Tag Archives: Ed Brubaker

Prez: Smells Like Teen President | Ed Brubaker, Eric Shanower

Originally published at Spandexless.com

While the sludge of semester woes and college antics have slowed my reading, I’ve still managed to make a little time to retread, as well as “first tread,” some of Ed Brubaker’s work. Things like Sleeper, Point Blank, Criminal, Incognito and Scene of the Crime  have all shot across my radar, but I’d say, without a doubt, this odd “Vertigo Visions” one-shot takes the cake as, well, most peculiar.

Set in the mids 90s, amidst the cultural “movement” known as grunge, Brubaker and artist Eric Shanower pick up on an old Joe Simon concept known as Prez: First Teen President and expand the matter by introducing a slacker, generation x type, who’s believed to be his son, to foil Simon’s activist with a Kurt Cobain-type, complete with traits of self-hatred and existential question. Yet, while two sides, both characters are of the same coin and come together to form this grander picture of adolescence, delivering themes I’d say we could have all related to at some point.

Plus, the comic contains a nice little back matter bit from Brubaker in which he states:

“Once again, the mainstream media has stolen youth rebellion and sold us back a blander version at a higher price. By portraying today’s youth as ‘slackers,’ they’ve given us permission to be lazy and stupid. Knowing obscure facts about the Brady Bunch, or Charles Manson, or the names of every indie-rock band on K Records does not constitute intelligence. Where’s the real victory in winning a game of Trivial Pursuit? We all spend too much time worrying about being cool, and not nearly enough on just being human.”

If you ever wanted Brubaker’s opinion on hipsters, well, there you have it.

Aside from the clear time stamp and relatability, though, Prez: Smells Like Teen President sticks out for its unashamed honesty, even while in the face of preachy speech giving. Before “Marvel Architects” and a David Slade partnership, Brubaker was just another dude doing comics, and not just freelance mainstream work. Dude was producing the kind of work The Comics Journal salivates to, auto-bio sulk fests complete with meaning and all sorts of good, wholesome stuff. He wasn’t Ed Brubaker, the writer; he was Ed Brubaker, the cartoonist (check out Lowlife, if you haven’t), and he was clearly apart of a different area of the grander comics culture. Of course, he moved on eventually, losing the cool points in some eyes, but I’d like to say the guy grew up and took his craft to another area.

But Prez: Smells Like Teen President sort of sits in between those two crafts as it sort of represents the last few days of cartoonist Brubaker, even though he doesn’t draw the damn thing. The voice clearly exemplifies a younger, broader creator, though. Broader than what eventually becomes a more tuned perspective, tuned to mainstream comic book storytelling – a transition you clearly see in 1999s Scene of the Crime. Prez’s like someone writing an auto-bio story through the lens of a pre-established concept. PJ acts as an easy stand in for Brubaker or anyone else via his commonality, and the heavy use of setting and time period only strengthen the notion that this story belongs to an actual someone versus a fictional being, even though it does. Not to say Brubaker is PJ or shares his experience, but I think much of the detail, subtext and even back matter create this honesty which make the narrative more personal than some preachy genre comic.  There’s simply a sense that this tale came from somewhere real, and the tone and voice only bring the idea home.

From a pure storytelling level though, Prez succeeds. As I’ve noted, it can become a bit preachy at times, especially toward the end, but aside from that this comic works as a well oiled machine plot wise. Shanower draws in Vertigo’s classic 90s house style, but there’s enough of him there to give the book a unique look. His work completely lives to tell the story, straying from all sense of splash until the very last few pages. From another visual standpoint, I also really love PJ’s appearance – blonde, blue eyed American kid wearing a smeared t-shirt, in need of a hair cut, bathing in public restrooms. Works as a nice little visual metaphor.

There’s also a cool change in perspective which provides some sense of unique storytelling. Rather than introduce his audience to PJ via a weird 3rd/1st person combo, Brubaker uses the POVs of the character’s two road trip companions to shape this somewhat outsider opinion on the guy. The choice attributes to Brubaker’s point of “looking cool” while also building the character up as someone who’s maybe trapped in his own head a bit, or more like, empty, unable to actually tell us about himself. Which makes sense because most of this comic book centers on the conflict of PJ not knowing who he is, a reason why he’s so adamant about finding his mystery father, Prez: First Teen President.

