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This week’s pop culture column is going to be short but sweet, folks: the real world is on my tail and gaining fast. So let’s get to it; there’s no time to waste!

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After raving to Brandon and Danica in person about how good Midnighter is, they referred me to a book by the same writer, Steve Orlando: Virgil. It is right up my alley, a book that the Orlando call a “queersploitation” thriller. Virgil is a comic that revels in all the familiar trappings of the great exploitation revenge films of the 1970s while updating the social issues that drive the plot. The title character is a police in Kingston, Jamaica, who’s living a double life. As a (dubiously) respectable cop he has an image to maintain, as Jamaican culture is notoriously homophobic and Jamaican police culture even more so. But away from the “real world” he has a passionate and loving relationship with his boyfriend Ervan. In their stolen moments alone the two of them fantasize about escaping to Toronto where they can live their lives openly. That is until a police raid breaks up small dinner party that the two are having with other queer friends, leaving four people dead, Virgil beaten within an inch of his life, and Ervan missing. With his private life front page news and no-one to trust, Virgil has to fight his way through the ranks of the police department to get back the man he loves. As Virgil is an exploitation story, Orlando and artist J.D. Fath don’t shy away from scenes of sex and violence, which heighten the tensions involved in Virgil’s one man war on the establishment. Fath’s art is full of power and tension, the faces of the characters heightened without being exaggerated, and unmistakable body language driving the story more than the narration. I also love the use of inks to cast deep shadow, giving the same effect that shadows and light did in old films noir. A quick read but not lightweight by any means, Virgil‘s setting and subject matter revitalize the familiar revenge thriller tropes and make for a must-read book.

Greetings adventurekateers! Thanks for joining me again on this crazy ride. When I asked myself “Wait, what did I actually read/watch/listen to this week?” I didn’t realize that the very best things were the ones that made me laugh. I know I like to delve into the dark and cynical on a pretty regular basis, but this week I just needed to laugh, I suppose. If you need a laugh too, I have a few suggestions. I mean, if you’re interested.

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I am so, so happy I got to see The Nice Guys in the movie theater. I am a big proponent in watching movies on the big screen with other people; it’s a kind of communion that really speaks to me, sharing an experience with strangers, in a way that makes you all part of a community even if it’s just for a couple of hours.

Ahem. Forgive me, I have very strong opinions on this topic. But let’s get back to The Nice Guys, which is an extraordinary movie and one that I have been looking forward to for months.

Hey everyone, this week at work has been a KILLER for your old pal Devin so this column’s going to be a short one. The good news is that because there will only be a few sentences per item. the concentration of enthusiasm will be explosive BECAUSE I WILL WRITE IN ALL CAPS AND USE MULTIPLE EXCLAMATION POINTS!!!!

Okay, I won’t torture any of us with that nonsense. But still: short and to the point! Explosively exciting! Packed with Vitamin D! Let’s go!

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Cover to Killraven #2 by Alan Davis & Mark Farmer. Buckle them swashes, Killraven!

Cover to Killraven #2 by Alan Davis & Mark Farmer. Buckle them swashes, Killraven!

The 1970s was a weird time for mainstream comic books, with the two big publishers trying to supplement their traditional superhero offerings with titles inspired by a variety of other genres: kung-fu movies, exploitation, horror, and sci-fi. One of my favourite weird titles from Marvel at that time was Killraven, a sequel to The War Of The Worlds where the Martians had enslaved Earth and entertained themselves by watching human gladiator matches. Killraven was a gladiator-turned-freedom-fighter who, with the help of his fellow escaped gladiators, fought for freedom in this post-apocalyptic world wearing only a navy blue speedo and attached suspenders. It was a great littl series, but a very 1970s concept. That’s why Alan Davis & Mark Farmer’s 2002 Killraven miniseries was such a delight; the script felt like a slightly updated version of the swashbuckling adventures from thirty years earlier, but with Davis & Farmer’s glorious art giving it that much more of a stylistic punch. There were even panels that echoed some of the work that the great P. Craig Russell did on the original series in the 70s, but with the clean and muscular Davis/Farmer touch. The smile on my face grew with each issue I read, and by the end of the series my heart honestly felt a little lighter than when I started. It’s adventure and heroics and swordfighting and also robots and martians and gladiators in very little clothing. What’s not to like?

Well. That was unexpected.


