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However, only the most virginal of comics readers will be incapable of filling in the gaps in case a delay in publication does occur--by the time the comic gets around to describing its lead character as a "tragic, paranoid husk of a man" that "used to be the best detective in the whole department" for the benefit of a couple of non-speaking cops that were probably added right before publication, when this comic's unlisted editor realized that Darick had forgotten to include an audience for that lead balloon of exposition That is of course, if you make it through the part where Morrison attempts to pull off writing profanity, which he's only marginally worse at than he is at trying to write the ending to a story.

The end of this comic is, ultimately, where you find out what it's going to be about: a grizzled ex-cop and his concussion-based hallucinatory friend. Or it's about a grizzled ex-cop and an actual flying cartoon pony the size of a coffee mug only he can see. And travails. There's some of those in it as well.

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Hairless asses and inhuman facial expressions abound, with entrails as ties. There's even a dog getting raped, which might be a first. There's probably a chart somewhere that lists all that stuff. Even when the lead is a tiny little girl, the fantasy being played out is that of a obsessive fanboy, convinced the world is still against him, and his most fervent fantasies is that he could pull a page directly from Frank Miller's Dark Knight Returns and hang his tormentors of yesteryear over a rooftop.

You can't fault Mark Millar for wanting to make money, but it would be nice if he didn't go about it in so craven a fashion.

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The curtains at the back of the video store aren't up for your privacy. It's because the rest of us don't want to know what gets you off. And the way things are nowadays, the randy sort of content that Fury provides--hardcore violence, nudity, and language--can be touch and go, and in keeping with the prescription of behavior explicated in Darryl Ayo's recent post, entitled " Comics criticism, or whatever ", we here at Comics Of The Weak thought it would be best to reach out to someone whose flesh runs hot with due to the coursing fire of Cuban blood, as this comic's story takes place amidst that land's fabled shores.

Michel Fiffe--a Brooklyn-based cartoonist responsible for titles like Zegas and Deathzone --was able to carve time out of his schedule to sit down and touch upon the subject of Cuba, violence, and " la revolutionary! First things first: as a Cuban immigrant, do you find the portrayal of your people by Garth Ennis to be an accurate one?

How about the way Goran Parlov draws the people of the Cuban isle—do you find yourself thinking: ah, yes, they could be my sisters and brothers! Michel Fiffe: Not if Joey Q has anything to say about it.


Quesada, and other high ranking Cubans Cameron Diaz, Andy Garcia , the singer from Ministry , aren't allowed to express sympathy for what the Left describes as a glorious takeover. Parlov, too! He clearly used my family photo album as ref. TCJ: Well, first things first: does the violence in this comic upset you? Do you feel that "la revolutiony" has been depicted with the proper amount of respect? Is this the way the land was won, through "violencia" and "torturia"? I don't know how to make that upside down exclamation point I'm sorry!! Fiffe: 1 No, it's a MAX comic.

How else are you gonna wring control of a nation with your bare hands? Now, the only "torturia" in reading comics about Cuba is sitting through all the crying the characters', not mine. Fury Max had no tears, not even when the Cuban soldier gets his face chewed off and the other guy gets his balls stabbed. TCJ: Okay, so first things first. Now, knowing that hot blood runs through your people's veins, do you find yourself more attracted as a man to Nick Fury because he so best represents the masculine ideal of a statue like Michelangelo or other classics or does your loyalty to your family-of-origin run so deep that you turn from him, embracing the evils of the godless communists he faces?

Fiffe: As a hot blooded immigrant, I can safely say that I want to murder you for trying to make me admit that I'm attracted to comic book characters. You're wrong on both counts, anyway. TCJ: I am sorry for being rude, does it make you mad, me calling your people godless communists?

Fiffe: What's the problem here? I don't see the problem. Except maybe your tone which, frankly, could stand to use some vice-type disciplining. Interstellar Mugshot? It looks like a rejected recruitment poster for the Marines. I get very uneasy when I read these recent criticisms of Lord Morrison. I hope that was supposed to be sarcastic. In the same way that his Animal Man was a reaction to the adult comic trends of the eighties, Happy is a reaction to the sort of crap that Mark Millar, Garth Ennis et al have been churning out for the last few years.

Has he said anything about this? I thought of Millar when I saw a few pages of happy, but figured it was only my imagination. Fury Max is fantastic.

The thing about Happy! Well, fuck binary oppositions. Fuck them so hard. Why do dems want to protect pedophiles more than our veterans?

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Good job Morrison. The destruction of the first temple by the Babylonians in BC, which is covered in II Kings and retold in Chronicles, was not so much of an occasion to flee because it resulted only in the elites, the priesthood and ruling class, being taken as captives into Babylon while the rest of the population remained. The comparison is muddy but I think Morrison is likening working on a top franchise character like Batman to officiating at the Jerusalem Temple and saying that the monument attracts too much ire, so that he will now dedicate his efforts to reading Torah in the diaspora, or the Image comics, etc.

Morrison even stole Darick Robertson so he could get the Boys visual style. But I think what he might have been saying, under all that, giving him the benefit of the doubt as a good Christian would or whatever that might be nowadays in the English-speaking world, is that he actually feels kind of fucking bad that all these people, pluggers-away with war-era mentalities and simple hopes to put food on the table, got wrung through the superhero machine to squeeze out their blood as ink so he could have the leisure to write a book about how superheros bring out the best in all of us.

Once again, this is granting him more than his words merit, since he decided to take aim at his critics in this interview, for no reason that I could discern other than to save face. But Grant has his own platform to say these things if he believes them. Are his readers, and critics, the sort of people who would balk at sincere auto-critique? Are you kidding me?

He did a brilliant Punisher story with Tom Mandrake I think it was called Hidden that is probably still in my top ten of favorite superhero stories… and I still like that Arseface one shot he did for Vertigo. But about four years ago he lost the plot and has been writing yawn-inducing crap ever since. I mean The Boys is embarrassingly bad… I think that everyone would agree with that. This is clearly a legitimate topic for debate, but please try to argue without getting too personal or overheated about it.

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I have good news for you, Stone. Context matters and yes, your race and gender plays a role in this. The author may be dead, but the colour of his corpse still matters. So when there is a book like Lincoln Washington, yes, this is a white person having a happy-good time with playing around with black pain. So many white authors have written smartly about these issues. Just not this one. Feel free to invent your own reality, Pat.

Maybe I did completely miss the point i mean that sincerely , but I find myself having the exact same issues with:. That is a fair assessment, right? Their approach is informed by who they are, which is white American men of varying backgrounds. They have a different connection to the concept of slavery and that time period than, say, Darryl would.

Or even Kyle Baker, who created the incredible Nat Turner graphic novel, come to think of it. Baker can do big action, but he chose not to in that book, which is interesting. So yeah, death of the author, whatever, who cares. If the author is making remarks on his work, then his remarks are fair game for evaluating that book. Not even fair game, honestly. Those remarks are intended to provide context for us going into the book.

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Darryl judged it accordingly. White people have created a ton of cool black characters and written great books about black life.

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Of course, the author of this piece may not have known this. Pat — Darryl does not and can not regulate the sale or creation of books.

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But he can look at a story and judge its… credibility, for lack of a better, amongst the people who are fictionalized in that story. Actual rape survivors could, and probably would, call me out on the things I screwed up or sensationalized. Beats me.