For the most part, this chunk of story comes across as pretty clean cut, but I like what’s going on here. At the end of the day, this book sticks out as something specific to its time, and more importantly, reminds readers of where this writer’s been. It can definitely be categorized as one of this odd ball early works, and as a matter of subtext, Prez says something pretty true. You’ve gotta get yourself together before you can save others.

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Direct Message 02: Sleeper: Part One

If you may recall, Chad Nevett and I host a little discussion series called Direct Message, in which we chat about comics. Five months ago, we kicked off DM by discussing the DC Comics relaunch, and now, some time later, we return to you to present a lengthy conversation centered around Ed Brubaker and Sean Phillips’ Sleeper, a maxiseries the duo produced for Wildstorm between 2003 and 2005.

The discussion has been split into two parts; part two is over on Chad’s blog. Without further introduction, here’s our conversation …

Alec Berry: Sleeper ran for 24 issues and spanned two volumes; the book belongs to that special, influential era of WildStorm comics that set the stage for what we know today, and in some ways I think it’s safe to say Sleeper marked the end of that era, running alongside Joe Casey’s WildC.A.T.S. 3.0.

What’s also important to note is the collaboration between writer Ed Brubaker and artist Sean Phillips. The team had worked together previously in smaller ways. Phillips inked two issues of Brubaker’s 1999 Veritgo Comics mini series Scene of the Crime, and he illustrated 2001’s Batman: Gotham Noir with Bru at the helm of the script. Sleeper, though, really meshed these guys together and transformed them into the A-team they are today. Sleeper is where the voice and the attitude found their feet.

Chad and I want to make Sleeper the focus of our second Direct Message conversation. Originally, we settled on Brubaker and Phillips’ Criminal, which I’m sure would have supplied plenty of good discussion, but after thinking on it, I changed my mind and proposed to Chad we do Sleeper. He happily agreed – although, I believe he had to move a few boxes in order to re-read it.

So, yeah, Chad, there is where I’ll stop talking to the audience and turn toward you. I’m sure we’ll touch upon Point Blank at some point in here, but I just wanted to start off with your personal history with this book. I know you love this era of Wildstorm. Were you reading Sleeper at the time, or was this something you came to later in trades?

Chad Nevett: The Wildstorm of this era, beginning mostly when Wildstorm was bought by DC and sort of relaunched itself at the start of 1999 and ending… well, pretty much with Sleeper (although The Intimates started after Sleeper Season Two and, then, there was Desolation Jones…), is probably my favourite publisher (or imprint) of all time. So many comics that I love came out during that time — and, since I turned 16 in January 1999, I was the perfect age to have all of those greats comics hit me.

I came a little late to Sleeper. With a lot of Wildstorm stuff, I read my dad’s copies since he bought almost everything they put out. He had gotten Point Blank, but didn’t get Sleeper for whatever strange reason. So, I missed out on it for a while until I got the first trade shortly after it came out (a combination of positive buzz and Sean Phillips art got me aboard) and, then, bought up the second half of the first season in singles. I think that was when issue 11 came out. Not too far behind the times, then. Right? From that point on, I bought the book as it came out and, eventually, went back and got Point Blank as well, making for an odd collection where everything is in singles except for Sleeper #1-6. And, yes, I had to move boxes to get at this. Not as many as I feared I might, though.

How about you? You’re almost ten years younger than I am, so I assume you came to this after it ended. Right?

AB: Way after. I think it might have been 2008 or whenever Wildstorm decided to recollect the series into two, thick volumes. I read it right in the heyday of my Ed Brubaker obsession, when I would have easily declared him the greatest writer ever and named my potential child after him (boy or girl!). My absolute enjoyment and attention to his work came from the fact he was the first writer who I noticed explored consistent themes and wrote in a certain fashion across works- things that were eye-opening to me at the age of 16, which I guess is still kind of sad because that wasn’t so long ago …

Seriously, though, I did little reading when I was younger. Harry Potter was as far as I went, and the rest of my time was spent running around the neighborhood. High school is what put me in the closet, so I finally turned to some form of reading, as in comics. I’m still trying to make up for what I’ve missed, and you know, read actual fucking books, watch David Lynch and listen to Depeche Mode. I’m probably a shitty “pundit” or whatever because of that, to be honest. I was pretty sheltered up until, like, my junior year of high school (strict mom).

