I can never see Herc’s thumbs-up face too many times: This Michael Agger piece for Slate doesn’t really definitively explain the origins of the meme “Cool Story, Bro!”, or find out who attached it to a panel from Incredible Hercules (It makes me think of Chris Sims, but I guess that’s just an image that makes me think of Chris Sims in general), but it worth noting simply because that’s a lot of Incredible Hercules to see on the generally Herc-free Slate.
Could Ben Grimm have really been Blackbeard?: Sean Kleefeld examines the evidence. Maybe they shoulda cast Michael Chiklis in the new Pirates of the Caribbean instead of Ian McShane…
Gene Ha doesn’t mess around when he does con sketches: Check out his Shade. (Via Speed Force)
I’m not going to miss reading articles and blog posts about Smallville: Despite my curiosity about seeing favorite characters in live-action on a TV budget and all the young, attractive folks cast, I never got into Smallville, and am pretty sick of hearing about it’s final season/episode at this point. I do like articles like this one, however, which have pictures of the subject I’m most interested in—the designs and costumes. Like Alan’s recent column, it’s a nice reminder of how widely varied, but generally awful, the designs were (I think Zatanna, Black Canary, Aquaman, Green Arrow and Booster Gold were among the best, while Martian Manhunter and—hoo boy—Hawkman and Dr. Fate among the worst).
The most horrifying thing I’ve seen all week: Archie’s face on the Betty and Veronica cover Bully includes in this round-up of Oz-inspired comics covers, in recognition of L. Frank Baum’s just-passed birthday. He’s dressed as the Scarecrow, but it looks like someone made a scarecrow out of Archie’s face and…brr!
As a Cassandra Cain fan, I approve: Despite DC and the Bat-office seemingly having no idea what to do with the second Batgirl for the last five or six years—but trying something radically different and contradictory every couple of months anyway—it looks like Grant Morrison and Chris Burnham gave her a decent status quo, a cool codename, and a pretty neat new costume.
“Homogay…?”: This weird-ass article from Christwire.org is so over-the-top and the selections limited to out-of-context panels that the comics blogosphere has been making fun of of for years—where’s the one about the Joker’s boners, or Robin being the last person Batman touched?—that I think this is supposed to be a parody of conservative Christian alarmism, but, if so, it’s not really funny enough to waste too much time figuring out. It is the first time I’ve heard anyone use the term “homogay” before though. Is that common? (Via Tom Spurgon, whose link reads “it’s adorable when people think kids read comics”).
He’s right, I do like the fat guy, the horse and the frog!: Ty Templeton explains Thor.
The ability to build anything out of Legos instantly would be a pretty great superpower: This dude made me think of that.
Ryan Reynolds is easily started: Apparently.
If the free market chose the Justice League: I always read The Beat‘s sales analysis with interest, and for a while I would read Marc-Oliver Frisch’s DC month-to-month sales to see who the company’s seven most popular heroes were at a given time, with the arbitrary criteria of popularity simply being which characters headlining their own solo books sold the most copies in a given month. And then imagining them as a Justice League. I quit doing it after awhile, because it was almost always Superman, Supergirl and a bunch of Bat-people. This month is kind of interesting though, as there’s only three Bat-people, and the others are all traditional Justice Leaguers: Green Lantern Hal Jordan, Batman Bruce Wayne, Batman Dick Grayson, Superman, Green Arrow, Wonder Woman and Red Robin. If too many chefs spoil the soup, do too many Batmen spoil a League? On a less nerdy note is the fact that “a consistent, critically acclaimed creative team” on a Batman book that comes out like clockwork seems to be helping Detective Comics gain rather than lose sales, and several other titles seem to be increasing for no obvious reason, which Frisch suggests reflects the market reacting to the quality of the work itself instead of the usual gimicks.