Waledac has reawakened more than a year after Microsoft shut down the botnet. However, the new incarnation has far more dangerous capabilities as it steals passwords.
The Waledac spam botnet has reawakened, and its new password-stealing capabilities make it a much more dangerous threat than the older one Microsoft shut down more than a year ago, according to Palo Alto Networks.
Computers infected with the new variant of Waledac still send out spam, but the malware has added capabilities to steal passwords and authentication information from compromised systems, said Wade Williamson, a senior security analyst at Palo Alto Networks. Palo Alto Networks first detected the new variant on Feb. 2 in customer networks, Williamson said. It publicized its findings on Feb. 15.
The new Waledac malware sniffs user credentials for FTP, POP3 and SMTP accounts as well as stealing configuration files for FTP and BitCoin, the virtual currency often used for online transactions. The core behavior, communications methods, internal operations and delivery mechanism remain the same, said Williamson. The source code is essentially the same, Palo Alto Networks has determined.
Waledac is back, but the gang behind it is "being much more quiet and trying to stay under the radar this time," said Williamson.
Microsoft "famously" took down the Waledac botnet by seizing the malicious domains associated with the botnet and law-enforcement authorities seized command-and-control (C&C) servers in 2010. Since then, Waledac "wasn't there at all," Williamson said.
Before its takedown, Waledac was a "decent-sized" spam botnet that accounted for about 1 percent of the global spam volume. Unlike its newer variant, the original Waledac was devoted to spewing out spam as fast as it could to as many targets as possible. While it was not pleasant for enterprises to have a spam bot operating on their networks, the impact was generally limited to just higher bandwidth bills and network congestion, said Williamson.
The new Waledac is easily "more dangerous" because it is capable of sifting out log-in credentials and sensitive information and transmitting it to external adversaries to use in other attacks. Recent events have shown that serious breaches and compromises could be traced back to having the password on an email account stolen, said Williamson.
In fact, attackers relied on log-in credentials stolen from seven senior executives to break into Nortel Networks in 2000, according to a Feb. 14 report in The Wall Street Journal about the decade-long security breach.
Williamson noted that even though the source code is essentially the same, the current threat is a variant of the original botnet and uses new domains and command-and-control servers. The new Waledac also uses proxies and exhibits other dynamic behavior when looking for the C&C server to connect to, said Williamson.
Palo Alto Networks is still analyzing the variant, and it was still too soon to speculate whether the group behind the original Waledac has resumed operations, or if a brand-new group had somehow acquired the code, said Williamson. It is clear, however, that criminals are reusing infrastructure and techniques that have been proven to work.
The Waledac sighting comes a few days after Kaspersky Lab researchers discovered a new variant of the Kelihos botnet. The new samples are based on original Kelihos code but use different encryption keys, said Maria Garnaeva, a Kaspersky researcher. Like its predecessor, the latest Kelihos is also sending out large volumes of spam.
"It means that we are dealing with another botnet," said Alex Gostev, chief security expert of Kaspersky Lab.
Kelihos was taken offline last September after Microsoft seized the domains used by the C&C infrastructure. Microsoft was aided in its efforts by Kaspersky Lab. As part of the takedown, Microsoft introduced a new server into the botnet infrastructure and pushed out the IP address to all the infected machines to connect to this server instead of other malicious ones.
"It appears [a] new botnet infrastructure may be being built with the new variant of Kelihos malware," Richard Boscovich, senior attorney in Microsoft's digital crimes unit, wrote Feb. 3 on Microsoft's Technet blog.
Like Waledac, Microsoft still has control over the original Kelihos botnet. The C&C servers that had controlled Kelihos are not sending any commands to infected machines, and no spam is being sent by the machines infected with the earlier version of the malware, according to Gostev.
The fact that both botnets reappeared around the same time is interesting, as security experts believe Waledac source code was used in developing Kelihos.
It's really difficult to tell at this point whether the perpetrators are resuming operations, having learned some lessons from the takedown, or if the code has been sold to newcomers, said Williamson.


Craft | Calabogie Brewing Co.
Passion for craft drives us. Breaking through boundaries and seizing the best of styles and taste is our mission. We are not afraid to risk, to push, to seize great ideas in brewing and realize the beers they embody. From our award winning and limited release barrel ageing program to our ground breaking Canadian-first Lambic, and everything in between, we seek a beautiful expression of the brew craft.
Assembled is a collection of news and information on our craft.


