Melbotis Update
Hey all - Mrs. League here. Melbotis has had a hard week, so I thought I'd share.
Last December when Mel had his yearly check-up, we asked the vet to feel a lump in his side. The doc said not to worry, it was probably a clump of fat cells, but to keep an eye on it. Early this week as I was giving Melly his nightly brushing, I noticed the lump was substantially larger. To be on the safe side, I took him to the vet again yesterday and much to my relief the biopsy showed only fat cells. However, the doc recommended that he have surgery to remove the lump so today Melly went under the knife.
The vet's office just called and said (while laughing because Mel was licking her) he was doing great! We will bring him home tonight and now he will just have to be tortured with the 10 days of ear medicine he got for his ear infections. It's dog ear medicine all around at League HQ - Lucy has an infection, too. Maybe I should give Jeff the Cat some medicine, too, just to be on the safe side...
On the whole, Mel is doing much better than he was before Lucy entered the picture. He has more energy and takes walkies with Lucy almost every night. At one time he weighed in at 122, but as of yesterday was 104! I'm very proud of him (League, you need to update the side panel with his new weight).
We love you, Melly!
Thursday, April 27, 2006
Wednesday, April 26, 2006
Melbotis Mailbag: The League's Comic Book Continuity Manifesto
D. Loyd included this question in his Mellie Noms:
Why does the League obsess about Continuity in the DC world?
Good question, D.
For those of you who do not read comic books, comics work a LOT like soap operas. The Spider-Man comics that are released today under the name "The Amazing Spider-Man" follow the adventures of the same Peter Parker kids fell in love with in 1963. From a certain perspective, it's all been one long, continuous story for more than forty years. For good or ill, it's also been a story told by a long list of writers, editors and artists.
There are also multiple Spider-Man comics, and some have come and gone over the years, but Spidey usually has two comics going on at any time. This is usually where new readers notice continuity problems as it's tough to figure out when the events in Amazing Spider-Man are taking place versus the events in Spectacular Spider-Man.
Just to get complicated, Spidey lives in a world populated by a wide array of heroes, which means he may also appear in other comics. He might guest star in Captain America, which means that, from a reader's perspective, in six months Spidey needs to remember who Cap is and what events took place over in Cap's title.
It's supposed to be the job of the editor to make sure that there are no oversights in continuity. One of the great joys of comics is the history that surrounds the major comics and characters. The characters don't forget what's come before. They do refer to prior events, and they discuss them from time to time (or give you the necessary exposition in a thought-bubble). As a kid I first learned the names of the editors at Marvel as the editors would add an asterisk and a small box to a panel that contained dicussion of prior events. Spidey might say "Last time I fought Doc Ock I threw a brick at him.*" And then the editor would have a little pane that said "* in issue #187 -Exposition Lovin' Ralph".
As a reader, you wanted to know what was going on that made Spidey throw a brick at Doc Ock. So off you'd go to find a back issue at your local comic shop. The real point, of course, was to let you know when and how events occured. I learned about the entire storylines for Dark Phoenix and Days of Future Past in this manner before ever reading the stories.
Marvel also wisely had instituted a policy that said "assume every comic is the first comic that somebody ever picked up". I think the policy has been abandoned under Quesada for a while, but may be on the comeback. What the policy meant for editors was that any issue of a new comic might contain lots of those little asterisks. It also meant characters called each other by name a little too often, and they spent more time than a DragonBall Z character explaining their powers. They might also spend a lot of time thinking about the meaning of a fight during the middle of a fight.
As a kid, to me, that meant I was discovering a whole new world which had a rich history, where actions had consequence and meaning, and that these imaginary worlds were a heck of a lot more interesting than Pencewood Drive.
My point here is that the editors may have made the wrong decision when it comes to new readership. I'd heard that a lot of the old Marvel practices had been scrapped because continuity was too burdensome to new readers. To a potential casual reader, sure. But to the little geeks just discovering comics, scrapping continuity and references to the past means there's nothing behind the latest issue. No continuity means that there's no world to discover and appreciate, and that each issue is as disposable as the last episode of Power Rangers. Continuity and editorial control of continuity put a challenge to new readers, one that is not impossible, and one that's enjoyable to overcome as they dig out the lore and missing pieces that make up the comic they hold in their hand.
As an adult reader who knows his way around the Marvel and DCU fairly well, the need to continue to learn more and more about comics hasn't really gone away. I'm constantly learning new things about the comic publishing industry, about the folks behind the comics, the kinds of stories that were told, etc... and I still unearth new tidbits about the characters that make up the roster of the DCU. That's the fuel that sets the fire of the historian side of my comic geekiness.
