No Blog Posts This Week
I’m simultaneously trying to complete an assignment for my course (due in by Monday) and get through a release at work. Even *BEFORE* this I was practically dead from exhaustion.
Linkblogging For 25/06/10
Proper posts tomorrow (on Morrison Batman) and Sunday (on Doctor Who) if possible, but I’ve got a busy weekend ahead of me (got to work from home to keep to a deadline, and also going to a gig tomorrow night). Meanwhile, some links:
Zom at the Mindless Ones is doing an alphabetical look at all the Bat-villains, starting with Anarky. Worth looking at the comments for this one too, which revolve around just how wrong Alan Grant’s worldview really is, and whether or not John Wagner’s any good.
Colsmi at Too Busy Thinking About My Comics and That Reminds Me Of This has been excelling himself again. Of his roughly 3000 recent great posts, this one on C.C. Beck’s Captain Marvel, this look at this week’s 2000AD and Megazine and this, part of his huge series on obscure Legion artist John Forte, are my personal favourites, but he’s averaging something like 3000 words a day of excellence at the moment between his two blogs.
On Saturday 3 July, Big Finish will be offering the first 50 of their Doctor Who audios for sale as CD or downloads for a fiver each for one day only. If, unlike me, you have any spare cash that day (I get paid on the 6th), I strongly urge you to buy The Holy Terror, Jubilee, Doctor Who And The Pirates and Davros.After that, don’t be surprised if Colin Baker is your new favourite Doctor.
Death To The Universe wonders who ‘tomorrow’s comics immortals’ will be.
And a few words on the budget:
I hate it, it’s a Tory budget, and while the Lib Dems made it better it’s still ultimately regressive and harmful. But it doesn’t yet change my overall view – that I still support the Liberal Democrats, I think we’re better off in the coalition than not, but I *don’t* support the government and hate the Tories. David Mathewman, Jennie, Mat and Millennium all have more on this.
And finally, not a link, but sorry to hear of the death of Alan Plater, one of the greatest TV dramatists of all time. His Beiderbecke trilogy may well be the best thing ever put on TV.
On DC’s Digital Comics
I *was* going to write about Batman 700 today, but I’ll leave it til I review Return Of Bruce Wayne 3 this week, and deal with both simultaneously, because DC have announced that they’re releasing digital comics in partnership with Comixology. This has good and bad aspects:
The good:
Creators get royalties from the comics, unlike Marvel’s digital comics at the moment.
That they’re doing it at all
A proportion of money is going to help brick-and-mortar comic shops who might lose customers through this – comics retailing is such a marginal business that otherwise many smaller shops could easily go out of business.
Likewise, while old comics will be priced cheaply (good), new comics will be priced at cover price, so not giving any great incentive to move away from paper comics – I don’t want to see comic shops going out of business, as they’re mostly run by people who do it as much for love as money.
The bad:
The obsession with the sodding iPad. While this material will be available over the web, you wouldn’t know that from the press release, which just says iPad iPad iPhone iPhone iPad app app app app app. And I consider the iPhone/Pad model to be *INCREDIBLY* dangerous – anything that hypes this more is A Bad Thing. Remind me to explain why some time.
The user interface. I tried the free preview of Superman 700 at work at lunchtime and it’s just *horrible*. Rather than presenting a full page, it’s a horrible pan-and-scan thing that swoops down to different panels when you click it, without giving any option (as far as I could see) to see the page the way the artist intended. While that’s not such a problem with whoever drew Superman 700, given that comics drawn by people like Frank Quitely and Brian Bolland are available through this site I’d want to see them as they drew them.
But of course I can’t see them *at all*, because if you don’t have some iCrap you have to use a web-based viewer which requires Adobe’s proprietary Flash 10, and I’m not installing proprietary software that a lot of people go to huge efforts to *block* on my Free Software machine. (And of course any machine not running one of a handful of approved OSes, or not running on x86 architectures, can’t run Flash at all).
You also can’t, unless you’re running an iPad ‘app’ (or application for those of us who speak English rather than marketese, or computer program for those who like to be understood), save the comics you ‘buy’ to your computer, making it reliant on having a permanent internet connection and on comixology’s continued willingness to serve the files.