But, yeah, Brubaker introduced me to the concept of the writer’s individual voice, and because of that, I latched onto him. One, because of the discovery, but also because I liked what his voice and style had to offer. The whole noir, espionage thing in his Captain America comics, and how it’s paired with the sly voice overs – that spoke to me. I think the aesthetic of all that was perfect for the age range I was in at the time because the whole thing was just so cool, and it felt “mature.” Sleeper sort of amped that whole thing up, and even reading it again now I’m taken away by the atmosphere and tone this comic puts forth. I’m sucked into it in a way not many other comics can do to me.

CN: This will sound harsher than I mean it to, but I never really thought of Brubaker as the sort of writer who would be so big to someone. A completely strange thing to say considering how many fantastic comics he’s written and how many of his things I buy on a regular basis. I guess he came too late for me to really fill that role, so I never think of him as the sort who could fill it for others. I’m so used to guys like Grant Morrison, Warren Ellis, and Garth Ennis being that that it doesn’t occur to me often that, yeah, there’s a whole mess of people like you that are the right age for guys like Brubaker and Bendis to be the comic book writer. Brubaker, as we’ve established, sort of entered my consciousness at the tail end of the big ‘movement’ that made its impression on my late-teenage self.

Also, I want to support people reading actual fucking books. That’s how I got to where I am today. We should make the next Direct Message be about some prose book.

Well, we’ve got the introductions over with, let’s get down to the business. I want to start with what came before Sleeper, because it annoys me that everyone focuses so much on Sleeper and completely forgets Point Blank. What the fuck, people? After all, Steven Grant wrote in a Permanent Damage column from 2004: “So what’s the best superhero story ever told? WATCHMEN? DARK KNIGHT RETURNS? This week I’m swinging toward Ed Brubaker and Colin Wilson’s POINT BLANK.” Those are some bold words from Mr. Grant and, while I wouldn’t go so far, I do think it’s a damn impressive comic. So controlled and methodical that I’m not sure Sleeper ever quite matches it on a pure craft level of storytelling. But, that’s also an advantage a five-issue mini has over a possibly open-ended story. Brubaker may have had small endings in mind should the series be cut short, but that’s not the same thing as setting out to tell a short, focused story about a man trying to solve a crime he committed and not only failing, but never actually remembering that the crime occurred!

I assume you’ve read Point Blank, right?

AB: I have, and I remember just how hard the ending hit when I originally read it. It’s just such a mean fucking ending. But after a reread, I will be honest, Point Blank doesn’t hold up as well for me. I still find it a good, solid comic, but it ultimately feels like the work of a young writer; one key aspect of PB supports my argument.

Like how Brubaker writes with a bit of a heavy hand. I mean, it’s a procedural, but I saw this comic kind of slipping into Scott Snyder narration box territory at times (he even uses the issue opening anecdotes). Not that narration is bad, or that words in a comic are bad. It’s just heavily used, and the story seems to hinge itself on that rather than letting the other elements tell the story.

It’s certainly key to view the situation from Cole’s perspective, and the style of writing gives you that, sure … I just would have enjoyed a bit of a balance, though. Because Cole doesn’t necessarily always have an interesting tidbit to tell me. Much of his narration keeps running through the steps, and when it’s not, Brubaker hits certain points over the head. Like how the bar Cole hangs around messes with his head. The whole thing feels so obvious when you read it back.

It’s not that I don’t enjoy procedurals. I do. Point Blank just needed more subtlety because it’s way in your face at times. That type of writing signifies a young writer to me because that type of writing is so forced and only exists to insure the point is made. A skilled scripter trusts the subtle marks he makes. Brubaker’s not doing such a thing in PB. Instead, I think he’s still in the process of learning to tell a mystery plot, and that’s why Cole constantly reviews the steps and highlights things he learned in “spy school.”

Although, PB does manage to keep the super hero stuff out of your face, and that’s what I dig the most about it. Because the whole thing takes place in the Wildstorm universe, but Brubaker and Wilson play it up like it’s Mean Streets or something. The notion of Grifter not wearing the mask really gets that across. Cole even says in the comic he’s not a big fan of masks. Point Blank entertains because its technically this grand tour of a super hero universe, yet it does such a good job of hiding the super heroes. And not by taking away the costumes or simply making them invisible – if anything Wilson and Brubaker put them up front in one, easy-to-find place with the bar set piece. No, they just convey super heroes in a very nontraditional way, so you kind of forget they are super heroes. That’s how they bury them.