text:
Air Products Named a 2018 DiversityInc Noteworthy Company
News ReleaseAir Products Named a 2018 DiversityInc Noteworthy Company
Listing is Another Step Toward Company Goal to be Most Diverse in Industry
May 02, 2018 Lehigh Valley, Pa.
Air Products has been named a 2018 DiversityInc Noteworthy Company, it was announced by DiversityInc at an event held at Cipriani Wall Street in New York last evening.
"Air Products has set its vision on being the most diverse industrial gas company in the world," said Jennifer Grant, executive vice president and chief human resources officer at Air Products. "Our targeted actions range from external partnerships to support diversity in our recruiting to unconscious bias training to foster an inclusive workplace. We are pleased to be among DiversityInc's Noteworthy Companies, especially given the rigorous benchmarking that is associated with DiversityInc's annual awards."
The DiversityInc Top 50 and Noteworthy Company lists, issued yearly since 2001, recognize the nation's top companies for diversity and inclusion management. These companies excel in such areas as hiring, retaining and promoting women, minorities, people with disabilities, LGBT and veterans.
"Events of the past year have demonstrated that decisive ethical leadership is necessary to guide any organization to success," notes Luke Visconti, founder and CEO of DiversityInc. "Successful leaders hold themselves accountable to be culturally competent, a skill that requires constant learning. DiversityInc Top 50 Companies have a metrics-evidenced ability to treat people more fairly than other large companies. They also have a greater-than-average return for their shareholders."
DiversityInc's extensive annual survey yields an empirically driven ranking based on recruitment, talent development, senior leadership commitment and supplier diversity. This year's competition was improved by new survey questions, increased emphasis on fairness over chasing numbers and more sophisticated analysis from DiversityInc's data scientists. To view the entire Top 50 and Noteworthy company's list, visit https://www.diversityinc.com/top50.
Grant said that Air Products is focused on building diversity and inclusion into its culture. Recent activities include:
Embedding diversity into all talent management processes, from recruiting to succession planning;
Unconscious bias workshops for managers around the world;
A global Inclusion Network and seven Employee Resource Groups that promote enhanced awareness and understanding of inclusion at work for all colleagues;
Partnerships with diversity organizations such as Society of Women Engineers, Society of Hispanic Engineers and National Society of Black Engineers to support attracting and developing diverse talent;
An eight-month Leadership Development Program for Diverse Talent for high performing colleagues around the world; and
Scholarships for diverse students studying engineering and other STEM (Science, Technology, Engineering & Math) disciplines.
Additionally, Air Products has received other recognitions for its commitment to diversity and inclusion. In 2018 Air Products achieved a perfect score of 100 and was designated a "Best Place to Work" for LGBT Equality for the 2018 Corporate Equality Index (CEI). Air Products was also selected to Corporate Responsibility Magazine's (CR Magazine) 100 Best Corporate Citizens List™ for the sixth consecutive year.
Additional details on Air Products diversity and inclusion efforts around the world can be found at: www.airproducts.com/Company/about-us/diversity-and-inclusion.aspx.
About Air Products
Air Products (NYSE:APD) is a world-leading Industrial Gases company in operation for over 75 years. The Company's core industrial gases business provides atmospheric and process gases and related equipment to manufacturing markets, including refining and petrochemical, metals, electronics, and food and beverage. Air Products is also the world's leading supplier of liquefied natural gas process technology and equipment.
The Company had fiscal 2017 sales of $8.2 billion from continuing operations in 50 countries and has a current market capitalization of about $35 billion. Approximately 15,000 passionate, talented and committed employees from a diversity of backgrounds are driven by Air Products' higher purpose to create innovative solutions that benefit the environment, enhance sustainability and address the challenges facing customers, communities and the world. For more information, visit www.airproducts.com.
About DiversityInc
The mission of DiversityInc is to bring education and clarity to the business benefits of diversity. The DiversityInc Top 50 Companies for Diversity list began in 2001, when many corporations were beginning to understand the business value of diversity-management initiatives. The 2018 Top 50 Companies for Diversity results will be featured on DiversityInc.com and in DiversityInc magazine. DiversityInc is a VA certified veteran-owned business and a USBLN certified business owned by a person with a disability. For more information, visit www.diversityinc.com and follow us on Facebook, Twitter and LinkedIn @DiversityInc.

redpajama_set_name: RedPajamaCommonCrawl


"Designed to cool the biggest engines and intercoolers"; for special applications where engine compartment size and/or cooling requirements dictate the use of remote water pump. Built from the same top notch components as our renowned fuel pumps, it is designed to produce a steady, high volume flow of coolant. A must for inter-cooled cars using a rear mounted water reservoir.
Technical Info & Frequently ask Questions for purchasing a pump or complete fuel system?
How much horsepower do I have now?
Will I have future growth in horsepower?
Is my vehicle a daily driver, a weekend cruiser or strictly a race car?
These are some of things that the customer and we at Boteler Racing need to know when considering a fuel system. So; we can work together in providing the most cost effective and best fuel system for your vehicle.
Should I use my stock fuel tank or should I modify it by adding a sump? What about a fuel cell? If I use a fuel cell how big and what type should it be?
We can assist you in this area. Generally, if its a street car adding a sump would be best. The size of the fuel cell depends on the type of racing and location.
Where should I locate the fuel pump? Do I need to locate the fuel pump below the tank or cell for priming purposes?
Product Engineering fuel pumps do not need to be located below the fuel tank or cell. Your pump should be located in the trunk and not under the car where it is susceptible to moisture and debris.
Are fuel pumps moisture proof?
Most after-market electric fuel pumps are not moisture proof.
Should the battery be located in close proximity to the fuel pump?
Should I start the fuel pump through a relay system? Yes, in both cases.
What size should the fuel inlet and outlet lines be?
Why do I need a bypass return line from my fuel pump? Line sizes are dependent on horsepower and fuel pump size. With the exception of our low pressure PE 4100 fuel pump all Product Engineering fuel pumps require a bypass return to the fuel tank or cell.
Should my fuel system contain a filter?
Yes, and it should be located between the fuel tank or cell and the fuel pump, never after the fuel pump. Use a filter with a cleanable element, do not use paper element filters.
Where should I locate my fuel regulator?
Should it be "soft" or "hard" mounted? All fuel and nitrous regulators should be "soft" mounted and located in front of carburetor and nitrous solenoids.
Manufactures fuel pumps, regulators, nitrous fuel systems, racing alternators, anti-reversion plates, fitting, crankshafts mandrels, liquid filled gauges, filters, oil filter adapter, water pumps, and vacuum pumps. We at Boteler Racing are proud to offer the Product Engineering Brand for Street to Pro-Stock. PE components are the product of choice among racers and automotive enthusiasts who demand quality n' service.
Did you Know: A 10.0 second car needs a fuel pump that will deliver one gallon of fuel through the regulator and to the carburetor in about 20 seconds. An 8.0 second car needs a pump to deliver a gallon in 13-14 seconds.
To check your fuel system, all you need is a container 1 1/2 - 2 gallon capacity and a watch.
65 to 85 psi Metering Jets Included.
designed exclusively for carburetor blow-through engines. The maximum output pump for carburetor blow-through applications up to 22 PSI Max or 1500 Horsepower. Handle single or twin carburetors! Although referred to as a 'racing fuel pump' this pump as well as all of our others, is perfectly at home on high performance street cars. The custom built, heavy duty 3 " diameter motor is made specifically for continuous duty. Body is CNC machined from 6061-T6 billet aluminum and hard anodized for exceptional wear characteristics. The 7 vane impeller promotes excellent priming and smooth flow. It's cleanable filter is a synthetic mesh screen which free flows 4000 GPH. Traditional colors blue / gold , optional colors: purple / gold , and black/ gold, . Special color combinations are available for a nominal charge. Matching HI-FLO fittings available in blue, black, gold and purple.
1st pump with a 3 ¼ " motor design Twice the torque equals= "Higher" Pressure".
Bypass system available for single through multiple nitrous regulator applications (dual triple and quad regulator set-ups). Allows constant flow of fuel throughout the fuel system Maintains carb bowl pressure to within 1/2lb (reduces pressure spiking) Reduces system pulsation. Set pump and regulator pressure without engine running.
Placement & mounting of fuel and/or nitrous regulators is very important for optimum performance. All regulators should be "soft mounted" to isolate them from engine vibration. "Soft mounting" can be accomplished using rubber isolators or simply suspending the regulator from the fuel lines. In addition regulators should be mounted in front of or near the front of the engine whenever possible. This location will allow the low pressure fuel flow from the regulator to work with the G- forces when the car is launched.
Why use a Regulator Bypass System?
It allows for a constant flow of fuel throughout the entire fuel system, making the pump and regulator(s) more responsive to the demands.
Help maintain carb bowl pressure to within 1/2 lb.
Reduce pressure spiking & system pulsation.
Cool fuel is continuously circulated from tank to engine.
Installing a bypass system enables regulator and fuel pump pressure adjustments while the engine is not running.
Envelope dimensions 7.0" x 4.0" x 3.75"