To more directly answer D. Loyd's question of why I care about Continuity at age 31: What is the point of reading a story if any impact will be immediately erased by the whims of the next creative team?
I'm going to use character death repeatedly as an example, partly because the death of a character is a definite terminal point in any narrative, partly because it's terribly abused in comics, and partly because it's a lot less picky than some geeky things I could point out.
If I read a well-written story in which, say, The Flash kills the Trickster, and part of that story is that everyone knows The Flash killed The Trickster, (a) it's not going to make sense when the Trickster pops up again four months from now because "Brave and the Bold wants" to use The Trickster and, last I checked, he was dead. (b) If other characters are aware that The Flash is capable of murder, wouldn't they treat him with the proper caution? If never refer to those events again, doesn't that leave sort of a gap? (c) What did Flash learn from his experience? If Trickster never died, than we assume Flash never learned that lesson. (d) if Flash mentions the death in his own comics, and, so, say, as promise to never kill again, the Flash starts wearing yellow trunks... it won't make sense if he's wearing trunks when he comes up the Trickster again in two years becasue he was aline in "The Brave and the Bold".
Yes, these things happen.
Now multiply that by dozens of comics coming out every month, twelve months a year. It's a daunting task for an editor to keep up with, but the fans of the comics can do it, and they're spending money, not earning it.
Comics have enough problems with logic and time compression. In spite of those short fallings, what they can provide is a continuous story in which the characters grow and learn lessons, just as characters on a television program can grow and learn lessons. While some mistakes and changes are inevitable (and some, may, in fact, improve the overall logic of the comic) blatant disregard for the events of a story which many or most readers know shows a lack of respect for long time readers who have been the ones to support a title.
Similar to a television program which has multiple seasons, fans would not tolerate, say, a dead character reappearing without explanation when a new season debuts. I do not want to see movie sequels in which dead characters suddenly return to life because the writers decided they liked a death scene in the original, but they really wanted that guy, after all. (How would Godfather II have been if Sonny had just pulled up to the lake house with no explanation?). I don't want to read a book where characters are impossible to track and suddenly walk into a room when we believe they're on a boat somewhere in the Pacific. I want comics to show the same, basic respect for my intelligence.
It is true that many creative teams do find themselves painted into a corner by the work of previous creative teams. I don't find this to necessarily mean that the previous work should simply be ignored. Writers like Geoff Johns have shown heroic efforts in streamlining continuities, finding ways for apparent continuity flaws to co-exist, and basically writing to the situation rather than pretending like it never happened.
It is, in my opinion, the editor and writer's job to ensure continuity remains intact in mainline comic books. Action Comics should not contradict itself as team after team is inevitably replaced. If the writers and editors wish to tell a story which contradicts continuity, the story should be strong enough to carry itself as a one-shot or limited series. Otherwise, it is the writer's duty to find the logic in altering the continuity one way or another in their story-telling.
The popular stance four years ago was that continuity was for saps and that it damaged the industry. What the writers were publically stating was that they were being given writing jobs based upon success elsewhere, and they didn't have the appropriate knowledge to complete the job they'd been recruited to do. And, of course, they couldn't be bothered to spend a few hours reading comics to see what was going on with a title before they took it over.
What DC has managed to prove since Identity Crisis is that continuity does matter. Readers will tend to pick up additional comics if they are somehow tied together. Readers will tend to stick with a title if they don't feel abandoned by the editors. And you can explain and fix all of your continuity problems with a Crisis when things get out of hand.
D. Loyd included this question in his Mellie Noms:
Why does the League obsess about Continuity in the DC world?
Good question, D.
For those of you who do not read comic books, comics work a LOT like soap operas. The Spider-Man comics that are released today under the name "The Amazing Spider-Man" follow the adventures of the same Peter Parker kids fell in love with in 1963. From a certain perspective, it's all been one long, continuous story for more than forty years. For good or ill, it's also been a story told by a long list of writers, editors and artists.
There are also multiple Spider-Man comics, and some have come and gone over the years, but Spidey usually has two comics going on at any time. This is usually where new readers notice continuity problems as it's tough to figure out when the events in Amazing Spider-Man are taking place versus the events in Spectacular Spider-Man.