I really dug the approach, and it’s something that obviously carried over to Sleeper and Incognito. But that’s kind of what the Wildstorm of this time was doing, right? I’ve read very little of it, but it seems like what’s done in Point Blank sums up the Wildstorm approach. I feel like a lot of writers and artists were working in this somewhat traditional super hero setup yet were doing all they could to go against the tradition. At least, that’s what The Authority and Casey’s WildC.A.T.S. sell to me.

CN: The ‘in your face’ nature of the comic never felt like the work of a young writer, it has always come across to me as the work of a writer letting the character dictate how the story is told. Cole Cash is not subtle. He’s sloppy in his investigation and that’s how the story is told. More than that, he’s also a nostalgic sort of guy, making the style of the captions make more sense. You mention the ‘Scott Snyder captions’ like using that anecdotal style of captions is bad when, really, Snyder is associated with that type of narration because he uses it a lot across a variety of books. That approach works with a character like Cole, because everything about the man is looking back to the past. He’s an old soldier with no war to fight who spends his time getting drunk — and, here, one of his oldest ‘friends’ is shot and he’s determined to solve the case. The past is what drives him in this story. He doesn’t like Lynch, but their past connects them.

It’s that approach that makes this such a tight, compelling read. Brubaker doesn’t just deliver a procedural about solving a crime, he tells it very specifically from the perspective of a character and everything we see is determined by that perspective. So often in comics, writers use first-person narration to offer ‘insight’ into the characters while telling a third-person story because we can see what’s happening. There isn’t a single scene in that comic that Cole doesn’t experience first-hand. It may be faint praise to talk up Brubaker for that because so many of his ‘peers’ get that wrong so often…

You’re right that it’s an odd little tour of the Wildstorm Universe in its way — and that’s part of the point. Like I said, this is a character and a story rooted in the past. It needs to go through history a little and touch on different areas, if only to make Cole feel even more distant from his comfort zone. Nothing is like what it used to be and he’s struggling hard with that. Brubaker picks up the ball on what Joe Casey was doing in volume two of Wildcats in that regard. It’s a story about the pain of memories with the twist being that Cole can’t remember the most important thing in the story.

It’s always struck me as better crafted than Sleeper because it’s a more cohesive whole. Sleeper, because of its nature, slips into a very episodic structure that Point Blank avoids. There’s a throughline in Sleeper, sure, and it’s one that reminds me of TV. Point Blank is more a movie or novella, while Sleeper is a TV show. Ultimately, for telling a large story, I find that the former lends itself to a stronger structure than the latter, if only because the needs of telling semi-self-contained chunks of story isn’t there as much. I love that Brubaker made an effort for most issues of Sleeper to tell a complete story in every issue in some way, I just think that, when looking at the whole, that detracts in a way that Point Blank’s issue-by-issue structuring and pacing doesn’t. In some ways, there is a higher level of skill and craft in writing a series that functions on self-contained chunks like that while telling a larger story. I guess it’s what you’re looking for.

AB: Yeah, I think you’re right. I think it is a matter of what you’re looking for.

What you wrote about the craft of the story supporting the type of story it is makes a lot of sense, and most likely that’s probably how the process went down. And maybe the tight-knit nature of the writing suggests the work of a skilled author, showing that he, Brubaker, can get from Point A to Point B in the most efficient way possible.

Something about that, though, bores me and supports my idea of a young writer crafting Point Blank. I feel as if Brubaker laid out an outline for this story, noting up some sheet of notebook paper, scribbling down how and when he’s supposed to hit certain scenes rather than, say, going with it, trusting his own talent. Granted, I don’t really know how he wrote it, and I’m sure most writers tend to outline their stories in some fashion, but that’s what I interpret when I read Point Blank. Some guy over-preparing a story, containing it to something. Some guy relying a bit too much on the rules of a procedural story rather than writing it how he feels it should work.

I think that’s where Sleeper excels and beats out Point Blank as my area of interest and favor because it is such a sprawling, as you said, episodic, go with the flow type of narrative. And as you said, the structure does leave more room for mistakes, and you’re right, but I also think the room and open spaces in Sleeper make it a very atmospheric, organic work rather than a list of bullet points, which is what I feel Point Blank is.

But as you pointed out, Point Blank is a five issue mini series. It really doesn’t have the room to run like Sleeper, so Brubaker probably just wrote how he needed to. So, maybe, I don’t really have an argument.

