Is It Wednesday Yet?
17 July 2007
By Desmond Reddick and Michael David Sims
17 July 2007 — Here we are again with another installment of your favorite comic book review series. As always the four comics you're about to read about won't be released until tomorrow (18 July 2007), so these reviews are free of spoilers and should help inform your purchases on new comic book day.
Our grading scale is simple:
Buy: An excellent comic book.
Borrow: A good comic, but save yourself some money by reading a friend's copy.
Flip Through: Give it a once-over at the comic shop.
Skip: This doesn't need to be explained.
The following is a transcript of Earth-2.net: The Show, episode 124.
The Darkness: Level 5
Publisher: Top Cow
Writers: Paul Jenkins and David Wohl
Artist: Mike Choi
Colors: Sonia Oback
Letters: Troy Peteri
Cover A: Dale Keown
Cover B: Mike Choi
Desmond Reddick: I like the letters at Top Cow. They're stylistic. They're not flashy, but they don't sink into the background. I think they get right in the middle there — where they should be, frankly. Am I diggin a whole? What I'm saying is that letters serve a very important purpose in comic books, and mister Troy Peteri — I think he does an excellent job. So thumbs up to you, sir. Alright, The Darkness is a Top Cow property that sprung out of Witchblade. I'm not so sure but I'm thinkin this current series — is it the video game spinoff? Is it the adaptation of the video game?
Michael David Sims: I'm not entirely sure. I think it was, at the very least, created to promote the video game.
DR: Cool. As it should.
MDS: Again, I don't know if it's an adaptation, a lead-in, a promotion, just a coincidence that it was coming out at that time. I don't know. And fact of the matter, I think on the cover there's — isn't there a logo for the video game company? Yeah, 2K Games. So I would imagine that this is tied in in some fashion.
DR: For sure. Anyway, I've never read a Darkness book, but the character who is the Darkness is sort of a shrouded, masked, bat-like, kind of avenger-like character. And if I say "avenger" I mean avenger of the night kind of thing, not Earth's Mightiest Heroes. His power basically is to use this Darkness almost in a Darkforce Marvel kinda way, but it's a different thing 'cause he summons up these creatures that are demon-ish and very cool looking. The style of that character is just phenomenal! As a matter of fact, I've never read a Darkness comic book before, but I have a Darkness sticker on the back of my acoustic guitar. So I love the look of that character. And I got to know the character a little bit during this issue. Did you want to say anything, about the Darkness itself?
MDS: You know, it's been a while since I've read The Darkness. I was onboard when the series launched because Garth Ennis was writing it, and I stuck with it for a couple of issues after that. But I honestly have not read The Darkness since then. Not because of lack of interest, just lack of money. I wanna agree with you when you say that the design is really cool. It's almost like a liquid-metallic Venom in the way he looks, and it's a more masculine Witchblade look too. With the Witchblade it's just covering her breasts and her crotch. With him, he's almost full body armor. Much more masculine. Much more battle-ready. And it says something about the character of Jackie and of the Darkness. It says, "You're ready to go fight a war," 'cause that's what he's doing all the time, because we can't forget that he's a mob hitman. He is not a good guy. He uses the Darkness for his own means. Even though he has this job that many would consider dastardly, he's charming. You want to like him. You end up feeling bad for him, even though he's in this line of work where some people would say, "Well, he brought it upon himself." But you still wind up feeling bad for the guy when things go wrong.
DR: Garth Ennis created the Darkness?
MDS: Well, he wrote the first few issues. I think he co-created him, but don't hold me to that.
DR: That's really interesting because I just assumed Paul Jenkins did, but, I mean, Jackie is a bad mofo. And I appreciate a bad mofo. Once you said he's created by Ennis that brings to mind a similarity between Jackie and Jesse Custer — Preacher. Basically they're both characters with immense power, but they're still sort of willing to do the dirty work. That's what I loved about Preacher. He had the voice of God, he could tell people to do anything he wanted, but he'd still get in and beat the crap out of people with his bare hands — without using the power. And without spoiling anything in this issue, there is a lot of that — where he'll do his own sort of dirty work instead of calling on the powers. I really appreciate that.
MDS: I've got The Darkness Wiki page up right here and it says the series was created by Marc Silvestri, Garth Ennis and David Wohl. Those three guys created the series, thereby creating the character.