The annoying thing is that these limitations could be overcome – there is already an accepted file format among online comics readers, .cbr or .cbz (I prefer .cbz myself, as .cbr files require the use of .rar, which is problematic, but either is better than a Flash website). Software exists for every platform to read these, people are already used to them, and they allow people to download the comics to their own hard drives.
One can only presume that DC want to prevent ‘piracy’, but these methods actually make it more, not less, likely that someone like myself would ‘pirate’ their comics (although the only comics I’ve got on my hard drive at the moment are either those I have paper copies of or ones that as far as I’m aware are out of print). If the free-but-illegal copy is actually more convenient, easier to use, and more flexible than the legal-and-costly one, then they’re really not providing any incentive at all to buy the legal one, other than a sense of fair play.
Luckily, paper copies of new comics are even *more* convenient than torrents, so DC won’t be losing any of the money I spend on them any time soon, but I suspect they’re going to have to learn the lesson that the record companies learned a few years ago – if everyone already wants MP3s, then just sell them MP3s, not DRMd proprietary files or expensive streams.
So, substantially better than Marvel’s offering, in that they recognise that the people who write and draw their comics, and the people who sell them, are their business partners, but wake me up when they recognise that usability and freedom matter too. In the meantime, I’ll be at the comic shop, buying dead trees.
RIP Chris Sievey/Frank Sidebottom
A few years ago, my friend Tilt and I were, for reasons we shall not go into right now, watching an old episode of The Wheeltappers And Shunter’s Social Club, when Freddie Garrity of Freddie & The Dreamers came on. I mentioned how I’d been shocked that, when he died, a powerpop mailing list I was on had dozens of posts, mostly from Americans, about how upset people were – far more than I would have predicted, and far more than had been when plenty of more ‘important’ figures died. And Tilt replied “Yes, but remember that people *expect* tortured geniuses to die, and don’t really mind. But they get upset when a smiley man who makes them laugh with a silly dance dies.”
The musician, comedian, cartoonist, record company owner, animator and computer programmer Chris Sievey died on Monday night, and with him died his most famous creation Frank Sidebottom.
If you were a kid in the eighties, you knew Frank Sidebottom from his appearances on Number 73, but Sidebottom was far more than just a children’s entertainer. Along with his puppet sidekick/antagonist Little Frank, the man with the giant papier-mache head had dreams of pop stardom, mixing his own songs (“Space is ace”, “Christmas Is Really Fantastic”) with cover versions of classic hits given a new twist (“Panic! In The Streets Of Timperley”, “Anarchy In Timperley”, “Timperley Sunset”, “Born In Timperley”) and indie or ‘underground’ classics (the Beefheart cover Mirror Man, Mirror Puppet/Give Me That Harp Little Frank, or covers of The Fall).
While his act was more-or-less stolen by Graham Fellows for his character John Shuttleworth, and Caroline Aherne took a character he created as a Radio Timperley sidekick, Mrs Merton, to her own TV show, Frank Sidebottom was far more original than the low-rent Alan-Bennetisms of those two, combining that basic Northerner-trying-to-be-a-star-despite-lack-of-both-talent-and-self-awareness thing with an altogether more surreal worldview, especially in his interactions with Little Frank.
You can see this especially in his brief career as a comic character, in the children’s comic OINK!, in a strip written and drawn by Frank himself. The great Lew Stringer, one of the other OINK! contributors, writes about his work on the comic here.
Little Frank Goes On A Date (Click For Fantastic Fullness)
I must admit to not having paid a *huge* amount of attention to Sidebottom’s work over the years – just being delighted when his big papier-mache head would turn up unexpectedly, whether it be on Channel M (the Manchester local TV channel) presenting his Proper Telly Show In Black & White (so you don’t have to turn the colour down) or as a presenter on local TV news.
I only discovered a few months ago, in fact, that Sidebottom was originally created as a side-project. He was meant to be the biggest fan of Chris Sievey’s band The Freshies, who did some genuinely fantastic punk-pop songs, of which probably the best was the minor hit I’m In Love With The Girl From The Virgin Manchester Megastore Checkout Desk (presented here in the slightly-rerecorded version with Virgin replaced with Certain):
I should have realised the link earlier, really – the combination of songs about mundane incidents and buying records ( I Can’t Get Bouncing Babies By The Teardrop Explodes) and spaceships (Let’s Go Space City) with lo-fi production values and simple three-chord melodies clearly points the way to Sidebottom’s later career.