Just to get complicated, Spidey lives in a world populated by a wide array of heroes, which means he may also appear in other comics. He might guest star in Captain America, which means that, from a reader's perspective, in six months Spidey needs to remember who Cap is and what events took place over in Cap's title.
It's supposed to be the job of the editor to make sure that there are no oversights in continuity. One of the great joys of comics is the history that surrounds the major comics and characters. The characters don't forget what's come before. They do refer to prior events, and they discuss them from time to time (or give you the necessary exposition in a thought-bubble). As a kid I first learned the names of the editors at Marvel as the editors would add an asterisk and a small box to a panel that contained dicussion of prior events. Spidey might say "Last time I fought Doc Ock I threw a brick at him.*" And then the editor would have a little pane that said "* in issue #187 -Exposition Lovin' Ralph".
As a reader, you wanted to know what was going on that made Spidey throw a brick at Doc Ock. So off you'd go to find a back issue at your local comic shop. The real point, of course, was to let you know when and how events occured. I learned about the entire storylines for Dark Phoenix and Days of Future Past in this manner before ever reading the stories.
Marvel also wisely had instituted a policy that said "assume every comic is the first comic that somebody ever picked up". I think the policy has been abandoned under Quesada for a while, but may be on the comeback. What the policy meant for editors was that any issue of a new comic might contain lots of those little asterisks. It also meant characters called each other by name a little too often, and they spent more time than a DragonBall Z character explaining their powers. They might also spend a lot of time thinking about the meaning of a fight during the middle of a fight.
As a kid, to me, that meant I was discovering a whole new world which had a rich history, where actions had consequence and meaning, and that these imaginary worlds were a heck of a lot more interesting than Pencewood Drive.
My point here is that the editors may have made the wrong decision when it comes to new readership. I'd heard that a lot of the old Marvel practices had been scrapped because continuity was too burdensome to new readers. To a potential casual reader, sure. But to the little geeks just discovering comics, scrapping continuity and references to the past means there's nothing behind the latest issue. No continuity means that there's no world to discover and appreciate, and that each issue is as disposable as the last episode of Power Rangers. Continuity and editorial control of continuity put a challenge to new readers, one that is not impossible, and one that's enjoyable to overcome as they dig out the lore and missing pieces that make up the comic they hold in their hand.
As an adult reader who knows his way around the Marvel and DCU fairly well, the need to continue to learn more and more about comics hasn't really gone away. I'm constantly learning new things about the comic publishing industry, about the folks behind the comics, the kinds of stories that were told, etc... and I still unearth new tidbits about the characters that make up the roster of the DCU. That's the fuel that sets the fire of the historian side of my comic geekiness.
To more directly answer D. Loyd's question of why I care about Continuity at age 31: What is the point of reading a story if any impact will be immediately erased by the whims of the next creative team?
I'm going to use character death repeatedly as an example, partly because the death of a character is a definite terminal point in any narrative, partly because it's terribly abused in comics, and partly because it's a lot less picky than some geeky things I could point out.
If I read a well-written story in which, say, The Flash kills the Trickster, and part of that story is that everyone knows The Flash killed The Trickster, (a) it's not going to make sense when the Trickster pops up again four months from now because "Brave and the Bold wants" to use The Trickster and, last I checked, he was dead. (b) If other characters are aware that The Flash is capable of murder, wouldn't they treat him with the proper caution? If never refer to those events again, doesn't that leave sort of a gap? (c) What did Flash learn from his experience? If Trickster never died, than we assume Flash never learned that lesson. (d) if Flash mentions the death in his own comics, and, so, say, as promise to never kill again, the Flash starts wearing yellow trunks... it won't make sense if he's wearing trunks when he comes up the Trickster again in two years becasue he was aline in "The Brave and the Bold".
Yes, these things happen.
Now multiply that by dozens of comics coming out every month, twelve months a year. It's a daunting task for an editor to keep up with, but the fans of the comics can do it, and they're spending money, not earning it.
Comics have enough problems with logic and time compression. In spite of those short fallings, what they can provide is a continuous story in which the characters grow and learn lessons, just as characters on a television program can grow and learn lessons. While some mistakes and changes are inevitable (and some, may, in fact, improve the overall logic of the comic) blatant disregard for the events of a story which many or most readers know shows a lack of respect for long time readers who have been the ones to support a title.