DR: I suppose the comic overall is dark. Quite dark. But it's dark done well. This so very well could have gone the mid-90s route where every character was just badass, dark, murderous — you know, that kind of thing. So it could have gone that route, but there's a lot of substance to this. A lot of substance to it. Like one part supernatural horror, one part gangster revenge. I appreciate a genre crossing that is done well. And I think that's here. Again, no recap page, however I felt pretty confident reading this issue that I had a pretty darn good idea what was going on. So kudos to Jenkins and Wohl for that one.
MDS: Yeah, I'm gonna read straight from my notes in regard to what you just said. This is verbatim what I wrote: "Even though this is the final part of the story, I never felt lost. Everything the reader needs to know is there without being expositional." We know why Jackie is going after who he's going after. We get why he's pissed off. We get why the guys that he's going after are pissed off at him, and did these things to him. That's all you need to know, and it's all there. And none of it is in that expositional way. It comes through in very natural dialog, and that's hard to pull off. When two characters start talking about things that they both know, and therefore shouldn't necessarily be talking about, it can become expositional. Never happened here.
DR: I don't know if there's anything more to say about that, really.
MDS: About the writing or the book?
DR: About the book at all, I mean I loved it.
MDS: Well, for me, I wanna go back to the art. I thought that it was very moody.
DR: Yes.
MDS: Not just dark, but absolutely moody. You get that these guys that he's going after are creeped the hell out! And they should be. These are mob hitmen, and here's this supernatural thing coming at them from nowhere. And you just pick up on their vibe perfectly through the art. I thought the pacing was just great. This could have been drawn-out and we could have seen him slaughtering all these mob guys as he's trying to get to the top man, but that's not what they did. They pulled back and they let sound effects kinda take care of it, and, again, that set up the mood.
DR: And it worked a lot better than just straight gore. It really did. It left at least a little to your imagination, which is the way to go.
MDS: It's such a wonderful comic book; it was done really well. And much praise has to go out to the artist, but the thing is — to my knowledge — I don't think this is his normal style. There's an X-Men series — actually a New X-Men series — called X-23: Target X, and it's kinda that digital style. There's a lot of digital art going on with that, but that's his style. And here, this is nothing like that. It's a complete 180 from what he was doing over in that book. I highly recommend you go pick up X-23: Target X and see what he was doing there and compare it to what he's doing here. It's two totally different styles. There were some hints of manga in there. There's one scene where Jackie's smiling — we just get a close-up on his lips — that's a very manga image. It was kinda neat just having that little hint, and then we pull back out and we go back to what he was doing. So anything else to say about this one?
DR: Besides my score, no. Well, I mean, I want more of The Darkness now, so that's a good thing.
MDS: Okay, what do you give this one?
DR: Buy it. Wholeheartedly. Buy it. Go out, pick it up this Wednesday. Buy it.
MDS: I agree with you; this is an absolute buy, and I can't wait to read more Darkness down the line.
DR: Same here. Same here.
Hack/Slash: The Series #3
Publisher: Devil's Due Publishing
Writer: Tim Seeley
Artist: Emily Stone
Colors: Courtney Via
Letters: Brian J. Crowley
Cover A: Tim Seeley
Cover B: Bryan Baugh
DR: There is a — not necessarily a recap page, but there is a...
MDS: A Marvel-style blurb. You know, when you read Marvel books, it's always like, "When Peter Parker was fifteen, he was bitten by a radioactive spider. And now, after the death of his uncle, he's Spider-Man!" And this one, it's the same thing. It gives you her backstory, presumably what happened in the miniseries before this, and then you just move on from there. I like that.
DR: So I guess the premise is basically — well, why don't I just read that little blurb. "Cassie Hack is the lone survivor of an attack by a slasher called the Lunch Lady... a slasher that happened to be her mother! Now she travels the world with her monstrous partner and friend Vlad, hunting down and destroying slashers wherever they find them!" So it's essentially in a world where there are a lot of slasher-type monsters — Michael Myers, Freddy Kruger types — running around.
MDS: They even did a crossover with Chucky.
DR: That's right! I forgot about that. And, you know, damn it! This is another thing that I meant to pick up when it first got started. I never got around to it. It was around a time when I was cutting down on buying comics, and I never even bothered picking it up. I kept on seeing it, too. I'm like, "Oh, I gotta check that out," but my completist mentality said, "Then I'll have to go back and buy 'em all." [laughs]
MDS: When this one first came out, the lone reason why I didn't get it is because I thought it was just gonna be T&A. I really thought, "Oh, look at her. Look at the way she's dressed. It's just gonna be a T&A gorefest," and I couldn't be more wrong! And I'm glad I couldn't be more wrong!