Visual storytelling is a powerful tool to increase understanding of social issues and to advocate for change. Whether you are interested in or already working on humanitarian, environmental or human rights issues, this workshop will provide the tools you need to maximize the impact of your work.
This Visualising Social Stories (VSS) workshop is aimed at both those who create images and those who use them in their work. Expert mentors will uses theory, case studies and practical exercises to lead you through the fundamentals of building powerful visual projects for positive social change.
Who is this workshop for? Photographers, image-makers, NGO/civil society professionals, anyone interested in image-making and/or social issues.
NGOs who have attended VSS workshops in Singapore, Hong Kong and Nepal include: Civil Rights Defenders, Burma Partnership, Phandeeyar, Singapore Heritage Society, Home (The Humanitarian Organization for Migration Economics), Aware (Association of Women for Action & Research), OXFAM, and National Volunteer and Philanthropy Centre, Singapore.
Past & Present: Looking at the history of photography as a tool for social change, as well as studying contemporary usage, we will analyze the evolution of practice and what tools and approaches are available today.
Voice & Participation: Through examining the ethics and politics of photographing social stories, you will gain insight into how to avoid bad practice.
Strategy & Impact: You will learn simple yet effective tools for planning a project and maximizing its impact.
Participants will be divided into multi-disciplinary teams to plan and produce a short campaign on an issue of their choice. Teams will develop a strategy for the use of their images and work on the production of materials. Mentors will provide advice throughout the day.
Teams will spend most of the day editing and preparing for the presentation of their projects. Mentors will guide the teams on how to pull their projects together.
Each team will present their projects and get feedback from other participants and the mentors.
The VSS series of workshops, webinars and talks are designed and produced by Invisible Photographer Asia and Rights Exposure. The workshop will be led and mentored by Robert Godden, Director of Campaigns & Communications at Rights Exposure, and facilitated by IPA founder Kevin WY Lee. Veejay Villafranca and Jes Aznar will be joining this Manila edition as guest photojournalists.
VSS Manila is hosted in partnership with SHUTTERSPACE Studios, one of the Philippines' premier photography studios.
Workshop Venue: Shutterspace Studios, 175 Citigold Plaza, Katipunan Avenue, Loyola Heights, Project 4, Quezon City, Metro Manila.
Instructors: Robert Godden & Kevin WY Lee, with special guest photojournalists Veejay Villafranca.
"Robert and Kevin present a fantastic, thoughtful and practical workshop. Having opinions, input and knowledge from both the NGO/Activist and Photographer backgrounds makes this a really well rounded session." Kasia Kolmas, Hong Kong.
"I attended the Visualising Social Stories workshop in Dec 2015. I found it to be enriching in challenging my views on issues involving ethics in photography and in the impact it made. Both Rob and Kevin were instrumental in getting us from the context of issues to implementation with building our very own campaign. Sessions on photo editing in the form of presenting ideas and establishing one's message was also very useful to me. Both Rob and Kevin are professionals in their own fields but came together with their take on issues comfortably. It was a delight meeting like-minded folks within the workshop as well and partnering with them on issues that we were all passionate about. Thank you for a memorable experience!" Charlotte Lordes, Singapore.
"I attended the August 2015 Visualizing Social Stories Workshop by IPA and found it most worthwhile to spend a day listening to Rob Godden and interacting with him and my course-mates. Rob's lectures were well-prepared, rich with examples and surprisingly practical as in he drove the conceptual down to the operational. Which made it an exceptional seminar for photography practitioners as well as for interested individuals. And I particularly enjoyed the time allowed for sharing and occasionally robust discussions. It was definitely food for thought that lasted beyond the one-day seminar." Li Li Chung, founder, Exactly Foundation.
"Though I have attended a few other photography workshops, this is the first workshop of its kind available to me on Visualising Social Stories. I think it addresses a need that few photography workshops address for social campaigns. The information provided and essentially the assignments really give a boost and confidence to even a beginner. I feel confident that I can possibly work on pictorial social stories even after just 3-days of workshop. And that's quite a take back for me. Robert Godden is an excellent facilitator. Added to that, one benefits from his experience and background of having worked with many social campaigns and organisations like Amnesty International etc. The take up from the beginning to the assignments is very smooth with very factual information given out practically that there was never a moment of overload. The best is the takeaway from the learning achieved in the practical assignments.
"Visualising Social Stories has on more than one occasion, brought me closer to understanding and overcoming problems faced when trying to peel away at a subject matter. Through the collective wisdom of practitioners from all walks of life, who are interested in a multitude of different topics, it's helped both guests and participants acknowledge best practices and really delve into the complexities of modern day photojournalism as well as participatory photography and in doing so, addresses key issues with the ethics of storytelling and narrative. Both Robert and Kevin create a free flowing setting where even the most novice of storytellers feel encouraged to pose difficult questions as they progress through their own personal journeys, being both advocate and critic as to how to conceptualise and execute compelling storylines without losing the plot entirely to just mere images." Megat Ibrahim Mahfuz, Singapore.
"As a development practitioner, I found the workshop highly relevant. Too often, little though is given to the use of images in working for social change. This can lead to problematic results. The workshop brought together photographers and film makers, development practitioners and social activists. It provided a space for discussion and for the generation of ideas and projects. Robert Godden's practical insights in the use of images for human rights advocacy were fascinating. I left the workshop with some fresh perspectives on the deliberate use of visualisation that will surely influence my work." Henrik Hartmann, Singapore.
Robert Godden is a human rights campaigner and photographer who uses visual media for positive social change. He is the co-founder of Rights Exposure, an organization that advocates for the rights of migrant workers. Previously, he was with Amnesty International for 15 years, and from 2004 the organization's Asia-Pacific Campaign Coordinator based in London, Kathmandu, and Hong Kong. He holds a master's degree in South Asian Area Studies from the School of Oriental and African Studies (SOAS) at the University of London and is an alumnus of the New York University Tisch School of the Arts/Magnum Foundation Photography & Human Rights programme.
Kevin WY Lee is a photographer, curator and educator based in Singapore. He has worked as a creative professional in Australia and Singapore for over 15 years. In 2010, Kevin founded Invisible Photographer Asia (IPA), an organisation which has since grown to become a leading, influential platform for Photography & Visual Arts in Asia. Kevin has curated and juried for various festivals and programs, including the Angkor Photo Festival (Cambodia), WMA Masters Award (Hong Kong), Belfast Photo Festival (United Kingdom), Prix Pictet Award, PhotoQuai Biennale (France), Hong Kong Photobook Awards, and Feature Shoot Emerging Photography Awards (USA).
CLICK 'ADD TO CART' TO REGISTER.