And not only was Sievey/Sidebottom a musician and comedian, he was also a pioneer in multimedia. He wrote two computer games – The Biz (a game about becoming a rock star) and Flying Train (in which you have to put a train together before flying it to the moon to view a supernova) – for the ZX81, both of which were released on tape along with Freshies songs.They can be played online – flying train and The Biz – if you have a Java browser plugin.
Sievey also worked as a stop-motion animator, not only working a day job at HOT animation (who produce among other things Pingu and Bob The Builder) but making his own animated film, Franksworld:
Frank Sidebottom kept going right to the end – he was tweeting in character mere hours before Sievey died, and his Twitter stream was where we could hear about the progress of the bobbins cancer that he seemed convinced he was going to beat, though one of his last tweets was about how he was ‘still feeling very poorly’. Only last week he premiered his World Cup anthem Three Shirts On My Line.
I’ve heard from a couple of people that Chris Sievey wasn’t a particularly nice man ‘in real life’ (whatever that is). Be that as it may, Frank Sidebottom was a silly man who made us laugh with his silly songs, and it is absolute bobbins that he’s dead. You know it is. It really is.
Doctor Who From The Beginning: The Edge Of Destruction
The Edge Of Destruction
Writer: David Whittaker
Directors: Richard Martin and Frank Cox
DVD Availability: As Disc 3 of The Beginnings Box Set (Buy from Amazon)
Other Availability – legally viewable on YouTube for those with Flash – episode 1, episode 2
A review I read of last night’s Doctor Who (which I’ve not yet seen) says it was “like something from an Indiana Jones film which [sic] shows [Moffat's] heightened aspirations for what the show is capable of.”
Fun as the Indiana Jones films are, I don’t think that emulating them is a hugely worthwhile aspiration. To see what Doctor Who is *really* capable of, we should go back to early 1964, to the cheapest story they ever did.
Set entirely within the TARDIS (except for the cliffhanger going into the next story, Marco Polo), featuring only the four regular characters, and with the most threatening thing in the story being someone running with scissors, The Edge Of Destruction is very clearly a cheap story made because the budget for the earlier episodes had overrun. The plot, such as it is, is ludicrously simplistic (a switch has got stuck on the TARDIS console, causing the TARDIS to try to telepathically warn the characters – the first sign we’ve had that she’s more than just a machine).
But this plot is used as the basis for one of the most astonishing pieces of drama ever broadcast as children’s TV (and whatever designation it’s given now, in 1964 Doctor Who was explicitly aimed at relatively young children). Back in the 1960s (and even as late as the 1980s), British TV came from a theatrical rather than filmic tradition, and this story is an absurdist drama that has far more in common with Becket or Brecht than with Indiana Jones or Aliens.
Of course, this isn’t to say it has that much in common with either – the characters here don’t go giving long speeches about the superiority of socialism to fascism, or attempting suicide through sheer boredom – but what is clear is that not only was Whittaker (the show’s script editor, and therefore the go-to man for quick filler cheapy scripts) aware of these movements within the theatre, but he was influenced by them too. In particular, while the characters aren’t aware of their fictional nature, they *are* aware that something is manipulating their behaviour, and in many cases that they’re acting like puppets rather than like themselves.
In this sense the TARDIS is acting as a surrogate author here, manipulating the characters in dramatic ways, so they attack each other to add conflict to the story even when they have no prior motive for doing so.
Edge Of Destruction is known as a character-centred piece, but in fact the only actual ‘character’ here is the Doctor. While the other characters behave in out-of-character ways, the Doctor’s paranoia (at one stage he drugs Ian and Barbara because he believes them to have sabotaged the ship) and egocentrism are entirely in character for him up to this point. The others are all active – but their actions are not in their control. The Doctor, for the most part, is passive – merely griping from the sidelines – but he’s the only one who appears to remain more-or-less in control of his own actions.
This is one reason why his apology at the end of the story is so significant – he remained responsible for his actions, and so he has to *take* responsibility for them, even though those actions (mostly just making false accusations) were far less dangerous than, for example, Susan trying to stab Barbara or Ian trying to strangle the Doctor.
Because, in some ways, this is the end of Doctor Who as it originally started. By this time, the production team knew the series was going to continue past the initially-commissioned thirteen episodes (this two-parter would have otherwise made up the last two episodes) and so used the enforced cheap two-parter to rewrite the Doctor’s character from his previous curmudgeonly, anti-heroic status to a more conventionally sympathetic version.
