adampasz

I think his dialogue writing was/is groundbreaking. But I've never found his super-hero stories to be compelling. Seems like his wheelhouse was crime fiction, and his best comics are the ones firmly in that genre (Powers, Alias, DD, etc.).

Yeah, I have a tough time stacking up writer/artists against pure writers. It often seems like they are working in a different mediums. The writer/artist's work usually feels more visceral and immersive. In addition to your list, here are a few other great writer/artists that didn't make my top 20 for whatever reason: Hergé, Terry Moore, Charles Schulz, Alex Raymond, Jaime Hernandez

My Completely Subjective Top 20, Bubble Sorted Criterion: If I had to read a trade from the writer, chosen at random, who would I choose. 1. Dave Sim 2. Marv Wolfman 3. Bill Mantlo 4. Grant Morrison 5. Cary Bates 6. Mike Grell 7. Alan Moore 8. Stan & Jack 9. Paul Levitz 10. Peter Milligan 11. Chris Claremont 12. Howard Chaykin 13. Frank Miller 14. Gerry Conway 15. BiIl Willingham 16. Otto Binder 17. Gardner Fox 18. Neil Gaiman 19. Don Rosa 20. Roy Thomas

Grades almost in...

I'm still stuck on the first one.

I'm in, if there's still slots.

I'm compiling a list of catch-phrases for upcoming sales threads: "dormant key" "over-valued hot potato" "a press won't help this mess"

For my suggestions, I was trying to list films where I feel the artistic vision was perfectly executed in all aspects: --script, performances, editing, music, cinematography, etc. They are not necessarily my all-time favorites. I can totally justify putting Airplane! up there with Citizen Kane, in that they both achieve their artistic goals to perfection. You could argue that Kane has loftier artistic goals, and maybe that should be factored in. If you took my definition to the extreme, you could argue that Warhol's Empire is also a "perfect" movie. But I think we're talking about narrative films here. Regarding 2 I'm not smart enough to say how accurate the physics in 2001 are. I'm sure you could nit-pick it apart. But I still think it is pretty incredible visually, and still on par with modern hard sci-fi like the Expanse. Case in point: You might make the case that the Stargate sequence knocks 2001 off the list because of its self-indulgence... II and VI are my two all time favorite Trek movies. So you won't get much argument from me here. I think what elevates II to perfection for me is Ricardo Montalbán's iconic performance. The ones I'm not sure about from my list are Frozen and Spinal Tap. I think they peter out in the 3rd act.

Bought a stack of Silver Age DC's from Bob's "Junk Sale". Definitely *not* junk. Just some lovely low-to-mid-grade books, well-packed and promptly shipped. Great seller.

Take this one as well, please.

Some others for consideration... 2001 Airplane! All About Eve Do The Right Thing Citizen Kane Frozen School of Rock The Third Man This is Spinal Tap Wrath of Khan

I'll take Sandman 3 and 8.

How do you keep the comics from getting wet?

Take 'em.

.005 cents per emoji!

I just stumbled across this gem on YouTube the other day. They were amazing. In other news... Rewatched Episode 3. It is OK. I give it a 'B'. Flash Season 1 was good. That is all I'll say about the Flash show.

Take DD 14. I took 12 and 13, so I think this completes the Ka-zar arc for me... I hope they explain what happened to his nipples.

Me too. Maybe if the listing had said "Catfight Cover! GGA!!!!" ...

I've always found a glimmer of happiness in the ending, and the film overall. Even as a prisoner in an omnipresent, totalitarian regime, you can still create a sphere of freedom within your own mind. I believe the film aligns well with ideas from Vaclav Havel, and other Cold War dissidents of the time.

Some cheap 'Tecs left on page 4!

Take it. Pity Buy.

It is in my all time top 10, so I'm a bit biased. Mild spoilers:

I agree. The show isn't pulling me in. I tried rewatching some of Episode 1, but soon I switched over to the latest Rick & Morty, which holds attention attention much better even on repeat viewings. It boils down to screenwriting 101: well-defined characters and stakes. In Rick & Morty, the characters are constantly expressing their fears, desires, and anxieties. Motivations and relationships are always extremely clear, even as the characters careen from one absurd situation to the next. In Loki, despite that actors' best efforts, I just don't feel connected. Maybe it's because a lot of the story centers around them observing events from the outside. For example, re-watching the Odin farewell scene in episode 1, from Hiddleston's facial expressions, I get that he is feeling big emotions, but the -script doesn't inform me of how this impacts and changes him. Terry Gilliam's Brazil presents a similar story and setting, but it always has a strong sense of narrative drive. In Brazil, nearly every action is driven by the hero's desire to rescue his dream girl because she represents freedom from the mundane, bureaucratic world. His choices lead him down a very clear, decisive (albeit misguided) path. What is Loki's relationship to Sylvie? While the actors did a good job establishing there is some sense of chemistry and personal connection, I'm not getting much from the story and dialogue. Is he trying to escape from her? Befriend her? Seduce her? Capture her? Prove he is the superior trickster? I get that maybe he is conflicted, and wants all of these things, but from scene-to-scene and moment-to-moment, it is often not clear what he's trying to achieve.

Such a great cover. Much to my surprise, I've become a big Kirby fan in the last couple years.

Take