Here is a top tip for those of you using bamboo toothbrushes. We pop ours on our Little Bit Daily Soap Keeper trays.
If you keep your bamboo toothbrush in a cup there is a risk the base of it may go mouldy if it's sitting in water all day. But with our soap keeper trays it allows your toothbrush to air dry, even in your bathroom cabinet.
Plus how beautiful does it look!!! We have these sustainable trays available in small and large, and also have coloured tip bamboo toothbrushes to choose from.


FORT WORTH, TEXAS (January 10, 2017) – Dickies®, the world's leading performance workwear brand, and INVISTA's CORDURA® brand, a leader in durable, long-lasting fabrics, have teamed up to create the Dickies Pro™ with CORDURA® military-grade fiber technology collection. Crafted specifically for the skilled tradesman working in severe weather conditions, Dickies Pro™ with CORDURA® fabric is lightweight, durable and six times more abrasion resistant*.
The Field Coat is built with multiple pockets including tech-friendly components and square quilted Thinsulate™ DWR (durable water repellent) insulation for lightweight warmth to cut through the most bitter wind and rain.
The Bomber Jacket features military-inspired interior camouflage print, a removable insulated hood, a headphone stabilizer bungee, adjustable tab cuffs, and reflective accents to dial up visibility.
The Ripstop Pant is designed to withstand gale-force winds with reinforced stress points for added durability, cargo pockets designed for specific tools and double knees to accommodate kneepads.
The collection is built with the latest in fabric and apparel technology to help it stand up to the most challenging weather conditions. The CORDURA® military-grade component is INVISTA's patent-pending T420HT fiber and cotton-rich ripstop fabric that combine to form the latest-generation CORDURA® NYCO (nylon/cotton) fabric technology. CORDURA® NYCO fabric provides innovative performance, lightweight comfort, and exceptional abrasion resistance. With the further addition of FLEX (2 percent spandex), the collection notably features a special tri-blend construction. As two proven brands in the workwear arena, Dickies® and the CORDURA® brand have a combined 145 years of innovation, and are synonymous with durability, functionality and performance.
Outdoor Retailer Winter Show attendees and media can preview Dickies Pro™ with CORDURA® fabric collection at booths #10043 (Dickies®) and #39213 (CORDURA® brand) in Salt Lake City, Jan. 10-12, 2017. Dickies Pro™ with CORDURA® fabric workwear collection will be available for purchase in Fall 2017 on www.Dickies.com.
*Based on 2016 Dickies testing with a comparable 8 oz. 59% cotton/39% polyester/2% Spandex blend.
Dickies®, the world's leading performance workwear brand, has provided workers with durable, functional and comfortable workwear since 1922, pioneering such iconic styles as the 874® work pant. As the flagship brand of Williamson-Dickie Mfg. Co., the Dickies® brand portfolio continues to evolve and today includes modern apparel, footwear and accessories for men, women and kids. The brand's range of products is available in more than 100 countries, allowing individuals around the world to experience the performance of Dickies®. For more information, visit www.dickies.com or follow the brand on Facebook, Instagram and Twitter.


C'mon @realDonaldTrump you played Golf with @SamuelLJackson and me as well. we also had lunch together! shrimp and hot dogs. sound familiar?
Pretty funny stuff, especially when you toss in the late night TV appearance by Jackson. Will Trump respond? Is this truly the moment his campaign falls apart? Is Samuel L. Jackson about to save the world from a Trump presidency?


