NEWS BLAST (COVID-19 EDITION): A lot of stuff is going on amid the global pandemic, and Andrew and D. Bethel are here to talk about it (if Dan actually was able to record his audio this time). They talk about the AMC theater chain shunning Universal Pictures amid Trolls World Tour‘s success, Civilization VI‘s bold new plan for a year’s worth of DLC and expansions, Marvel and DC Comics are shipping books again, The Flash has an abbreviated season (ending on somewhat of a downbeat), and New Mutants gets a theatrical release date…again.
SHELTER AT HOME: With both hosts hometowns under a “shelter at home” quarantine, they discuss how they’ve had to adjust their behavior to continue their normal nerdy procedures. To that end, Andrew discusses playing tabletop RPGs online using the Roll20 website and the teleconferencing program, Zoom. D. Bethel, on the other hand, talks about comic book distribution and how the major (only?) comics distributor, Diamond Comics, decreed that it will cease ordering (and shipping) new comics immediately; Dan talks about how this affects him and, more importantly, how it affects local comic shops.
Here is a look at the virtual tabletop Andrew created for his game of Spectaculars:
Also, here is the video made by Sacramento comic shop proprietor, Ben Schwartz––owner of Empire’s Comics Vault––laying out the dilemma of comic shop owners in the time of the quarantine (especially before Diamond stopped shipping):
NOT FAR FROM HOME: It was announced that Sony and Disney/Marvel had once again struck a deal that will keep Tom Holland’s Spider-Man in the Marvel Cinematic Universe, much to the joy of fans and to the benefit of both companies’ bank accounts. Having discussed the initial breakup back when it happened in August, Andrew and D. Bethel have a surprisingly heated discussion of this generally happy news.
THE STRANGEST HANDSHAKE: British tabletop company, Games Workshop, announced that it will be licensing one of its beloved properties––Warhammer 40,000––to American comic book giant, Marvel Comics, to make a line of comic books. This is interesting because both of Games Workshop’s original Warhammer line and especially its Warhammer 40,000 line have deep lore and continuities that has our hosts wondering how well it will translate to a comic book series.
New Dangers (20 September 2019): Where, briefly, D. Bethel and Andrew display their light wrestling knowledge in the light of AEW’s strange storyline built around a jock heel wrestler insults his opponent for liking Dungeons & Dragons.
The lauded limited podcast series returns with a new episode as well as a fan-favorite co-host, Kyrun Silva of Taurus Comics as he and D. Bethel (check out his webcomic, Long John, and his podcast, A Podcast [ , ] For All Intents and Purposes) pair up to take on the first StocktonCon Winter show. This episode focuses on the strange space that indie creators inhabit, that realm between fan and professional and how those waters can get muddied, especially when it comes to reading and respecting creators from your childhood (there is a lot of Rob Liefeld talk in these conversations) to meeting your heroes as a creator in your own right.
CORRECTION: D. Bethel said that one of the Uncanny X-Men issues he had Jim Lee sign was #249; he meant to say it was #248. All apologies.
Con Artists #01 – StocktonCon, pt. 1 : The drive home from the first day of the show. Kyrun and D. discuss making sales, confidence, and the comics they grew up reading and enjoying.
Con Artists #02 – StocktonCon, pt. 2 : The drive to StocktonCon to start Day 2 of the show. They discuss the importance of continuity, the level of fan engagement and ownership over continuity, and Dan’s strange reading habits growing up.
MIRA DEL MAHER: Bill Maher redoubles his “complaints” against adult comic book fans on a recent episode of his show, Real Time with Bill Maher, in an editorial titled, “Grow Up” (from the “New Rules” segment he does at the end of his show). Andrew and D. examine less the content of his argument and more the ideas it intersects, discussing the need for fandom self-reflection, literature and literary history, the Western canon, and the invented division between “high” and “low” art.
Though linked above, here is the segment in question:
Wikipedia article about one of the earliest examples of this thing called “comics”, The Yellow Kid.