DR: Yeah, and I've mentioned in my notes that I've never gotten around to buying it, and the last sentence is, "I wish I had." Again, very impressed by this issue. In this issue, there is a rock 'n' roll band with — okay, I'm not gonna talk about that. [laughs]
MDS: It's so hard! [laughs]
DR: Yeah, I know. It's hard to do this without spoiling it. Basically, I enjoy a mixture of horror and rock 'n' roll. It's always been high up there in my books, and this issue has a really good mix of rock 'n' roll and horror. Without going too far into it, that's where I guess I'll leave it at. Besides the fact that it's one of those issues where the duo isn't together, which is always an interesting split. I guess the whole thing is built on these two characters, right? 'Cause she's traveling with Vlad to kill these slashers, and they're not together in this issue. So I think we got a lot of the characterization of both characters without them playing off each other. The supporting cast handled that pretty well.
MDS: And I think you can see how they assist each other, or how they would assist each other if they were together. You know Vlad, he's kind of helpless. He comes off like a newborn baby, almost.
DR: Yeah, he's very Frankenstein's Monster from the Universal pictures. Very innocent.
MDS: So you can see how he would need her who has — she's lived this rougher life. She's seen it all. She's done it all. So she's gonna be able to school him in the ways of the world. But also, he being what he is, is gonna be able to protect her — I think. That makes me want to read future issues, just to see that dynamic.
DR: It's also got a goth chick, which you should appreciate. [laughs]
MDS: Oh, I appreciate it so much! [laughs] I love those goth girls!
DR: And a monster wearing a cowboy hat. Which is spectacular.
MDS: He reminded me so much of Rorschach. 'Cause he kept saying, "Hurm." That's like Rorschach's thing. The first thing I want to say about this is you can't open a comic book any better than this one opened. [laughs] So at the very least, go to the comic shop and just open this one up. You'll see what I mean, guys. You can't do it any better than that!
DR: Panel number one, I wanna see the script. I really wanna see the script. So if Tim Seeley's out there listening to this, you don't have to send me the script but just send me the script for panel one, page one. That's all I wanna see.
MDS: It'll just be one word.
DR: I just wanna see what he wrote. I really do. And I'm not making light, this is a spectacular book. It really is a spectacular book. Some really threatening monsters. A really cool premise. Three, almost four stories going on at the same time without being cluttered — without stretching itself — and it all melds together well. And at the end, leaves me so wanting the next issue!
MDS: Despite the dark themes in this book and the danger the characters are really in — 'cause I really do feel that they are in danger — I thought it was a fun book!
DR: Totally.
MDS: And I think that was brought on by Vlad's quest. That right there — and how his friends are trying to help him achieve his goal, what they're willing to do for him — that made it really fun, and it made the characters come alive to me.
DR: But it uses that light / dark construct so well! As well as drawing in fantastical elements beyond just regular monsters or slashers. This is the second time in two weeks that I'll say this about a Devil's Due book: it hit me on all cylinders. It really grabbed me. I'm all about it, for sure.
MDS: One of the things that I truly dug was that conversation between the girls. It felt real 'cause they're in danger, but they start to lighten up a little. They kinda get to know each other a little better; one suggests something... and there's some play off each other. Again, it just felt fun. And then the danger comes back. Now what are your thoughts about the art in this one?
DR: I love it. I really, really do. There's real, sort of like human moments with the facial expressions. At the beginning the facial expressions are kinda cartoony, 'cause they're going for that jokey look, but you really get the serious looks later on.
MDS: What I think it did well is, there's a really nice balance between the dark and the sexy and the mundane. There's this scene with the cops and the father and the promoter, and it's just a normal scene. There're no monsters there. There's nothing sexy about it. But it comes off well. It feels like it fits in that world. It's not disjointed compared to the monsters that are going on before and after this, and the sexiness that's going on around it. It all blends so well! Because one false move, and it does go the wrong way. It could end up being what I was afraid it was going to be, that T&A gorefest. They're walking that line, and they're walking it real well. Much like The Darkness: Level 5 did, I thought this one did a real good job of filling in the gaps. Never did I feel lost when reading this. I was like, "Oh, I see what's going on! I see what that character's doing. I get why they're doing that." It never felt expositional. It was just there on the page. You got it! Even without reading that opening Marvel-like blurb, I would've been fine.