Food, Fun & Friends with Atlas Networks!
Question: Have you ever been to one of our customer service events?
Throughout the year, we make an effort to host a fun event at all of our residential apartment and condo complexes in Seattle and surrounding regions.
Here are a few examples of different get-togethers that took place this year around the city.
– Game Day Watch Parties at Stadium Place Apartments and the Maverick.
All residents are always invited, whether you're an Atlas customer or not. We don't discriminate. We also love partnering with non-profits and property managers to bring awareness and drive attendance towards important causes. For example, last Fall we partnered with Pillar Passions and Folds of Honor to host a dollar drive in conjunction with one of our complimentary coffee hours at The Corydon Apartments.
These events are a lot of fun. And sure, from a business perspective, they don't hurt either. We want people to know that our high-speed, affordable internet service is available in their building – but that's not why we do it.
Have you ever lived down the hall from someone, but never even said hello? We want to bridge that gap. People come to our events, grab a glass of wine, and start a conversation. Remember those? They get to know each other and leave with a few more neighbor's names under their belts.
It feels good to bring joy to others, and that's what events like these do. No obligation, no pressure, just show up, have some snacks, and say hi. Pretty simple, but it makes a big impact. We have the best conversations with residents over a cup of coffee and doughnut and hope that they find the experience as rewarding as the team hosting it.
Real, Human Connection is Great!
Atlas Networks is comprised of a small team of professionals who work very hard to make sure all our customers are taken care of. The same people you speak with on the phone, host and attend all our customer service events. At the next event, approach an Atlas representative and just say your first name and what residential complex you are part of – I bet they can guess your last name. Don't worry, we don't hire creepers or anything, but we do know our customers very well and strive to go above and beyond in everything we do.
The staff at Atlas Networks values human connection, and we think you do too. That's why we host game day watch parties, wine and cheese happy hours, and morning coffee carts. Come meet us, ask questions, get answers, learn about what we stand for – and make some friends within your building. In 2018, we plan to host events on a quarterly basis at all or most of our residential complexes. Please join us!
If you know that Atlas Networks is available in your building, but we've haven't hosted an event yet, please give us a call! Let's get to party planning.


text:
Oct. 8, 2021, 8:19 a.m. EDT
EV charging network Allego to open 120 fast-charging stations in Europe
Europe-based electric-vehicle charging network Allego Holdings B.V. announced Friday an expanded partnership with hotel group Van der Valk VDC in which the companies will open 120 new fast-charging EV stations at more than 50 hotels across the Netherlands and Belgium. Allego is set to go public in the coming months through a merger, announced in July, with special purpose acquisition company (SPAC) Spartan Acquisition Corp. III (NAS:SPAQ) , in a deal valued at $3.14 billion. Once the deal is completed, Allego shares will trade on the NYSE under the ticker symbol "ALLG." Under terms of the expanded partnership with Van der Valk, Allego said at least 60 "ultra-fast" chargers, ranging from 150 kW to 300 kW, and 60 "fast chargers" of 50 kW, will be installed at different locations. Spartan Acquisition Corp. III's stock, which is still inactive in premarket trading, has tacked on 1.8% over the past three months, virtually the same as the S&P 500's (S&P:SPX) gain.


text:
British Ambassador and Secretaría de Estado de Migraciones send message to UK nationals in Spain
Living & Lifestyle Opinion Spotlight
by News Desk 14th July 2020 20th July 2020 010284
One week on from the introduction of a new residency document for UK nationals protected by the Withdrawal Agreement and some changes to the application process, British Ambassador Hugh Elliott and Secretaría de Estado de Migraciones (Ministerio de Inclusión, Seguridad Social y Migraciones) Hana Jalloul have recorded a joint message for UK nationals living in Spain.
The ambassador and minister acknowledged the many questions from UK nationals about the new system and sought to provide clarity and reassurance. They were clear that the green residency certificate (whether A4 or credit card-sized) remains valid proof of residency status and rights under the Withdrawal Agreement, even after the end of the transition period.
Speaking about the introduction of the Tarjeta de Identidad de Extranjero (TIE), Hana Jalloul said: 'If you already have a green residency certificate, you don't have to apply for a new status as a resident in Spain, and the documents you already have as an EU resident in Spain remain valid. And most importantly, as long as you are legally resident in Spain before 31 December your rights are guaranteed. I encourage anyone who does not yet have your residency certificate to apply to the immigration authorities as soon as you can.'
Launching the video, ambassador Hugh Elliott reminded UK nationals of the rights protected by the Withdrawal Agreement: 'You will be able to continue to live and work in Spain. UK state pensioners will continue to have lifelong healthcare access as long as they remain living in Spain (this also applies to residents who claim a UK state pension in the future) and your UK state pension will continue to be uprated. That's why it is so important that you register as a resident as soon as possible.'
Spain's Ministerio de Inclusión, Seguridad Social y Migraciones has published a comprehensive Q&A document (in both English and Spanish) to provide answers to the questions that UK nationals may have about their residency status and the new process. The British Embassy is updating its 'Living in Spain' guide to reflect the new residency process and will be providing further information on its Facebook page.
To end the video, Hana Jalloul said: 'Many of you have built your homes here and we want you to stay. You are part of the Spanish family. You are part of us. The Spanish Government is here to support you in this new phase and we want to send you a very clear message: this is, and will always be, your home.'
For residency appointments visit: https://sede.administracionespublicas.gob.es/icpplus/index.html
BrexitBritish Ambassador to SpainBritish EmbassyEuropean UnionHana JalloulHugh ElliottResidency in SpainTarjeta de Identidad de Extranjero (TIE)Withdrawal AgreementShare
'Freedom is either total or it is not' – jailed Catalan leaders react to being granted 'low category' status
Coronavirus in Spain figures (15 July)
Opinion: the world's first octopus farm in Gran Canaria would be a stain on humanity
Elisa Allen 18th January 2022 19th January 2022
Spotlight: the iconic Hotel Palace in Madrid, offering gastronomic delights
Features 16th December 2021 16th December 2021
Spotlight: what are the differences between a cold, flu, and Coronavirus?
Features 15th December 2021 22nd December 2021
Spotlight: Barcelona opens a new office for welcoming international talent
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Focus: Spain's biggest company, Inditex – and the challenge facing Marta Ortega
Steph Osborn 5th December 2021 7th December 2021
Bar Tomeu
In The Dog House Design


text:
#include "EppResponseDataCreateDomain.hpp"
#include "EppUtil.hpp"