Comics writer, Peter David, responds to the segment:
Cat Valente’s Response to Maher’s comments on Twitter (click on the tweet to read the entire thread):
Last night, Bill Maher went on a rant about comic books & those who love them & the generation (it rhymes with Schmelennials!) that uses words like #adulting & doesn’t want to give up the things they loved as kids or grow up
Well my name is Miss Valente & I got something to say
GOING BACK: Having played Uncharted: The Lost Legacy, D. Bethel has since gone back and played the first game in the Uncharted series and was rather frustrated by it. This experience got our hosts thinking about entering series (of games, movies, tv shows, etc.) mid-stream––what’s the value of going back to the start?
[This article has been updated by the author since seeing the film; the content remains spoiler-free. -D. Bethel]
When Marvel’s trailer for Avengers: Infinity War debuted, many comic fans, like myself, were excited. The culmination of ten years of dedicated movie watching will pay off in what MCU mastermind, Kevin Feige, has dubbed “[a thing] you’ve never seen in superhero films: a finale.” But being a self proclaimed comic expert, and even having my own YouTube Comic Book Show, means you become the person your friends text when they have questions. One that struck me after the trailer debut was “Who’s the purple dude that looks Hellboy-ish? The bad one who put a jewel into his knuckle?” The question is perfectly fair, although my response was a bit, um, charged:
“Um… Thanos? The Mad Titan. The ultimate villain that has been teased since Avengers ONE. WHAT DO YOU MEAN WHO IS THANOS?!!!!”
That simple question led down a rabbit hole of a discussion with my friend about the fact that they missed Thanos inallthree of his movie appearances (two of which were post- or mid-credits scenes), and his mention in another. Then you have the Infinity Stones and how they fit in (literally and figuratively) with the Infinity Gauntlet and how all of this relates to the average moviegoer. When all is said and done, when you sort the movies out using those requirements, you have the following:
Guardians of the Galaxy, Vol. 2 – Mentioned due to being Gamora/Nebula’s “adoptive” father.
Infinity Stones Appearances/Mentions
Thor (post-credits scene) – Tesseract/Cosmic Cube – Space Stone
Captain America: The First Avenger – Tesseract/Cosmic Cube – Space Stone
The Avengers – Tesseract/Cosmic Cube – Space Stone and The Scepter – Mind Stone
Thor: The Dark World – Aether – Reality Stone
Guardians of the Galaxy – The Orb – Power Stone and Aether – Reality Stone
Avengers: Age of Ultron – The Scepter/Vision’s head – “Mind Stone”, All 6 of the Stones were in Thor’s vision.
Captain America: Civil War – Mind Stone in Vision’s head
Doctor Strange – The Eye Of Agamotto – The Time Stone
Guardians of the Galaxy, Vol. 2 – mentioned Power Stone again
Thor: Ragnarok – Thor was looking for the Stones from when he had that vision in Avengers: Age of Ultron.
So, counting the above, in order to understand Thanos and the Infinity Stones (minus the Soul Stone.. WHERE IS THAT BAD BOY?) before going into Avengers: Infinity War, a person would have to have seen ten of the eighteen movies over the last 10 years just to understand everything that doesn’t have to do with our main characters. But is all that necessary? Could we shorten the list? Or, alternatively, how short can we make the list and still have it all make sense?
Let’s start out with movies from above you could skip as they are unrelated to most of the Infinity War plot (either secondary mentions of Thanos/Infinity Stones or no mentions).
Guardians of the Galaxy, Vol. 2
Then let’s take out movies that can have single line explanations in Infinity War to remove the bloat:
Captain America: The First Avenger – By the way, the Cosmic Cube/Tesseract was the macguffin of this movie and is seen in The Avengers.
Doctor Strange – The necklace Stephen Strange wears and uses in this movie has time powers and is the Time Stone
Thor: The Dark World – The Aether (aka red mist) was from this movie and that is actually an Infinity Stone.
So removing those means that only fourfive movies in the MCU have to do with the actual events of Infinity War from an understanding of the villain, giant cast of characters, and major plot points.
[UPDATE]: After seeing Avengers: Infinity War I would recommend that you watch All NINE of the below films for the most effective enjoyment of this film aka THE NEW HOTNESS. My recommendation is less due to the plot in all nine movies and more attributed to the character arcs and relationships that help push the plot of the new movie forward. However as far as plot goes, Thor: Ragnarok has been added to the list as it leads directly into Infinity War.