Similar to a television program which has multiple seasons, fans would not tolerate, say, a dead character reappearing without explanation when a new season debuts. I do not want to see movie sequels in which dead characters suddenly return to life because the writers decided they liked a death scene in the original, but they really wanted that guy, after all. (How would Godfather II have been if Sonny had just pulled up to the lake house with no explanation?). I don't want to read a book where characters are impossible to track and suddenly walk into a room when we believe they're on a boat somewhere in the Pacific. I want comics to show the same, basic respect for my intelligence.
It is true that many creative teams do find themselves painted into a corner by the work of previous creative teams. I don't find this to necessarily mean that the previous work should simply be ignored. Writers like Geoff Johns have shown heroic efforts in streamlining continuities, finding ways for apparent continuity flaws to co-exist, and basically writing to the situation rather than pretending like it never happened.
It is, in my opinion, the editor and writer's job to ensure continuity remains intact in mainline comic books. Action Comics should not contradict itself as team after team is inevitably replaced. If the writers and editors wish to tell a story which contradicts continuity, the story should be strong enough to carry itself as a one-shot or limited series. Otherwise, it is the writer's duty to find the logic in altering the continuity one way or another in their story-telling.
The popular stance four years ago was that continuity was for saps and that it damaged the industry. What the writers were publically stating was that they were being given writing jobs based upon success elsewhere, and they didn't have the appropriate knowledge to complete the job they'd been recruited to do. And, of course, they couldn't be bothered to spend a few hours reading comics to see what was going on with a title before they took it over.
What DC has managed to prove since Identity Crisis is that continuity does matter. Readers will tend to pick up additional comics if they are somehow tied together. Readers will tend to stick with a title if they don't feel abandoned by the editors. And you can explain and fix all of your continuity problems with a Crisis when things get out of hand.
Monday, April 24, 2006
Some amusing links at Nanostalgia.com
Here is my review of Ultimate Avengers: The Movie
Here are some thoughts on the all-new trailer for Flight 93.
Here is my review of Ultimate Avengers: The Movie
Here are some thoughts on the all-new trailer for Flight 93.
Sunday, April 23, 2006
Radio Silence
The League apologizes for the lack of posting.
Thursday morning I met with my doctor and I said "Well, I need to lose some weight. I was hoping to come up with some sort of dietary plan and maybe an exercise plan."
Dr. Chang does not suffer fools, and made it pretty clear that my getting in shape was not his responsibility, it was my own. Apparently he's quite sick of people asking how he can help people get in shape, but at the end of the day, he can't really help people eat less and exercise. "Everything else in this world," he told me "you can pay somebody else to do it for you. I can pay someone to clean my house or wash my car. I can't pay someone to work out for me. I can't pay someone to eat less."
Anyway, we had a long discussion about how my lazy caveman brain didn't want for me to work out because it wanted to store energy for fight-or-flight moments, but since I'm not routinely being attacked by wild beasts, I needed to show some will-power.
Schedule? Schedules are for losers. Every day. I must go out and exercise every day. None of this every-other-day crap. Not after work, either. After work there are excuses and things to do and distractions. So with the sad knowledge that I must now go to bed earlier, I am getting up in the dark (which in AZ in Spring is pretty early), patting Mel on the head, and putting on my sneakers.
What should I do for an exercise? I asked. Run. It's cheap and you don't need equipment or a place to go to do it. No gym membership. No trainer. Just move your fat ass faster than normal and try not to have a heart-attack.
"This is the United States," Dr. Chang advised me, "If you drop dead, they'll resucitate you."
So I'm running.
Not well, mind you. The first day I kept waiting for Thursday night's dinner to come back at me. My knees were killing me and I felt generally beat up all day on Saturday.
So I'm trying running. I've no technique and I'm mixing stretches of running with stretches of walking until I'm positive I won't vomit. And I'm only on day 4, so give me a @#$%ing break.
Memories of 8th grade keep coming back to me, when I took athleticism as a point of pride. I wasn't any track star, but I had one of the top 1/3rd times in the mile on the football team (and I was a lineman). I could run two miles and get sweaty, but not tired. Muscles and joints didn't hurt. And you never cared if people were watching you run because you might look funny.
Youth is wasted on the wrong people.
Sunday Jamie and I met up for lunch with Tami Nelson. Tami and I have orbited one another since high school, then in college, then out of college, and somehow we continue to bump into one another and occasionally keep in touch.
Tami is my token Katrina victim. She left Austin 5 or more years ago for the promise of adventure in New Orleans. Long enough, anyway, for it to become home. She evacuated herself and her world-famous cat, Tom Proctor, prior to the storm, going back to Spring for what she believed was a long weekend. She's now in Austin, and there's a story there, but it's Tami's and I don't really feel like I'm the one to share the story second-hand.