DR: Yeah. I agree with everything you just said there. So should we just rate it?
MDS: Yeah! I'm giving this a buy.
DR: Yeah, this is gonna be a boring episode if it keeps going like this, 'cause I say buy, buy, buy! Thumbs up!
MDS: I think that's the same thing you said for Xombie: "Buy, buy, buy." [laughs]
Unholy Union
Publishers: Top Cow / Marvel
Writer: Ron Marz
Artist: Michael Broussard
Inkers: Rob, Hunter, Rick Basaldua and Joe Weems
Colors: Larry Molinar
Letters: Troy Peteri
Cover: Marc Silvestri
DR: Now if I'm not mistaken this is a result of that deal Marvel and Top Cow made, correct?
MDS: Right.
DR: Where Marvel would share Top Cow's artistic resources, as well as lending their characters to Top Cow. Am I right there?
MDS: Right, that's why the fellow who drew Darkness: Level 5 was working on X-23: Target X. I believe that was part of that deal. I even think that Top Cow's coloring team worked on that book. I don't think it was just the artist; I think the whole team came from Top Cow.
DR: That's cool to me. I really like that.
MDS: Yeah, I'd like to see Marvel strike deals with other studios down the line. Just to see what happens. It doesn't need to be a Heroes Reborn-type thing, where they come in and they re-imagine a line. No, no. They just come in, work on a few books. It helps both companies out, and that's what this business should be about — is the companies helping each other in any way they can. That's why it upsets me — and sorry to get on a tangent here — that the Marvel and DC... feud is so hot right now. We won't see a Marvel and DC crossover. Certain people at certain companies — I'm not gonna name names — are so upset with other people at other companies that they have flat out said that they will not work with the other company until certain people no longer work there. And that's about as vague as I can get. [laughs] Like I said, it upsets me because a Marvel and DC crossover — okay, imagine Batman and Daredevil, written by Bendis and drawn by Maleev.
DR: That'd be bitchin.
MDS: That would sell! And it would be awesome! And I like the fact that Marvel and Top Cow have come together, and they're just saying, "Hey, let's help each other out. Let's strike up a deal." It's worked well on all ends, I think.
DR: I totally agree with that, and I suppose before we review this I will preface the review with something. I immediately saw that it was a company crossover... I don't wanna say expectations were lowered, but they were certainly different. I have different expectations for this kinda thing; for this kinda thing I'm just expecting fun, I'm expecting a cohesive story and I'm expecting not to be confused. Anything beyond that is points. If we go light on this or if we go hard on this those will be the reasons for that.
MDS: The very first thing I wrote down in my notes was, "Going in, if one accepts this for what it is — a 90s-era crossover — they'll have fun." But if you're expecting some serious in-continuity Marvel stuff, where you've got World War Hulk Hulk running around and you've got Doctor Strange with the New Avengers — if you're going in wanting all that, you're gonna be disappointed. But if you just say, "Hey, this is just gonna be a fun, balls to the wall, everybody's kickin the shit out of each other crossover," you're gonna enjoy this. And there's nothing wrong with that. There's nothing wrong with comics that are just fun action from time to time. We don't need talking heads and characters chewing up the scenery in every issue. Sometimes we just need "HULK SMASH!"
DR: Exactly. [laughs] Exactly. Well put. So I guess we should just jump right into it. So there's no surprise that the characters crossing over in this issue are the Incredible Hulk, the Darkness, Ghost Rider, Witchblade and Doctor Strange. The story opens up with Doctor Strange, and I love how this guy draws Doctor Strange! I wrote something about it here: "It's like a more realistic Erik Larsen." Look at that third panel on that first page; that's Erik Larsen with a lot more lines to it. I'm not saying he's aping the style, but I love Erik Larsen. He's got that facial structure, even in the hands too.
MDS: But he's using a Marc Silvestri crosshatching style.
DR: Yes, exactly. And I really like that.
MDS: In my notes I mentioned that the artist is trying a little too hard to emulate his boss — Marc Silvestri — but that said, he does draw a really mean Doctor Strange and especially a really mean Ghost Rider! His Ghost Rider is, like, WHOA! I need him drawing Ghost Rider on a monthly book now!