Incidentally, a bit of thought about this makes the story make a lot more sense than people who focus on the MacGuffin of the ‘fast return switch’ realise. It’s very easy to argue that the whole story is actually about the TARDIS trying to teach the Doctor how to cope with other people – as he says at the end, “As we learn about others, so we learn about ourselves”. The Doctor has ended up learning what his ‘true character’ is, by being the only person *allowed* to act as he wishes.
Unfortunately, this story also marks the last time the character of Susan is remotely interesting. You can’t have everything.
The story also sees the start of David Whittaker’s most obvious influence on the series; the incorporation of a proto-New Agey mysticism. While the show, like the title character, has for the most part stood up for Enlightenment values of small-l liberalism, scientific enquiry and rationalism (sometimes with a big dollop of Buddhism thrown in), Whittaker himself seemed to have about as much comprehension of science as a border collie does of the 1912 England cricket team, being happier with a kind of pop-Platonism.
Here this is shown in a rather sexist manner, as Barbara uses her female intuition to decode the obvious Freudian clues the ship is leaving all over the place (melting clocks straight out of Dali, that sort of thing) which the Doctor’s ‘logic’ can’t cope with. But even here, we have a fantastic monologue (wonderfully performed by Hartnell) where the Doctor describes the formation of solar systems which is one of the best examples of scientific sensawunda you’ll find in the show. Shame it’s completely wrong.
Despite its crass imitators (as a rule of thumb, the inside of the TARDIS should never be shown), Edge Of Destruction remains, along with the first episode and The Aztecs, the definite highlight of Doctor Who‘s first year.
Though the next story might rise to those heights. It’s hard to tell though, as it’s been burned.
Next – Marco Polo (or what’s left of it).
Quick Admin Note
Just for full clarity on something. From now on, when I post about books, DVDs or whatever, I’ll be adding a text-only Amazon affiliate link. This is just because I’m skint and have a bunch of domain renewals all coming up at the same time (this one and the two for the National Pep, which include the email address I use most) and would like to try to offset at least some of that cost. I won’t be making any money from this, even if people do click them – I’m just hoping that I’ll *lose* slightly less from doing this. It will absolutely not be affecting the content of what I write, and this blog will *NOT* ever have advertising on it that pays me money (wordpress.com sometimes add text ads, which don’t pay me anything).
If I could find any way to get paid for some of my writing, I’d get rid of this again, but I actually don’t have the first idea how one goes about writing professionally…
Linkblogging For 12/06/10
My in-laws are visiting from the US, so blogging will probably be lighter than normal for the next week. In the meantime, some links:
On Twitter, Lawrence Miles has started a World Cup Of Things (you’ll need to be logged in to see that link). One of the two teams I’ve entered – ‘a 1970s Comic-and-Record of “Escape from the Planet of the Apes”, Where the Record Tells the Same Story as the Comic’ is the host team. The two matches so far have been a 1970s Comic-and-Record of “Escape from the Planet of the Apes”, Where the Record Tells the Same Story as the Comic vs Jupiter and The Trumpton Fire Brigade vs Fistfights Between Academic Scholars, both draws. Other Things entered in this World Cup include the crows from the Kia-Ora ads, a dried out-of-date cheese slice, my other entry – “Those passages of I, Claudius and Claudius The God not used in either the TV or radio adaptations of same”, disdain and “The thing best described at any given time as ‘The thing best able to win its current match.’”
Millennium gives about one-and-a-half cheers for the news that Simon Hughes is the new Lib Dem deputy leader.
Andrew Rilstone continues his look at the new series of Doctor Who with the Weeping Angel two-parter. I do hope “Weeing Angel” was intentional, rather than a typo, because the image it calls up, of marauding Mannequins Pis, is fantastic.
Botswana Beast annocommentates Batman 700. I’ll probably have something to say about this tonight or tomorrow.
And Jess Nevins seems to have found the first occurrence of the Mad Scientist archetype.
Linkblogging For 09/06/10
And after that heaviness, a few links:
I’m through to the FINAL!!! in the Pop World Cup, but unfortunately from the comments it looks like I’m getting thrashed by Nigeria. Please go there and vote for Germany.
