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JohnMcMahon

Fuckbiscuitshitangels (Warren Ellis)

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I liked Tokyo Storm Warning :icon_redface: It's an action figure that thinks it's a comic book.

 

I think the problem I had with Mek was the snotty arrogant lead chick. She's all, "You think you know Mek? I was Mek before there was Mek..." and all that really got on my nerves. Plus it was a bit too short and seemed to tidy up real fast at the end.

 

And Reload was just awful.

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I liked Tokyo Storm Warning :icon_redface: It's an action figure that thinks it's a comic book.

 

The end (of Tokyo) kind of irked me, maybe I misread it but I took it as Ellis saying "Well, anyone with an interest in this giant robot stuff is clearly a big baby". The art in the robot fights was kinda poor too.

 

Anyway, Mister Ellis is running a Q&A over on his forum at the moment....

 

Remember back in the WEF days when random fanboys would wander in and suggest you write stories for, say, The New Universe or Speedball and you'd inevitably call them fuckwits or something? Despite cashing what are certainly impressive checks from Marvel, did a little part of your soul die when you realized that you were giving those 'fuckwits' exactly what they wanted?

 

Harshly phrased but that's exactly the kind of question I'd have asked myself, to Warren's credit he answers...

 

That was framed in such a uniquely dickish way that I didn't have to look at the namestamp to know who wrote it...

 

Well, we all saw the writing on the wall in 2001, didn't we? The market went through its hardest bifurcation yet. There's a huge percentage of stores out there that really do only order Marvel and DC superhero comics. When I stepped in to pinch-hit for Mark and Brian on ULTIMATE FF, I found that the previous three or four years of only working on my own material had meant that a new generation of readers had emerged who'd literally never heard of me and never seen one of my comics for sale. It was really interesting. And what I've found since is that sales of my original TPBs have markedly risen across the board. At least 50% of the email I get now is from people who discovered me through UFF or whatever and sought out other books on Amazon or in bookstores, and thereby gotten hooked on TRANSMET or something.

 

The DM really is two different markets right now, and there's much less overlap than people think or expect. So I consider myself to be writing for two different markets at this time, and the upshot is that more people are discovering my original creator-owned work.

 

What I find interesting there is that he's suggesting a whole new generation of readers came into comics around the year 2000 or so.

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I think the problem I had with Mek was the snotty arrogant lead chick.

I'd sooner a snotty arrogant lead chick than another male version or yet another Constantine clone.

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Warren Ellis makes a good point, in that certainly there are more readers of a book like Ultimate Fantastic Four than a book like Planetary, and comic readers may take notice of the name Ellis, and decide to search out earlier work he wrote. And there is an extensive new audience for comics with the comic companies major Trade policy aimed at book stores. That's all fine.

I'm sure Mike Carey will eventually get new readers searching down a title like Lucifer after discovering his work on X-Men.

Although I don't think there are huge numbers of X-Men readers who are going to be hunting down old Mike Carey comics, just as the same I can't see a lot of readers of Thunderbolts rushing to hunt down Ellis' non-superhero work.

But, that doesn't actually address the question to Ellis, now does it?

Mike Carey was never calling people "mentally impaired" for being interested in superhero comics, or claiming that he'd never stoop so low as to write mainstream superhero characters.

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or claiming that he'd never stoop so low as to write mainstream superhero characters.

 

Don't believe Ellis has ever said that himself, either, and to be fair he's still cranking out a fair chunk of non-superhero work.

 

It wouldn't surprise me if writing the Thunderbolts drives him to suicide though, that whole project is a creative nadir for the man (he says, after having read a whole one issue).

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Just me again then. Oh well.

(And I suspect it's dim TOPY sorts with bolts through their bits he was taking a pop at, rather than goths in general.)

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Guest spiderlegs

I had no love for Tokyo Storm Warning. I'm not sure if I evenfinished even though I bought it (bargain bin, fortunately). But then, I had the misfortune to pick up OCEAN afterward, which started off interestingly, then devolved into the worst kind of cliche--the one which includes so many cliches that the reader becomes distracted by the count the cliche game rather than trying to enjoy the book. I'm a big WarrenE fan, but TSW and OCEAN were NOT this man's finest hour. In fact, I believe he must have been eating really unhealthily or being cruel to invalid elderly people to work out 2 exceptionally valueless pieces of crap such as they.

 

And don't get me wrong, I don't like to let anyone rest on their laurels, but he has attained that status to me. I will bitch when his efforts fall below the standard he set, but I will never think badly of him even though he doesn't think much of me. He hit a string of home runs for me that still tickle me in precious ways...

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Tokyo STorm Warning was dull and I may not have finished it either, but Ocean was a sweet treat. I read it all in one sitting, borrow copy as so much of what I review is, and thought it a much better movie script than Snakes on a Plane as a vehicle for our beloved Samuel L Jackson. One of my favorite Ellis traits is his ability to do realistic sounding science stuff. Go Team Science!

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Guest spiderlegs

That's the thing, though. I got hooked because it started off so cool. I liked until the end, or close to it. But I'm one of those people for whom the end is the make or break, the dealmaker, so to speak. Take the film, MAGNOLIA: I loved it until the ending. It easily could have cracked my top 50, but that ending was soooo awful, it ruined the rest of the movie. OCEAN is similar, IMO.

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I agree with that completely.

It was far better than that waste of paper by Ellis known as Orbiter (but of course, just about anything has that beat!), playing on the same themes.

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I did, even thought the ending was alright - which runs to contrary to most reasoned opinion!

 

Warren's endings tend to be terribly hit or miss, the vast majority of his minis fail to provide any kind of satisfactory finale and whilst the very last issue of Transmet was brill, the events leading up to it were kinda naff.

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Half the time I can't even tell if the series is over yet or not. What was the one with the Webcam girl and the suit guy fighting mafiaoso with the giant car fucking mutant?

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NextWave #12-Funniest comic of the month, bar none. This was hilarious! A baby Modok and the reveal of who the master villain is....BWA-HA-HA!

I'm glad I gave this series a second chance.

Ellis really took a limited concept further than I ever imagined it could go in the last handful of issues. Too bad he wasn't willing to experiment more earlier in the series, or it might still be being published.

 

Thunderbolts #111-For whatever reason, I'm really liking this series. The scene with Norman Osbourne at the end (no matter how idiotic the art made it look) gave me a chuckle. There's just something oft-kilter yet so straight about this series that I can't help but want to read it.

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Everyone involved in that thread should really just kill themselves, for the collective good of mankind.

 

For shame, fawning nerds. For shame.

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For shame, fawning nerds. For shame.

 

I think you'd probably have to explain the concept of shame to them before saying that.

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