DR: I like how there's no ridiculous explanation right off the bat about how these universes are meeting. Daredevil gets Jackie off of some charge. Not Daredevil. Sorry, Matt Murdock does. He was his defender in court. That's really cool. And they're reading the Daily Bugle. And I think that's right there to tell you, "We're not bullshittin with this. We're just goin straight into it." And I like that.
MDS: Yeah, it didn't try to be heady.
DR: That's where it always fails with me. It's when they try to explain it all. And I think just about every cross-company crossover that I've read has done that.
MDS: I don't need the Watcher meeting up with Metron, talking about their realities. And then all of a sudden the Avengers are fighting the Justice League, and the Titans are getting involved. Now the Young Avengers are there. And it's all happening because some dark force on both sides — I don't need that shit!
DR: Yes, the guy draws a bloody mean Ghost Rider! And there wouldn't be much in this world that would get me to pick up an issue of Ghost Rider again, but that might. A really mean looking Darkness as well. I'm really impressed by the art. You are right, though. There is that Silvestri style, but it is his studio.
MDS: I'm not knockin it in the slightest! I'm just pointing it out. I would like to say, there were certain times where the art didn't quite do it for me. Some of the female faces — like Sara's face would go from being chubbier to thinner. Maybe it was a little rushed from time to time. But for the most part, I thought the art was good.
DR: Same here. And even the story — for what there is — was well-paced, which is actually saying a lot for these things as well. 'Cause usually it's like, "Oooh! Let's see how many characters and references we can throw in," and it's not done here. It's actually quite subdued for a 28-page fight scene. There's a lot there. There really is. There's substance, and I like it. The characters are just sort of thrown together, but it really served this story well.
MDS: It's almost like an old Marvel comic, where Hero A would meet Hero B and they fought, and then, "Oh wait! There's really a villain! Now let's go fight him." It felt like that. That's not quite how the story plays out, but everybody just happens to be in this bar and they fight. That's it! It's fun like that.
DR: There's some good Hulk-style carnage. Great action. Hulk was actually very amusing in this.
MDS: Something that should be mentioned is that I believe, as far as I can tell, this book is set outside Marvel continuity. Or if it's not outside Marvel continuity, it predates Planet Hulk, because Hulk's wearing his purple pants. So at least it's before Planet Hulk. But this is very much inside Top Cow continuity.
DR: I was just about to say that! That last page threw me for a major loop. Is that Velocity?
MDS: That's Velocity. This book hints at and sets up certain things that are going to happen in First Born.
DR: Which is great! Which is what they should be doing. This is a Top Cow book featuring Marvel characters, but they should be pumping their stuff because Marvel fans are gonna read this. Marvel fans who haven't touched a Top Cow book ever are gonna be pickin this up, and you should be slappin your name all over that.
MDS: I should note that that last page with Velocity is in First Born #1. So that will make a little more sense once you read First Born. But yeah, I thought Top Cow did a really great job incorporating this into their continuity and advertising this event they have going on, 'cause that's what you gotta do. What I really liked here is that there was continuity from one crossover to another, 'cause the Darkness mentions meeting the Hulk before in a subway. And that's what I want! If you go to Earth-2.net you can read reviews of the two Spawn / Batman crossovers. I rip those crossovers to shreds, and one of the reasons I do it is because they don't reference each other. They met twice. But never is it like, "Oh, I remember meeting you six months ago." It pisses me off when companies don't reference crossovers. They happened. We spent our money on them, so reference them in some way. And the next time you meet, don't pretend like it's the first time you met.
DR: I appreciated that little dialog, and I appreciated the perspective of that little sequence, too. Looking up at the Hulk: "Remember me?" "Oh crap!" [laughs]
MDS: Last time we did an Is It Wednesday Yet?, you had mentioned that you knew nothing about the Witchblade. You felt like Witchblade was beyond you at this point in terms of understanding what was going on.
DR: Yes.
MDS: When it comes to the back-up material, did that help you understand the Witchblade more?
DR: It really did, actually. I will be picking up First Born. I'm kinda amped up for that. I feel like I have a better grasp of the universe now, and I'm kinda into it.
MDS: The art on First Born #1... sweet! Sweet!
DR: Stjepan Sejic...?
MDS: I don't know how to pronounce it, but dude knows how to draw a comic book!