Obverse Books, who publish the Iris Wildthyme Doctor Who spinoff books, have announced they will be working with Lawrence Miles on a new series of Faction Paradox short story collections, the first coming out next year. News will presumably be up soon on their news page.
Jennie wants people’s views on the Fantastic Film Weekend in Bradford, which I’ll probably blog about tomorrow.
Andrew Rilstone wonders whether, as a Doctor Who fan, he’s allowed to like Doctor Who.
And if you want the world’s single greatest timesink of all time, go and play The Wikipedia Game…
Coalition: Lengthening The Spoon
I’ve noticed a rather worrying trend at the moment for Liberal Democrats to treat the Tories as our friends, since we went into coalition with them. People praising Cameron’s performance at Prime Minister’s Questions and so on. Some are even talking about how at the next election we should campaign on the basis of a continuation of the coalition.
I think this is *hugely* dangerous, both to the party and to the country.
For the party, if the coalition lasts more than a single Parliament, then effectively we become just a branch of the Conservative Party – we become the National Liberals. If we go into an election campaigning for a continuation of the coalition, we’re campaigning for a Conservative government, and we might as well be the Conservative Party.
For the country, it is *imperative* that we distance ourselves from the Conservatives as much as is possible while still working with them constructively.
I think going into coalition was the right thing to do given the circumstances. I think the coalition deal we got was, on the face of it, an extraordinarily good one. I think this government will be better by far than the Labour government that preceded it, if only because they set the bar so disastrously low – if this government just manages to *not* destroy the economy for a generation, *not* mortgage the birthright of everyone under forty in order to placate self-obsessed baby boomers, *not* roll back a ton of rights we’ve had since Magna Carta and *not* kill a million brown people because a Texan psychopath told them to, then we’re still ahead on points.
But the fact is, while this government is going to do many good things (for example dropping ID cards , though see NO2ID’s response to the proposed bill) of which we can be proud, there will also be things which are outright evil. I didn’t expect, for example, that the commitment to not detain child asylum seekers would mean they might be deported to Afghanistan instead…
We may have to go along with these things to some extent – we’ve been given a choice of either a government doing some evil things and some good things, or of one doing some evil things and some other even more evil things, and it’s pretty obvious which of those you choose if you’re in the business of actual practical politics rather than moralising, but that doesn’t mean that what we have done isn’t a deal with the devil, and one for which we will rightly be punished at the ballot box. (With luck we will also be rewarded, rightly, for the good we’ve done).
It is *especially* important that we retain a distance from the Tories because in general those who will be hurt worst if the Tories behave like Tories always do are *not* the typical Lib Dem member/supporter – we are, all exceptions duly noted, a mostly white middle-class party. It would be very, *VERY* easy for me to just look at the good side – things like AV, which will benefit me – while ignoring the bad. As a white, heterosexual, cissexual, English-speaking male in a good job with no visible disabilities it is extraordinarily unlikely that the Tories will do anything that will cause me any significant direct harm in the first term (I can’t say the same for my disabled unemployed bisexual immigrant wife though…). That’s probably true of most Lib Dems, and there’s a very real danger that we’ll start to think “well of course obviously the asylum seeker thing is bad, *obviously*, but no ID cards!”
We need to be able to VERY firmly make the case that we will vote in Parliament, short term, for bad things because that’s what the coalition agreement says, but that we will continue to fight against those things and try to overturn them as soon as possible. We have to do this politely, and our parliamentarians at least must never use the phrase “Evil bastard Tory scum” (although I will feel free to continue to do so) because we have to work with them. But we *MUST NOT* allow ourselves to become assimilated by the Tories.
Right now, both major parties have pretty much the same ideology – anti-poor, anti-foreigners, anti-freedom . We have managed to get the Tories to work with us to help implement the ‘not enslaved by conformity’ part of our constitution, but we mustn’t forget the parts about ignorance and poverty in the euphoria of this – because we’re the only party with any national presence who are even *considering* those things.
This is why, while not having a side in the deputy leadership race (I don’t know enough about the role to know who would be best), I *do* support Simon Hughes’ proposals for MPs, which seem to me a sensible way of retaining our distance from the Tories while still working constructively with them.
This government has the potential to be one of the great reforming governments of all time, especially with Nick Clegg in charge of constitutional reform. But it also has the potential to do a great deal of damage to the most vulnerable in society. We need, as Liberal Democrats, to work with every fibre of our being to ensure it’s the former rather than the latter.