But you were starting to explain why you think Sleeper slightly fails structurally. You mentioned that the approach to telling a complete story in each issue didn’t necessary work for you, and that it ultimately detracted from the overall work. How so? (Not trying to be defensive, just interested in your thoughts). How does that approach fail, and what do you think is lost in Sleeper because of it? Just pure craft points, or do you feel it affects the voice and style of the comic in some way?

CN: I’m thinking more of the first twelve issues of Sleeper, I guess. The pacing of those twelve issues seems geared very much to the monthly reading habit. Threads are picked up from last time, but issues stand on their own, tell their own little story. Reading those issues together, there’s a very stop-and-start feel to it. Less like chapters in a novel, more like episodes of a TV show. Which isn’t bad, I’m just the sort of guy who’d more interesting in novels, I guess. Season Two wasn’t quite so bad in that respect. It improved upon that area of the craft, making things a little smoother issue to issue.

On a pure craft level, there isn’t a lot that drives me forward while reading Sleeper. Brubaker makes me care about Carver, but that’s it. It’s all character. The plot, pacing, and structure don’t push me forward at all. Brubaker does some fantastic character work and that’s what makes me keep reading. Point Blank has a story that’s much more geared towards moving forward, reading on. In many ways, Sleeper’s plot could easily have become something entirely different had Carver just accepted his role in Tao’s organization and not fought against it at all. Now, that would have been a different character, obviously — not one SO different, though. Especially once he realizes that there isn’t much difference on either side, he could have shrugged and just gone with the flow. Because that option was always there, the series was definitely executed in a very step by step fashion to provide reasons for Carver to not give up and resign himself to being one of Tao’s best men.

You basically said the same thing about Point Blank, but Sleeper seems to run off an outline a lot. Each issue is another step in pushing Carver in a certain direction. Hell, I can remember individual issues of Sleeper and Point Blank runs together as one big story.

Goddamn, it sounds like I don’t like Sleeper much, doesn’t it? I would like to take this opportunity to remind everyone that that isn’t the case — Alec just suckered me into being the ‘negative’ guy through his overwhelming praise and positivity. All sides must be represented, right?

AB: I only brought out the ever-present crank.

Nah. I think your critiques of Sleeper are fair ones, and I think it’s clear you enjoy the work. Why else would we be writing this?  And honestly, I don’t really believe Sleeper is a perfect work. I may have set this discussion up to spell out a feeling like that, but in all truth, there are issues with it in terms of plotting and direction, and they are quite obvious when you read the entire story in a sitting (or two).  Especially when you read Season 2, which is clearly where the story lost it’s tight focus to adopt a philosophy of “we gotta keep this rolling because Jim Lee likes it and wants to give us money.”

I think that in the end, yeah, there was a clear point to Season 2, but I definitely felt the stretch reading those 12 issues.  It’s really not until Carver decides to pit Lynch and Tao against each other and abandon “sides” does the narrative gain any sense of point. Until then, it’s just more of the same of what we read in Season 1. Carver working for Tao, only he’s not entirely a double agent anymore. I don’t know, it just wanders about a bit in this first few issues of Season 2.

Season 1 was such a determined thing told in a loose, relaxed fashion, and I think that’s what makes Season 2 a bit jarring because I didn’t sense a determined path from the get go. The only thing that sort of inhibits Season 1, I think, is the ending – revealing Lynch alive – because it carries on a story I felt was at a solid enough end point. But Season 1 does have such a strong drive from start to finish, and I’ll agree with you in that Brubaker and Phillips perform some excellent character work – which absolutely propels the reader forward. But I also feel the team creates such a tone, and offers such a cool aesthetic, that Sleeper gets by on more than character work alone. If anything, this is one atmospheric comic where the vibe goes from extreme paranoia, to straight noir, to pulpy vitality in such a smooth fashion, making up for some of the more technical flaws.

But enough of this court session. I no longer want to prove Sleeper’s worth. We both like this comic, Chad, so let’s talk about what works in it and why this has stood out for us.

Let’s take this conversation somewhere new.

Check Chad’s blog, right now,for Part Two.