EppResponseDataCreateDomain * EppResponseDataCreateDomain::fromXML( const DOMNode& root )
{
	DOMString roid;
	DOMString domain;
	time_t exDate = 0;
	time_t crDate = 0
		;
	DOMNodeList* list = root.getChildNodes();
	for( unsigned int i = 0; i < list->getLength(); i++ )
	{
		DOMNode* node = list->item(i);
		DOMString name = node->getLocalName();

		if( name.isNull() )
		{
			name = node->getNodeName();
		}
		if( name.isNull() )
		{
			continue;
		}
		//if( name.equals("roid") )
		if( name.equals("roid") || name.equals("domain:roid") )
		{
			roid = EppUtil::getText(*node);
		}
		//else if( name.equals("name") )
		else if( name.equals("name") || name.equals("domain:name") )
		{
			domain = EppUtil::getText(*node);
		}
		//else if( name.equals("exDate") )
		else if( name.equals("exDate") || name.equals("domain:exDate") )
		{
			exDate = EppUtil::getDate(*node);
		}
		//else if( name.equals("crDate") )
		else if( name.equals("crDate") || name.equals("domain:crDate") )
		{
			crDate = EppUtil::getDate(*node);
		}
	}

	return new EppResponseDataCreateDomain(domain, exDate, crDate);
}

DOMElement* EppResponseDataCreateDomain::toXML( DOMDocument& doc, const DOMString& tag )
{
	DOMElement* elm;
	DOMElement* body = doc.createElement(tag);
	DOMElement* data = EppUtil::createElementNS(doc, "domain", "creData");
	body->appendChild(data);

	if( name.isNotNull() )
	{
		elm = doc.createElement(XS("name"));
		elm->appendChild(doc.createTextNode(name));
		data->appendChild(elm);
	}
	//	if( roid.isNotNull() )
	//	{
	//		elm = doc.createElement(XS("roid");
	//		elm->appendChild(doc.createTextNode(roid));
	//		data->appendChild(elm);
	//	}
	if( crDate != 0 )
	{
		elm = doc.createElement(XS("crDate"));
		elm->appendChild(EppUtil::createTextNode(doc, crDate));
		data->appendChild(elm);
	}
	if( exDate != 0 )
	{
		elm = doc.createElement(XS("exDate"));
		elm->appendChild(EppUtil::createTextNode(doc, exDate));
		data->appendChild(elm);
	}

	return body;
}

redpajama_set_name: RedPajamaGithub


Drew Cherry is the Editorial Director of IntraFish Media, where he oversees Intrafish.com, IntraFish.no, Seafood International, Fish Farming International and Fishing News International. Mr. Cherry was born and raised in rural Alaska, and has lived in Norway, the UK and currently, Washington State. He holds a Bachelor's degree in English from the University of California at Davis, and a Master's degree in Professional Writing from the University of Southern California.


text:
Q: Clustering values with given threshold I have several vectors:
a <- c(1.1, 2.9, 3.9, 5.2)
b <- c(1.0, 1.9, 4.0, 5.1)
c <- c(0.9, 2.1, 3.1, 4.1, 5.0, 11.13)

They can have different length.
I want to combine them in such a way to obtain a general vector with averaged values if there are similar meanings in all of the vectors or in any pairs of them; and with an initial meanings if this meaning is only in one vector. For averaging I would like to use a threshold = 0.2.
My explanation could be a bit confusing, but here is the general vector I want to obtain:
d <- c(1, 2, 3, 4, 5.1, 11.13)

I have around 12 vectors and about 2000 values in each vector.
I will be glad for any help

A: Seems like a clustering problem (clustered by distance). You can try the code below
library(igraph)

v <- sort(c(a, b, c))

tapply(
    v,
    membership(components(graph_from_adjacency_matrix(as.matrix(dist(v)) <= 0.2 + sqrt(.Machine$double.eps)))),
    mean
)

which gives
    1     2     3     4     5     6
 1.00  2.00  3.00  4.00  5.10 11.13

