Jump to content

John Waterman

  • Content Count

  • Joined

  • Last visited

Community Reputation

0 Neutral

About John Waterman

  • Rank
    Taxi Driver
  1. But what about the First's behavior in "Stations of the Cross" he initially seemed happy that Ghant had brought Constantine to him, but then got offended when he decided (however falsely) that the wreck in front of him wasn't Constantine. If he had claim Constantine's soul, why would he care? And wouldn't he be able to tell who it was? I mean, with all the importance that's laid on souls and spirituality and whatever in this series, it seems reasonable that the DEVIL HIMSELF would be able to know who he had in his clutches, memory loss or not.
  2. He's a regular Barnacle Bill the Sailor.
  3. Just about any moment that when Garth Ennis shot for sad and wistful. I'm down as can be on his recent work, but the man had it going on during his Hellblazer run.
  4. Agreed. I love Preacher enough to forgive its weaker storylines, but Hitman is awesome all the way through. I think it was paced perfectly, and the shift midway through from silly, enjoyable gunplay to darker, heavier stories was very effective. Ennis spent a good deal of time setting up likeable and memorable characters, giving them history and wacky adventures before proceeding to tear them down. "For Tomorrow" "The Old Dog" and "Closing Time" have had me choked up each time I've read them. The only criticism I can think of levying at Hitman is the inclusion of stand-in words for "fuck." But that's pretty minor, and it might have been a good thing. Taking away Ennis' ability to spew profanity probably forced him to concentrate on other things. Like, you know, writing.
  5. Can someone who's been keeping up with the "Barracuda" arc spoil it for me? I took a look at some preview scans, and the art looked terrible, especially following the great art of the the last three or so arcs. The plot also looked pretty lame as well. I might buy it eventually if you guys say its good, though. I really liked The Slavers, but Barracuda did not look very promising.
  6. John Waterman

    Fury: Peacemaker

    Hmmm. Wikipedia says Garth's "Fury" miniseries was an elseworlds title. That doesn't sound right, especially since the same character keeps appearing in "Punisher."
  7. Very interesting couple of letters, Christian. I'm not really familiar with the Marvel timeline. When did those issues come out? Also, I think both responses from Marvel seem very callow. It is certainly not their job to stand up for all the ills of the world, but the phrase "you're entitled to your opinions, but we can't find the words to respond to them" is incredibly anemic. It's like saying, "We'd like to go off on you, but we're too scared of losing our advertisers." Surely an entire editorial staff could have come up with something a little steelier. It doesn't come off well at all. Neither does their discrepancy between stating Daniels' letter was the only negative response, and then coming back and saying he represented a "wide cross-section" before getting all moralistic about censorship.
  8. John Waterman