I was absolutely hollowed out by the news of Darwyn Cooke’s death from cancer this past weekend. I know I’ve talked a lot in this column about being shaken by the death of an artist I admire and respect, but Cooke’s death is a real kick in the gut. For someone who was still such a vital and creative force, a vibrant and volatile person with a love for life and art, to leave us at only 53 years old…it’s left me feeling pretty hollow. Cooke was one of my favourite comics creators, of any era; I loved his old-school style, the way he brought real character from a handful of lines, and how his best work felt like it was about to come to life at practically any moment. I honestly can’t think of a comic that he worked on that I didn’t like (though granted, I haven’t read all of them just yet). His love letter to the Silver Age of DC comics, New Frontier, absolutely captivated me when I first read it, a twenty-something man just getting back into comics. Let’s forget about the fact that it’s one of the best Martian Manhunter stories ever written. It’s what most mainstream comics fans think of when they think Cooke; bright primary colours, the pages humming with a zest for action and life, classical art style married with a modern storytelling method.

Hello and happy Friday all! This week after Variant Edition’s Free Comic Book Day celebrations has felt like it’s gone by in an eyeblink, though that may be partly due to the fact that the week after a holiday always feels like it’s moving at double time to me, and also partly because as I complete my transition into an Old ManTM time keeps slipping, slipping, slipping into the future. That’s okay, though, because if the future keeps bringing me anything like the goodies I stumbled across this week, I say bring it on.

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Moon Shaped Pool

So Radiohead dropped A Moon Shaped Pool on Tuesday and AAAH NEW RADIOHEAD ALBUM AAAH


Okay. I should probably say something just a little bit more coherent than that. Let’s try again.

This week’s column features two very different dystopian sci-fi books, a hip-hop masterpiece, and the fourth installment of a video game series that (until recently) I didn’t care anything about. It’s been just that kind of a week, folks. Let’s get right into it!

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Cover to The Infinite Loop #2 by Elsa Charretier.

Cover to The Infinite Loop #2 by Elsa Charretier.

The most visually stunning comic book I read this week was, hands down, the French comic book Infinite Loop. Written and lettered by Pierrick Colinet and illustrated and coloured by Elsa Charretier, Infinite Loop is a meditation on freedom, love, and identity disguised as a time travel adventure story. The future is a place that has gotten rid of emotions as unnecessary distractions at best and the cause of all human misery at worst. Fighting against this new world order is a group of terrorists called the Forgers, who are disrupting the integrity of the timeline, creating “anomalies” as part of the chronal backlash. Fixing the timeline and disposing the disruptions is up to a special group of agents, and Teddy is one of the best. She’s basically the best of the best, aloof and untouched by emotion, and never lets the job get the better of her. That is until the latest anomaly she’s assigned to destroy is a young girl with purple hair, who makes Teddy re-evaluate not only her mission, but her stale and emotionless world as well.

Hello everyone! I don't know how things have been with you all, but for me this week has gone by overwhelmingly quickly. It must be all that cool stuff that I've been filling my life with! That's right, my brain and my heart have just been packed full to the brim with awesome things lately. So many things in fact that I am going to do a bit of a rapidfire infodump, highlighting some of the best things that I've experienced over the last two weeks in a handful of sentences each. Hopefully there will be a something for everyone! This week one of my favourite...

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Hello and happy Friday to everyone! It’s been a wonderfully sunny start to my spring and I’m feeling upbeat and eager to dive even further into 2016. I mean sure, a lot of what I’ll be talking about today might not seem sunny and optimistic, and that’s because, well, they’re not. But it is worth looking into, and that’s the best thing as far as I’m concerned. What’s been concerning me this week? Let’s find out!

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Cover art for The Punisher #13 by Marco Checchetto.

Cover art for The Punisher #13 by Marco Checchetto.

After finishing the second season of Daredevil a little while ago I realized I’d never given Greg Rucka’s 2011 run on The Punisher a fair shake. Or any shake at all, really. I had stayed away from it because I respect Rucka as a writer and creator and I have a very particular preferred version of The Punisher, and I didn’t want to be disappointed. But then I remembered, “Oh yeah, avoiding things that might be good because they might end badly is a terrible life philosophy,” and I started reading the dang book. Quickly enough I discovered that Rucka had, unsurprisingly, written a very good book, mainly by taking an angle at the story that I’m surprised few writers had done before. Specifically that Frank Castle is often more interesting as a catalyst than as a character.