Guardians of the Galaxy
Avengers: Age of Ultron
Captain America: Civil War
Not bad. But let’s add in some movies to round out character motivations, and side characters that may be pertinent to Infinity War:
Captain America: The Winter Soldier – Arguably the best MCU movie and introduces The Winter Soldier who’s a pretty major character at this point.
Guardians of the Galaxy, Vol. 2 – MORE GUARDIANS (for real they added another member to the team in this movie. Plus, BABY GROOT!).
Spider-Man: Homecoming – Gives you more information on Spider-Man and his relationship with Tony Stark.
Black Panther – Many of the locations and characters from Black Panther are sure to be important in Infinity War based on the trailers alone.
In conclusion, here is this comic nerd’s list of the movies you should probably watch before Avengers: Infinity War. Additionally, if you swap Avengers: Age Of Ultron for Iron Man (the first) these may be the best movies of the 18 MCU films anyway. The list below is in viewing order (by MCU chronology) with bolded titles being the MUST SEE four films.
Guardians of the Galaxy
Guardians of the Galaxy Vol. 2
Captain America: The Winter Soldier
The Avengers: Age of Ultron
Captain America: Civil War
With all nine of these movies under your belt, anyone should be able to enjoy Avengers: Infinity War to its fullest.
Have any suggestions or edits to this list? Let me know in the comments below!
Taylor Katcher doesn’t like sand. It’s coarse and irritating and gets everywhere. But he loves comics, typefaces, and most other things to a fault…mostly.You can follow Taylor’s unbridled love for stuff on Twitter.
WEEK IN GEEK: In a fit of nostalgia, Andrew picks up The Sims 3 again (starts at 1:49) while Dan can’t get past a nit-pick to enjoy anything Netflix’s Castlevania has to offer (20:46).
SDCC 2017: [starts at 34:04] It was a big weekend for nerd culture as the San Diego Comic Con dropped a bunch of new trailers on the world. Dan and Andrew look at three trailers and how they seem to be pointing out the creative direction of their respective studios with Marvel’s Thor: Ragnarok, DC/Warner Bros.’ Justice League, and Steven Spielberg’s Ready Player One.
For reference, here are the three trailers the discussion focuses on.
WEEK IN GEEK: With Andrew sick this week, the Shortcast ends up being a bit more organic than normal with both Andrew and D. sharing stories about this year’s Free Comic Book Day festivities. Specifically, Andrew got his hardback copy of Ms. Marvel, volume 1 signed by the creator herself, G. Willow Wilson, while Dan discusses the Hulu Original documentary, Batman & Bill.
Visit our website at forallintents.net and leave your thoughts as comments on the page for this episode.
It’s no surprise by now that I’m a fervent X-Men apologist and proudly so. Such sentiments are only bolstered by their very strange treatment by Marvel over the last eight or so years. Most of my conspiratorial talk is just for fun, but there are some details that eke through and seem just a bit too shady to be mere coincidence. There was the omission of any mutants from the cover of Marvel’s 75th Anniversary magazine, which was given away for free (which Andrew and I discussed early in our show’s history). Since then, they have made Cyclops––the boy scout figurehead of the mutants (ostensibly the Superman of the X-Men)––a terrorist murderer (#cyclopswasright), they have legit killed the most famous mutant character, Wolverine, and now they are having the team nobody really knows about (but they really want people to know about) fight the team they want everyone to forget about in the “Inhumans vs. X-Men” event (but not before they have a prologue event literally called “The Death of X”).
Comicsverse are, admittedly, as apologetic about the X-Men as I am, but they approach this topic with a collectively cooler head. Jack Fisher’s article looks at what he describes as the problem with this fight beyond the obviously corporate undertones that poison the well. He sees this forced skirmish as a severely problematic one based on the origin of these teams and how these continuous “…vs. X-Men” storylines are doing more cultural damage in the long run even if books are being sold. Fisher boils it down beautifully:
Whatever the outcome and whatever the legal undertones, the concept between Inhumans vs. X-Men is flawed. On one side, you have a minority that has been forcibly sterilized twice in the past decade. On the other, you have a team with a tradition of racism, xenophobia, and slavery. It’s not a battle between heroes as much as it is an exercise in contrivance.