redpajama_set_name: RedPajamaStackExchange


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text:
Action Comics #1000 [Review]
From the City That Has Everything
Writer/Artist: Dan Jurgens
Color: Hi-Fi
Letters: Rob Leigh
This is the "primary" story of the issue–a sort of stand-alone "finale" to Jurgens-and-Co.'s run the last couple of years and 45-some issue run. We open on a narration/captions of Jon Kent and Lois talking, against imagery of Superman battling a Khund warship. Jon's worried his Dad won't get here in time, as Lois reassures him he'll be here. As Clark arrives, Lois reminds him that people just want to thank him. We see that they're at a Thank You, Superman presentation in the park–Metropolis has gathered to try to offer thanks to Superman, though knowing they can't begin to cover it. Amidst various testimonials of how Superman has impacted and saved folks, Clark keeps thinking he sees further traces of a Khund invasion…perhaps just looking for an excuse to get away from this presentation. Eventually, the crowd gets to see Superman fly into action, as Clark can't ignore his senses. He finds Wonder Woman, who reveals that there was indeed a major Khund incursion…but it's been handled. By everyone. Even his fellow heroes are fans, and thank Superman for his role in everything. Without him, none of them would likely be there.
On its surface, this is a rather cheesy story of little substance. There's some presentation to honor Superman, and he's avoiding it. Then, alllll the other heroes are there as well, because they wish to honor him, too.
Neat and simple, right? Evocative of classic Silver Age stories (to me), and not terribly deep.
But back to "on its surface."
See, this is the 1,000th issue of Action Comics. 80 years of Superman. This is a major event, a one-issue spectacular. An anthology of sorts with numerous shorter stories making up the whole. It's a standalone issue, something that draws from and can influence other stuff, but it's not truly coming off any To Be Continued… message. It's (as an issue) not leading directly into anything. It's expected that this will be read where the previous few issues, or dozens of issues, or even hundreds of issues, have not been read.
There's loads of "meta" to this–as a story, and as part of the issue.
This Superman–Dan Jurgens' Superman–comes from a take on the character where Clark Kent is the man, and Superman is a "mask." This Superman is Clark Kent…who does what's right because it is right–not to show off, not for accolades and recognition–and is actually rather uncomfortable being the center of attention. And we get to see that…as we get to see a bit of Lois' personality. She teases him for trying to get out of the ceremony, but we come to see that she's the one that spearheaded the gathering of the heroes, and helped coordinate with Batman and the others to "cover for" Superman, so that he could have this day, this event. We also see Jon, the son, both AS the Son of Superman and as a kid. Not fully understanding everything going on, loving his dad but not sure if he'll make it, and an eagerness to stand in for him, recognizing the importance of the situation and wanting to live up to the family tradition.
I knew going in that Norm Rapmund was involved with the art…and I was loving the art all through the story. There was something extra familiar about it, though, that had a slight smile trying to escape me as I read it, but I couldn't quite place it. Until I looked consciously at the credits for the story and realized why the art seemed that much more familiar and was evoking such a reaction in me: Jurgens on the pencils. Of course! Regardless of conscious realization in words, on sight I had recognized the (somehow UNexpected) presence of work by probably my favorite Superman artist!
Superman reluctantly accepts the recognition…somewhat awkwardly. The final spread with all the heroes and fans and such…metatextually, real-world…without Superman, there probably would NOT have been any of these other heroes. Certainly nowhere near as many, and probably not even a comics industry.
This story is a send-off of sorts from Jurgens–capping off his run, as well as recognizing and thanking Superman.
And for one such as me–a 30-year-fan of Superman, introduced to him when I was but 7 years old–this is a powerful piece, meaningful and deep, and moving…and if one has to put a one-off story as a capstone to a run, that stands alone and evokes the past, has elements from the run, but isn't beholden to it and all that…this does it well, and is a worthy opening to Action Comics #1000!
Never-Ending Battle
Story and Words: Peter J. Tomasi
Artist: Patrick Gleason
Colorist: Alejandro Sanchez
Letterer: Tom Napolitano
This story opens with a rather hellish, red-tinged image of Vandal Savage having Superman engulfed in some sort of red energy and alien machinery. The narration is Superman, speaking to Lois, apologizing for being sidetracked on the way home–he's late. Basically, Savage tried to blend Superman with the past, trapping him and leaving the future open for him (Savage) to rule without Superman's interference. So we get a bunch of pages evoking some key eras in Superman's history, as we know it in the real-world; but in-continuity the character himself acknowledges that despite the familiarity, he knew it was impossible to have been there in the 1930s, for example. These are all full-page images with the "voiceover" going along with them…not necessarily tied exactly to the image whose page the words are on, but particularly for those familiar with the history of the character and the stories/eras being referenced, the words take on additional (and deeper) meaning than they might otherwise. And the story ends with a shot of Superman standing at a table with a lotta candles (one can assume there are probably around 1,000 of 'em!), Lois and Jon on either side, a "Happy Birthday" sign strung up behind, and even Krypto in the foreground, as we celebrate Superman's 80th birthday, and the 1,000th issue of Action Comics.
Normally I would not care for this sort of story. Had this been a 15-page sequence in an otherwise-20-paged issue of something (especially if at a $3.99 price point) I would be disappointed and annoyed. Even as one of the longest stories within this issue, it's still a "mere" 15 pages, and as such, even this sequence is a relatively small portion of the entire issue. As a "short story" in this "anthology" issue of numerous creators…it works quite well. We have a basic story–Superman faces a villain, is flung throughout time, makes it home safe. This reminds me of other stories I've read, and feels rather familiar, like it's a sort of "trope" at this point–where you can have a numerous-issue "event" of a character being thrown through time, or it can be just a casual backdrop "referenced" but not really the point of a story.
Here, this does both: it's a sort of casual-ish "reference" thing…but the pages as we go through show Superman through the decades–Gleason's imagery evoking the general "style" and depiction of Superman through the decades. One page reminds me loosely of the Superman vs. Superboy issue from early in the Byrne era; the next is a familiar image from Miller's Dark Knight Returns (and signed by the artist after Frank Miller). There's a page with the black-costumed, long-haired Superman fighting Mongul, with Steel and Superboy in the background, in reference to the Death and Return of Superman…Reign of the Supermen. There's a page with a version of Zod, the pointy-crystal Fortress of Solitude in the background, and a Superman trapped in the pane of glass version of the Phantom Zone. There's even a page showing the Kingdom Come Superman facing Magog, a mushroom cloud in the background with several of the other heroes. And there's a page showing the New 52 Superman breaking through a wall, shifting to the black-costume, bearded Superman of Jurgens' Lois and Clark, shifting into the Rebirth costume, into the Reborn costume, punching Savage out.