    Fury: Peacemaker

    Yeah, and sometimes he's just...odd. Odin Quincannon, anyone? Garth Ennis' sense of humor works best when he's making fun of British and Irish traditions/quirks, utilizing his irrational hatred of the French, tearing down superhero conventions or just letting the humor come out naturally when two characters are getting drunk at the pub. I've gotta cop to being mildly amused with the scenes of Fury pushing his retarded nephew around in the zoo. But Fuckface was just stupid. Actually, the comedy elements in the last one were all pretty jarring, given the serious nature of the overall story. "Peacemaker" looks like it'll be an interesting prequel sort of story, maybe along the lines of "Born." I'll definetly be buying the first couple of issues to see how it looks.
  9. Mike, Thanks for all your great work on the title recently, especially the last three issues. I'd say they were just as good as "Rake at the Gates of Hell," my favorite climactic story of the series. I'm not sure if "enjoy" is the right word for it, but Cheryl's death and John's fatalism and despair were perfectly realized. Anyway. One quick question, and one slightly longer one: 1. At what point in the Hellblazer timeline does "All His Engines" take place? I'm sorry if there's been an official comment on this before, but I don't think there has. 2. Issue #7 of Planetary seemed to comment that using Constantine to rail against political ills went out after the eighties and early nineites. Delano, Ennis and Jenkins all used the series to take shots at the tories and other right-wingers, but this theme was totally absent in Azzarello's work, and was used very sparingly in yours. I guess my question is whether or not you think "Hellblazer" is still potentially an effective venue for political commentary, or agree with Ellis that it's time for that has passed.
  10. Curtis Hanson (Wonder Boys) directed L.A. Confidential, which was written by James Ellroy. Incidentally, i'd thought Fincher was working on adapting another Ellroy novel, "The Black Dahlia," in which the victim is killed in a very similar fashion to the victims in "Torso." I don't know if he's still attached to that project, though.
  11. Y'all aren't liking Loveless? So far, it's the only Azzarello thing outside of 100 Bullets that I've ever enjoyed. It reminds me of "The Outlaw Josey Wales," but much darker. His writing style is much more restrained, and I'm actually enjoying his wordplay again as opposed to simply toerating it.
  12. Picked up both RSVPs at the comic book store yesterday, and what a great two issues they were. Even though this has been the third time we've had a "Chas-gets-fed-up-and-kicks-the-shit-out-of-John" moment, it felt right in terms of the story. It was also very cool to see the nods to earlier moments in the HB mythos, like the foreskin bible, Norma (who is looking much worse for the wear) and the Webley revolver that killed the family man. These cameos were worked into the story much more effectively than the characters in "Down in the ground..." I'm also very, very glad Cheryl and Tony remain dead. Cheryl's death came as a shock to begin with, and if it had been reversed in one of the last two issues...well, that would have sucked. The last few pages of the second issue were great. Liked the scene where John looked his own ghosts in the eye, and I really liked the scene before that when he violently remonstrated the magicians for doing...pretty much what he does. John's occasional sanctimonious streak, despite all of the trouble he causes, is one of the most refreshing, if not likeable things about his character. I would have liked to have seen more resolution regarding Gemma and Angie, but at the same time, Angie was a flat character to begin with, and we'll be seeing more of Gemma sometime down the line. I'd go as far to give the entrie story a 10. Can't wait to see what direction the series will take in January.
  13. I'm...really not a big fan of the Jenkins run. Apart from the "Critical Mass" and "Difficult Beginnings" stories, which are actually very good, I thought Jenkins' take of Constantine was full of lots of good ideas, but just not very fun to read. After the above-mentioned stories, I had to almost force myself through the rest of his run. Carey's run had its issues, but I found it a million times more cohesive and enjoyable than Jenkins.
  14. HAHAHAHAHAHAHAHA. Oh, fuck me, that's funny.
  15. I just breezed through Mike Carey's entire Hellblazer run upon getting the last three issues of "Down in the Ground Where the Dead Men Go" and "The Gift." It stood up pretty well upon re-read, although its weaknesses were also more pronounced. I think it's safe to say that, stand-alone issues aside, the run's quality begins to drop off after issue #200. Dragging in characters from previous authors' work is always a risky gimmick, and in the last two major arcs, it didn't come off very well. Carey wrote Map, Clarice, Albert, Map and Watford very well, and I was glad to see them again, because Ellis' aborted run left me wanting to know more about them. But the minor characters that were killed off during "Reasons to be Cheerful" were almost completely arbitrary. Hell, Constantine didn't even know that most of them were getting dead. I particularly hated to see the deaths of Mange and Helen. Mange was hilarious, and Helen's death completely cheapens the end of "Rake at the Gates of Hell," one of my favorite HB storylines. The return of Ellie and the Demon Constantine were also mishandled. There was a lot of potential in both these characters for the hell storyarc, and their appearances both flopped for me. I did like to see the First of the Fallen again. Props to Carey for writing him better than both Jenkins and Ennis. While he was an overpowered dolt in Ennis' run and too much of a goof in Jenkins', Carey struck the perfect balance of humor and true menace. But even the First's improvement is a double-edged sword. Because of his presence, the resolution to "Down in the Ground Where the Dead Men Go" is very unsatisfactory. I'm not talking about Cheryl's death and damnation. That was cool. But after a dozen issues of buildup, Constantine's troubles with Rosacarnis, his demon offspring and Nergal are resolved in three pages when the First simply zaps them all. Okay. That's a lot of complaining, but I really did like this run quite a bit. I liked that from the very first issue, the reader got the sense that something much larger was going on behind the scenes. I liked seeing John back in England as opposed to mixing it up with hick pornographers and fey billionaires who are not the least bit menacing even if you read the stories drunk with all the lights off. I liked they way the storylines flowed into each other. I really liked Manco's artwork. And I loved every single one of the stand-alone issues, especially "Cross Purpose" and "The Gift." I know a lot of people didn't much care for "Event Horizon," but I didn't see any problems with it. I would agree that it should have been placed elsewhere in the overall arc, though. Carey's development of Gemma was also deftly handled. She's getting to be as big a bastard as her uncle. I love it. Oh, a few more niggles: I didn't really care for Angie post-"Staring at the Wall" she wasn't much of a character before that, and she was totally useless afterwards. Also, Frusin's art started to really suck towards the end of his tenure. And the overall breakneck pace of the story didn't allow for many of the slower, more character-driven moments that I really liked in Ennis' run. For the most part, Carey's run was exciting and well-written. The post-#200 issues were weaker, but still very entertaining. I'm glad to see that the entire run will be traded, but its reliance on the Hellblazer mythos means it will be a bit difficult for new readers to jump in. Solid 8/10 for the whole run. Looking foward to getting both RSVPs in December.
  • Create New...