both comical, charismatic and intellectual.
The Umbrella Academy: Dallas is not one of those comic books that leave you after reading - it’s a story you want to go back to, one that you need more of. Luckily, Gerard Way has confirmed that he is working on the third volume, interestingly titled The Umbrella Academy: Hotel Oblivion, as well as hinting at a proposed fourth series. Let’s just hope it doesn’t take too long, what with Way’s current involvement with Spider-Man and a new story with Vertigo on the books.
Or, at least, Avengers Soon-ish. This image shows Marvel’s plans for the Avengers in the not too distant future. From left to right – The Winter Soldier, Medusa, Angela, Scarlet Witch, Thor, The Superior Iron Man, Captain America (aka Sam Wilson, The Falcon), Doctor Strange, Inferno, Dethlok and Ant-Man.
Yup. Not a typo – “The Superior Iron Man.” Looks like oor Tony is either getting an upgrade or (more likely) being replaced. Arno Stark? Hmmmm… Could be! The “Big Three” of the Avengers sure do seem to be going through some changes. The Odinson, no longer worthy of wielding Mjolinr, being replaced (looks like we can completely rule out Angela as his replacement) and poor ol’ Cap (Steve Rogers that is) picking up his bus pass. I know it won’t stick, but it’ll be interesting to see where they go with all of this.
Going by the line-up, the House of Ideas appears to be pushing a lot of characters who will be gracing the silver screen (and the telly). Bucky? Just appeared in ‘Captain America: The Winter Soldier’. Scarlet Witch? About to appear in ‘Avengers: Age of Ultron’. Captain America/The Falcon? We just saw him steal the show in Cap 2. Doc Strange? Marvel recently announced a solo film for the good doctor (YASS!). Dethlok appeared on ‘Agents of S.H.I.E.L.D.’ and Ant-Man will have his name in lights next year (we’ll wait and see how that one turns out with all’a the upheaval surrounding Mr Lang’s solo outing).
Also worth mentioning is the prominence of a couple of Inhumans in the picture. A classic (Medusa, Queen of the Royal Family of Attilan) and a more recent addition to the ranks, Inferno. Looks like Marvel are really pushing their X-Men alternatives. Might we be seeing an Inhumans films in the near future? I certainly hope so.
So, what do we think? Happy to see the impact of film and television on our favourite funny books? Or would you rather that they were kept separate? Sound off in the comments below, y’all!