DR: The man is brilliant! That three-page gatefold cover is one of the most beautiful pieces of comic art I've ever seen. Love it! They scored when they picked that guy up.
MDS: Anything else about this one?
DR: No, not at all.
MDS: And you give this one a...?
DR: Buy it! If you're like me and you don't know a lot about this universe, there's five or six pages at the end of this book that pretty much give you everything you need to know.
MDS: If you're on the fence about picking [First Born] up, definitely grab Unholy Union just for that back matter so you'll have a better grasp of who all of these characters are when you get First Born very soon.
DR: Yeah, and you get a really fun little crossover story too. So buy it.
MDS: This is a definite buy. And first I was kinda hedging on borrow, but it's too fun to give it that rating. It has to be a buy.
DR: Comics are missing fun lately, and that's fun.
WitchbladeTakeru Manga #6
Publisher: Top Cow
Writer: Yasuko Kobayashi
Artist: Kazasa Sumita
Colors: Blond
Letters: Troy Peteri
Cover A: Kazasa Sumita
Cover B: David Mack
MDS: I could be wrong about this, but I think this series is actually a Japanese series, so in Japan they obviously get in their thick digest form, but over here in America they're releasing it in standard comic book size and they're coloring it. Do you wanna summarize this one? What do you want to say about this one?
DR: Well... I don't have a lot to say about it. I have a little spiel written: "Ugh! I'm not the target market for this. It's cheesecake to the max. The dialog is stilted and poorly written." Is that the translation?
MDS: I don't know how closely it's translated.
DR: The pacing is off for me.
MDS: The pacing worked for me.
DR: Maybe I was just looking for something to pick on.
MDS: I think it's because this is manga art. I'm confident in saying that I've read more manga than you, so I'm used to this kinda pacing. But if you're accustomed to Western-style comics, the pacing is gonna feel really disjointed. For me, not so much. But I can see where you're coming from.
DR: I'm not into the art in any way, so I'm just really turned off by the whole medium. I barely made it through it to tell you the truth. [laughs]
MDS: I absolutely had no idea what was going on here. I understand that it's different than the American version. This isn't Sara. She's not a cop. It's a schoolgirl. Fine, whatever. I get that, but when it comes to the story I had no idea who the villain was, I had no idea why he was doing what he was doing, why he was after the Witchblade. I just didn't get it at all! Because this was [originally] released as one volume, I think releasing it as monthly installments is a disservice. If you pick up this sixth chapter you're gonna be like, "Wait... what the hell's going on?" But I think if you were able to read the one volume from start to finish, I think it would work better. Last month I said that it's okay to have some exposition, as long as it's handled well. This book didn't have any at all! It just throws you right into the mix of things and doesn't give you anything. I was confused as all hell by the story. The art didn't confuse me. I didn't mind the pacing. I thought the action was good. And if you like fan service-style manga, T&A stuff — the art did its job.
DR: Fair enough. There's enough upskirts to keep people interested I suppose.
MDS: I'm mad. There was one word balloon that covered an upskirt! [laughs] Speaking about upskirts... what about Witchblade's costume? There's nothing covering the ass. It's not even a thong. It covers her crotch region and then ends! There's nothing coming up like a G-string or a thong. It's just barren! Her whole backside is just barren.
DR: It's hardly armor.
MDS: I might have given it an extra point just for that. [laughs]
DR: And they show you enough of that ass over four pages.
MDS: It's like, "Okay, how can we do this scene where she's running away from the reader without it looking like the last time we drew it when she was running away from the reader?"
DR: I can just see the editor: "Okay. Whatever you do, the perspective is from behind Witchblade."
MDS: Behind and underneath. [laughs] I don't know if I have anything else to say about this one. I don't mean to shortchange it in terms of review time, but there's not a whole hell of a lot to say.
DR: I have to agree.
MDS: What do you give this one?
DR: Again, I'll preface this with the fact that I don't dig manga, and I'm just gonna say skip it.
MDS: I'm gonna give this one a flip through only for the T&A.
DR: [laughs] Alright, and if you're a manga fan, you might really like this. But if you aren't, I don't think there's anything here that's gonna make you a fan of manga.
MDS: I should note that if you're flipping through this at your local comic shop —
DR: Turn it away from any children.
MDS: Yeah. If there's any children walking by or any girls you think are cute walking buy, you might not wanna let them see you flippin through this one. That's all I'm saying. [laughs]