I don’t know much about the Inhumans, but it seems that in the cinematic universe they are building them from the ground up. On more than one occasion, it has been noted (especially by co-host Andrew) that they’re just trying to slot them in the empty socket where mutants normally go. But that exacerbates the problem, I would argue.
It’s not as the Den of Geek article linked to in the last paragraph argues that the Inhumans are “the same basic idea, but with the serial numbers filed off.” It’s worse than that. It’s a self-fulfilling prophecy. Mutants were created to represent the minorities of this country and to dramatize their plight and struggle to accomplish two things: first, it presents these otherwise uncomfortable and possibly unknown issues to the predominantly white readership; second, it gives minorities (be it color, creed, gender, or sexual orientation) a safe place to go in the world of comics. The X series of books is about showing what true prejudice, bias, and hate looks like and having the minority survive.
And what happens?
In 2005, editor-in-chief, Joe Quesada instructs the X-writers to kill off all mutants except for 198. Genocide. Narratively (and creatively), it made sense. Mutants work best when they are a minority. But they were also presented as being the next stage in human evolution. With so many mutants on the planet (by 2005, at least) it seemed that theory was correct––science wins again––until they were forcibly made a minority again. That, of course, was the big event. But the small things, such as the omission from the Marvel 75th Anniversary Magazine cover, killing off fan-favorite characters, pitting C-level characters against them, etc., when piled together that makes a pretty loud squeaky wheel. Holistically, it looks like corporate monkey-wrenching and favoritism and simple catering to what is popular right now. But that isn’t all of it.
When taken in as a whole with the knowledge of what the X-Men actually mean, it looks like the type of thing the scared majority does to keep a minority down, and, in this day and age, it’s rather sickening.
With Halloween behind us, a lot of Lovecraft-focused articles circulated around the internet in celebration of the ghastly day. Mostly well-trod biographies or overviews of his racism, these are valid and important conversations to have as they can add a lot to the knowledge of the casual consumer. Much like the Luke Cage article I shared before, the most interesting article that I saw this last week was a roundtable discussion of Lovecraft and his work by three writers whose works have been influenced by his mythos: Kij Johnson, Cassandra Khaw, and Ruthanna Emrys.
The conversation is important because, despite being short, it digs deeper than a normal roundtable usually goes. The interviewer gets right to the point and discusses Lovecraft’s racism and what his legacy should be in a modern context, and––even better––the writers don’t shy away from giving tough answers.
As a reader of both Lovecraft and Lovecraft criticism, I belong to a few Lovecraftian fan pages on Facebook in the hope that there will be discussion as found in Joel Cunningham’s article. However, on the whole it’s a rather soft engagement with the material. What frustrates, however, is whenever an article that addresses his racism or intolerance starts making its way around the internet, the claws come out and the hate speech––for lack of a better word––fills the subsequent comments. Just as bad is the insistence on apathy in many cases, and that is a tragedy.
To say anything about Lovecraft’s work requires an acknowledgement of his love for the sciences. Like, a capital-L Love. The scientific method is all about asking questions, not picking sides. Science seeks to find how things thread into their place within the context of the universe and to see how that weave is part of a larger puzzle, a puzzle getting larger all the time. Science does not reward partisanship or apathy, it rewards the explorer. The fact that most Lovecraft stories warn people away from the scientific method is because Lovecraft himself was intrigued by the seemingly infinite possibility that science could offer us and then turned it on its ear for dramatic purposes. Why? Because horror stories are fun.
Again, referring to that previous Luke Cage roundtable I previously linked to, this type of conversation that these writers have about Lovecraft are the types of conversations we should be having because they are new and interesting and the ultimate outcome of this discourse is not to decide whether Lovecraft should be banished from modern thought or not––far from it. If we did that, we would be unable to have some interesting conversations. If anything, it would actually more firmly establish his place in the canon as someone worth talking about. Simply brushing off his racism will only keep him from reaching that place where I, most certainly, and most Lovecraft fans feel he should be woven into.