Last Week’s Comics In Brief
Last week was an incredibly slow week for comics, and I was away for the Fantastic Films Weekend in Bradford over the weekend (about which I may write tomorrow). On top of that, none of the very small number of comics I bought on Thursday allow for very much analysis, so I’m going to pinch the Mindless Ones’ idea and do Tues Reviews To Make You Snooze or something…
Adventure Comics 12 by Paul Levitz, Kevin Sharpe, Marlo Alquiza and Marc Deering.
This is the first issue of this title I’ve read, and I was mildly – but only mildly – impressed. Despite Levitz’ reputation when last working with the Legion Of Superheroes for doing BIG stories, such as The Great Darkness Saga, all universe-spanning epics, this reads like a Silver Age Superboy story.
Or, more precisely, like Kurt Busiek ‘doing’ Silver Age Superboy in Astro City – much like Busiek’s work there’s the slight padding of what feels like an eight-pager into a full story, the cosy Norman Rockwell family scene at the end, and a sense of ‘look, I’m writing a proper Silver Age style story’ rather than just *writing* a proper Silver Age style story.
There are also faults that are common to current DC – in particular, every character having to tell Superman how specially special he is – and ones that are unique to this book (only Brainiac 5 gets even the slightest characterisation, and the line art is slapdash).
Nonetheless, this is competent and pleasant enough. Which given DC’s current standards is a major achievement.
Dodgem Logic 3 by Alan Moore et al
Dear God but this is a heap of shit. I’ve given this three issues because Moore is ALAN MOORE and because there are a number of very talented people involved in this (in this issue, for example, we have Melinda Gebbie, Kevin O’Neill, Steve Moore and Josie Long). But this third issue is exactly like the other two – a couple of half-decent essays (and I do hope Moore publishes a book of the essays he’s done for this or something), a nice free gift (a T-shirt transfer by Melinda Gebbie that would be useful were I the kind of person who went around wearing T-shirts with drawings of naked women on them) and a load of shit.
The shit comes in many varieties – grumpy old man who thinks the world should be like it was when he was a kid shit, pseudo-radical ‘post-civilisation’ shit, sixth-formers who think they’ve discovered something new that the rest of the world knows about shit, and worst of all people who *AREN’T* sixth formers who write like that.
There’s actually an article in here – BY A RECORD SHOP OWNER – that treats Badfinger (except he spells it Bad Finger), Adam And The Ants, The Chocolate Watch Band, Celia & The Mutations and Bobbie Gentry as being somehow obscure musical figures that need bringing to our attention. I mean seriously.
This is just pisspoor, and my huge affection for Alan Moore will only let me indulge him so far.
The Bulletproof Coffin #1 by David Hine and Shaky Kane
THIS is much more like it. This first issue is mostly set-up, but it’s an intriguing set-up – our main character finds a stash of comics that should never have been published.(“Issue 198. The Comic Buyers’ Guide lists the last issue of The Unforgiving Eye as 127. This comic shouldn’t even exist”), created by the classic 1950s comic creation team of Hine and Kane. We get to read one of these – an eight-page EC pastiche, and we get a lot of odd, quite disturbing details (like a TV showing the murder of its previous owner).
It’s very far from being done-in-one, and it’s not the most original thing ever – the mock ads and comic history seem reminiscent of 1963, though I do *LOVE* the ad on the back for a “U-Control Darling Lab Monkey” (which reminds me a lot of Kane’s work in 2000AD in the early 90s, like his Believe It Or Not parodies). But it’s still fascinating.
For those not familiar with Kane’s work, he’s school-of-late-Kirby in much the same way as Tom Scioli, taking his cues far more from Devil Dinosaur than Fantastic Four, but with a wonderfully sleazy line and sense of place. Combined with the story we have something inhabiting a narrative space somewhere between Seaguy and a PG-rated version of The Filth, but formally closer to 1963 (and with a text piece at the end very like those in Watchmen). If ‘Jack Kirby draws Seaguy for EC Comics’ sounds like your kind of thing, then while this doesn’t live up to that description it is almost certainly worth you checking out.
And that was all I picked up last week. But on Thursday we have BATMAN 700, so you can expect a lot of comment from me about that over the weekend…
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