While in New Orleans Tami had become involved in improvisational comedy. The remarkable part of her story is that her troupe, scattered to the four winds in the evacuation, found one another and regrouped in Austin. They renamed themself and are now performing a mixed bag of local Austin shows and travelling to improv festivals, apparently stronger now than prior to the hurricane.
Anyhoo, it's always great to see someone out here in the Valley of the Sun. Bits and pieces of your former life do occasionally wash up on shore, and it's always interesting to see "how much did we change? Or did we change at all?"
Tami has an interesting opportunity, and if it materializes the way it sounds like it might, I'll let you cats know. Folks in Texas might be particularly interested.
Also, if you are in Austin, look for performances by ColdTowne.
The League apologizes for the lack of posting.
Thursday morning I met with my doctor and I said "Well, I need to lose some weight. I was hoping to come up with some sort of dietary plan and maybe an exercise plan."
Dr. Chang does not suffer fools, and made it pretty clear that my getting in shape was not his responsibility, it was my own. Apparently he's quite sick of people asking how he can help people get in shape, but at the end of the day, he can't really help people eat less and exercise. "Everything else in this world," he told me "you can pay somebody else to do it for you. I can pay someone to clean my house or wash my car. I can't pay someone to work out for me. I can't pay someone to eat less."
Anyway, we had a long discussion about how my lazy caveman brain didn't want for me to work out because it wanted to store energy for fight-or-flight moments, but since I'm not routinely being attacked by wild beasts, I needed to show some will-power.
Schedule? Schedules are for losers. Every day. I must go out and exercise every day. None of this every-other-day crap. Not after work, either. After work there are excuses and things to do and distractions. So with the sad knowledge that I must now go to bed earlier, I am getting up in the dark (which in AZ in Spring is pretty early), patting Mel on the head, and putting on my sneakers.
What should I do for an exercise? I asked. Run. It's cheap and you don't need equipment or a place to go to do it. No gym membership. No trainer. Just move your fat ass faster than normal and try not to have a heart-attack.
"This is the United States," Dr. Chang advised me, "If you drop dead, they'll resucitate you."
So I'm running.
Not well, mind you. The first day I kept waiting for Thursday night's dinner to come back at me. My knees were killing me and I felt generally beat up all day on Saturday.
So I'm trying running. I've no technique and I'm mixing stretches of running with stretches of walking until I'm positive I won't vomit. And I'm only on day 4, so give me a @#$%ing break.
Memories of 8th grade keep coming back to me, when I took athleticism as a point of pride. I wasn't any track star, but I had one of the top 1/3rd times in the mile on the football team (and I was a lineman). I could run two miles and get sweaty, but not tired. Muscles and joints didn't hurt. And you never cared if people were watching you run because you might look funny.
Youth is wasted on the wrong people.
Sunday Jamie and I met up for lunch with Tami Nelson. Tami and I have orbited one another since high school, then in college, then out of college, and somehow we continue to bump into one another and occasionally keep in touch.
Tami is my token Katrina victim. She left Austin 5 or more years ago for the promise of adventure in New Orleans. Long enough, anyway, for it to become home. She evacuated herself and her world-famous cat, Tom Proctor, prior to the storm, going back to Spring for what she believed was a long weekend. She's now in Austin, and there's a story there, but it's Tami's and I don't really feel like I'm the one to share the story second-hand.
While in New Orleans Tami had become involved in improvisational comedy. The remarkable part of her story is that her troupe, scattered to the four winds in the evacuation, found one another and regrouped in Austin. They renamed themself and are now performing a mixed bag of local Austin shows and travelling to improv festivals, apparently stronger now than prior to the hurricane.
Anyhoo, it's always great to see someone out here in the Valley of the Sun. Bits and pieces of your former life do occasionally wash up on shore, and it's always interesting to see "how much did we change? Or did we change at all?"
Tami has an interesting opportunity, and if it materializes the way it sounds like it might, I'll let you cats know. Folks in Texas might be particularly interested.
Also, if you are in Austin, look for performances by ColdTowne.
Friday, April 21, 2006
SECRET WARS RE-ENACTMENT SOCIETY
Were you a Marvel Comics fan in the 80's? Sweet. So was I. Sadly I came in at the tail-end of the original Secret Wars limited series and/or sort of the beginning of Secret Wars II, which was equal parts stunning and goofy.