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the chemical box – episode 011 – back in the day

A new Chemical Box Podcast, hosted by Joey Aulisio and myself, is available. Here are the details…

in this episode joey and alec bitch about things for 20 minutes or so and then move on to discuss topics such as hellboy, criminal: the last of the innocent #1-2 by ed brubaker and sean phillips, captain america & bucky #620 by ed brubaker with marc andreyko and chris samnee, captain america #1 by ed brubaker and steve mcniven, daredevil #1 by mark waid with paolo rivera and marcos martin, rachel rising #1 by terry moore, and twisted savage dragon funnies edited by michel fiffe with stories from benjamin marra, ulises farinas, and joe keatinge among others.

music by local h

You can listen by clicking here, or you can download the show, in iTunes, here.

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No Clever Title Needed #3

Here are the thoughts that lack a specific home; they are tossed here.

What a week. Honestly, that is all I can say to describe it. Just so odd. Just so off. That was this week. Not terrible by any means, just odd. I guess that is a pretty vague description, right? Oh well.

This week, or at least something I watched this week, did make me want to move to Portland (Oregon) even more, though. This something would be the short and so appropriately named documentary, Portland Comics.

Moving entirely across the country for a comics scene may seem like a bit much, but to me it would be more than comics…Ok, scratch that, it would be all about comics, but it would be for the community, culture, and lifestyle around the medium rather than actual, physical comic books themselves. At this point in my life, I feel comics are, and forever will be, apart of me.  The medium has me at my heart and mind. I feel I know it so well, yet at the same time have many aspects to learn about it. Comics, as corney and possibly messed up as it may sound, have shaped me into the person I am today. Seriously. Without comics, I would never have podcasted, never have choosen a career in journalism, never have taken an interest in writing or storytelling as strongly as I have, and would never be writing this blog. Also, the ways in which I look at the world…those would probably be different too, as well as the group of friends I hold.

To me it makes sense. Portland does. The comics scene, and the people of it, just feel like a setting I need to be surrounded by. It is a setting I need to exist in. It would bring home and strengthen the idea of comics being a piece of me. Granted, I am going completely off a documentary and other word-of-mouth, but I know that I need to at least visit Portland sometime in the near future. From there, well, we will see what happens.

For now though, the land of Portland, Oregon will remain a wishful thought. One that I may possibly work towards.

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Dave Wachter kicks ass. Here is a sweet Galactus piece from him, and it is in color.

Dave’s blog: http://davedrawscomics.blogspot.com/

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A friend of mine discovered this really cool short film called Logorama. It is an animated presentation that depicts a universe of brands.

On the surface, this film works as a cute comedy that provides numerous chuckles, but as expected with the subject matter it does dive into its corner of commentary and subversion. The bit that really impressed me was the use and placement of specific brands, such as the use of Ronald McDonald as the villain in the piece. That, ladies and gentlemen, was no accident. I actually think you could probably spend all day watching this film picking out brands and the comments they make.

It is a visually busy film, and I certianly suggestion taking the sixteen minutes to watch it.

http://vimeo.com/10149605

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New Criminal.

I am always in the mood for Brubaker and Phillips’ Criminal because it feels like the most natural work these guys produce. This promotional image is excellent. I love the colors and the way the women’s red dress contrasts with the blue of the background, and I also love the vertical streaks casting down like long rain drops.

I have yet to read the latest arc of Incognito from this creative team, and from what I understand those comics may be weak, but I am certainly looking forward to this project. I will be buying.

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The Mountain Goats’ latest, All Eternals Deck, is very good, and it has been my playlist of choice over the past two days. With luck, I may actually be seeing them live, in Pittsburgh, on April 12th.

Tracks that impress: Damn These Vampires (1), Birth of Serpents (2), Estate Sale Sign (3), The Autospy Garland (5), High Hawk Season (7), For Charles Bronson (11), and Never Quite Free (12).

Get it.

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The name of Jay Diddilo has become legend to the internet in the past week or two. Why? Well, just blame Rob Granito. If you have not had enough of Jay Diddilo (and really, how could you?), then you must check out the man’s actual website.

Your laugh buds will thank you. Oh, they will thank you. http://jaydiddilo.com/index.php

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Last, but not least, Brandon Graham, the artist and creator of King City, has been providing a great daily column over at The Comics Journal all week. This is a must read. The man provides some great artwork along with  fun, quirky bits of internet goodness. Plus, a cool peak into his daily life.

http://www.tcj.com

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Yep. That’s it. Next week I should post something more substantial. For now, enjoy this post, and if you frequent Twitter follow my ass. I want more followers, so I can feel some higher sense of happiness. You want that, right?

twitter.com/alec_berry

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