Mostly, I remember the awesome toys that spawned the whole series to begin with. I used to have a Secret Wars Wolverine, Captain America and Dr. Doom. I have no idea what happened to them.
Are you interested in CosPlay (if you have to ask, don't. You'll be happier)? You are? Well, The League is stunned to find an even greater dork than himself. Prepare for an atomic wedgie when next we meet.
Unless you're Lynda Carter and willing to try on the ol' Wonder Woman outfit again. Then you're my favorite person. But then I think we've crossed some line from CosPlay into some sort of territory that means I have to start shopping at Planet K.
At any rate, Leaguers, I've revealed too much already.
The point of this was:
Secret Wars Re-Enactment Society
Were you a Marvel Comics fan in the 80's? Sweet. So was I. Sadly I came in at the tail-end of the original Secret Wars limited series and/or sort of the beginning of Secret Wars II, which was equal parts stunning and goofy.
Mostly, I remember the awesome toys that spawned the whole series to begin with. I used to have a Secret Wars Wolverine, Captain America and Dr. Doom. I have no idea what happened to them.
Are you interested in CosPlay (if you have to ask, don't. You'll be happier)? You are? Well, The League is stunned to find an even greater dork than himself. Prepare for an atomic wedgie when next we meet.
Unless you're Lynda Carter and willing to try on the ol' Wonder Woman outfit again. Then you're my favorite person. But then I think we've crossed some line from CosPlay into some sort of territory that means I have to start shopping at Planet K.
At any rate, Leaguers, I've revealed too much already.
The point of this was:
Secret Wars Re-Enactment Society
Thursday, April 20, 2006
Can these two people find wedded bliss?
I'm asking, because I often question Richard's ability to find his car in a parking lot
This is Richard and Laura. They've been dating since like 1984 or something. Richard apparently realized he wasn't getting out of this one, and now they are getting married just before Halloween.
For those of you going, I am here to mislead you into believing that costumes are required. So, Shannon, we expect you to dust off the Princess Leia costume. I guarantee, if you wear it, you will be the hit of the wedding.
I'm excited about Dick finally tying the knot. Sure, he's found the love of his life and whatnot, but he's also sure to spring for a decent bar.
Honestly, I don't know Laura very well. I think I met her once and she saw me eat a squash and then get drunk. I've left better first-impressions. We don't know why Laura decided Richard was a great catch, nor why she's stuck it out all this time. Maybe she really likes Dick's lengthy explanations of economics (maybe Dick was the right man for TST all along), or she can't get enough of his crazy mad dancing skills. We may never know.
Honestly, I'm hoping Dick breaks down and cries like a baby while giving his vows.
The one thing I know, if this wedding hopes to be anywhere as good as Shannon's, we're going to have to release a dog into the middle of the ceremony. Josh, it's your responsibility to find the dog.
I'm asking, because I often question Richard's ability to find his car in a parking lot
This is Richard and Laura. They've been dating since like 1984 or something. Richard apparently realized he wasn't getting out of this one, and now they are getting married just before Halloween.
For those of you going, I am here to mislead you into believing that costumes are required. So, Shannon, we expect you to dust off the Princess Leia costume. I guarantee, if you wear it, you will be the hit of the wedding.
I'm excited about Dick finally tying the knot. Sure, he's found the love of his life and whatnot, but he's also sure to spring for a decent bar.
Honestly, I don't know Laura very well. I think I met her once and she saw me eat a squash and then get drunk. I've left better first-impressions. We don't know why Laura decided Richard was a great catch, nor why she's stuck it out all this time. Maybe she really likes Dick's lengthy explanations of economics (maybe Dick was the right man for TST all along), or she can't get enough of his crazy mad dancing skills. We may never know.
Honestly, I'm hoping Dick breaks down and cries like a baby while giving his vows.
The one thing I know, if this wedding hopes to be anywhere as good as Shannon's, we're going to have to release a dog into the middle of the ceremony. Josh, it's your responsibility to find the dog.
Wednesday, April 19, 2006
Nanostalgia.com update
Hey, all. If you want to see some seriously geekish behavior, check out my commentary on DC Comics' July solicitations.
Go to Nanostalgia.com now.
Or, for my quick reviews of a few DC Comics from the week of 4-12-06, go here.
Hey, all. If you want to see some seriously geekish behavior, check out my commentary on DC Comics' July solicitations.
Go to Nanostalgia.com now.
Or, for my quick reviews of a few DC Comics from the week of 4-12-06, go here.
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