This is an appropriate celebration of Superman, of how (ultimately) he easily overcomes situations, fights through whatever is thrown at him, and that Tomasi puts as Superman's words: "Each and every time stream, in the end, led home…to my family."
Tomasi and Gleason being the primary creatives the last couple years on the named Superman title that has run alongside Jurgens' Action Comics, this is a highly-appropriate story to cap off that run, to share in this issue, and to celebrate and acknowledge the rich history of the character. I often find I'm not overly thrilled with Gleason's art–just a personal issue due to comparing it so often to art I prefer–but here, particularly for the time-tossed pages, it shines excellently.
Script: Marv Wolfman
Art: Curt Swan
Inks: Butch Guice, Kurt Schaffenberger
Color & Production Assist: Hi-Fi
I appreciate the history of Wolfman with the Superman character, as well as the very fabric of the history of DC Comics in-continuity and out; ditto the importance of Curt Swan as one of THE Superman artists. That said…I did not really care much for this story.
Basically, we have narration from Superman as he's halfway across the world dealing with a Brainiac threat, while we're shown a hostage situation involving a principal and one of his students. From the narration, we get that the principal is being mind-controlled by Brainiac, and that Superman is facing the villain…but that action all happens off-panel, concluding with a single image of Superman, that may be recycled from a previous publication. The story is simple, has potential, but for me, personally–especially stacked against the Jurgens and Tomasi stories in this issue, and against numerous episodes of Law and Order: SVU I've been watching the last few weeks, it just doesn't really hold up in a way I particularly care for.
It's not a horrible story, and the art is solid in and of itself…I respect the inclusion here, but other than the "inclusion" aspect, I just don't really care for this one.
Storytellers: Paul Levitz & Neal Adams
Colors: Hi-Fi
Letters: Dave Sharpe
This is an interesting, short piece, where Superman shows up to the roof of Lexcorp Tower, and he and Lex talk over a game of Chess…and I'm reminded strongly of the Xavier/Magneto imagery from the Fox X-Men films. Luthor springs a trap of animated Kryptonite chains that wrap around Superman…before the hero straightens, flexes, and bursts the chains with an orange background obviously reminiscent of the Kryptonite Nevermore! from the original Superman #233. Superman reveals that he's got a Mother Box with him that temporarily prevented the Kryptonite radiation
This is another short piece that I don't particularly care for. I like the concept well enough, and it reminds me (as said) of the Xavier/Magneto stuff…and the more I think on it, I realize there's also a bit of that Batman/Joker meeting from The Killing Joke in here, too.
Adams is another whose work I appreciate, whose place in comics history I appreciate…but I just can't get into his Superman art. I didn't stick with The Coming of the Supermen, I didn't care for an Action Comics variant I had from some "Neal Adams Month," and his Superman in general looks rather "off" to me here.
As this is "only" a 5-page story, though, it's not horrible; but I might have liked a prose version a bit better, as I dig the story much, much more than I do the art.
Story: Geoff Johns & Richard Donner
Artist: Olivier Coipel
Colors: Alejandro Sanchez
Special thanks to: Matt Wilson
Letters: Nick Napolitano
This is an interesting story that seems to be set in the '30s; the color palette and general art style certainly gives it a rustic, "period piece" look that fits very well with the story being told. A busted-up car is brought into a shop, and when the mechanic tries to get its story from the owner, the tale is a little bit "out there"–all this damage caused by one man? One man lifted it and smashed it against some rocks, apparently. We then move to the owner–Butch–noticing a colorful figure…that of the "man" who smashed his car. Superman chats with him, showing compassion and having come to "understand" more of Butch's "side" of things, and leaving him with the notion that even having made mistakes, one can choose to make their life count for something, choose to make something of themselves, better the lives of others rather than doing harm.
I'm sure I would have realized pretty quickly that this is a sort of "sequel" to a big part of Action Comics #1; but this benefited SO beautifully from my having just re-read the Superman story from that first issue, and being probably THE freshest-in-mind Superman story for me prior to this 1000th issue.
This Superman feels very much like the "modern" Superman, though; less of the rough 'n tough version from that first appearance. But it works, and makes for an interesting piece overall. Especially when one considers just how heinous Butch's crime was–kidnapping a woman for rejecting him…and one could likely predict at least a couple likely outcomes of such action.
I haven't cared a lot about the Johns/Donner stuff–particularly the Last Son of Krypton, and Escape from Bizarro World stories, even as those are (now) a good dozen years in the past. I didn't care for them at the time as part of a seemingly-overly-overt rewriting of Superman away from the version I'd grown up on and back to more of a Silver/Bronze Age version. But this single story, I liked; the modern art showing the classic original Superman, with the feel of the contemporary Superman…and this being both a continuation/sequel and yet even if one doesn't know or connect that context, it works very well as a singular, one-off bit…
And of the "shorts" in this issue, I think this is one of my favorites.
Script: Scott Snyder
Art: Rafael Albuquerque
Color: Dave McCaig
Letters: Tom Napolitano
I'm not quite sure what to make of this piece. In a way, I think something to it is "over my head," perhaps..in a way that I definitely do NOT care for in my comics.
Superman arrives at the Smallville planetarium to find Lex Luthor, who has found the "Eye of Xotar" and Chronos' "Time Scissors"–that together can be used to literally erase any genealogical line from history. Given this is Luthor…obviously, that'd be Superman's line, the House of El. As the two muse over their shared past, and the present situation, we see a flashback to Luthor's early days in Smallville, where we also see that a potentially fatal accident that could have killed Luthor was prevented by a young Clark Kent–Superman as a boy. We also get a bit about a "fifth season," between Winter and Spring, when the weather can be wildly unpredictable…which seems to be a statement of the story itself. Luthor intended to wipe Superman from history, but maybe discovered that it was Superman that had saved him, and so opted not to.
This isn't a horrible story, but as said, something about it just feels like it might be over my head, needing extra consideration, disproportionate to its size in relation to the rest of this issue. The art also isn't horrible, but not really to my liking. On the last page particularly, I don't care for the depiction of the "S" shield…its top and bottom seem way too thin compared to the middle, especially compared to the "standard" licensed version I'm used to, that I tend to hold mentally as the "standard" to which the various takes on the "S" are compared.
This also plays on Luthor and Superman having known each other as kids–something that was NOT part of the story I grew up on, and so I'm a bit biased against it. Still, knowing that and seeing what's being gone for here in a way, I'm ok with the story, but won't single it out as a favorite or such.
Then there's the narration in the background speaking to the idea of Sol, our sun, eventually expanding: "…and eventually, the sun will eat our Mercury…and then Venus…and then Earth. And then, our time…ends."
Which seems almost intentionally to lead into the next piece:
Of Tomorrow
Writer: Tom King
Artist: Clay Mann
Color Artist: Jordie Bellaire
Superman kneels, scooping up some coal from the ground and squeezing it into diamond. He stands and we see blazing fire all around, amidst his speaking. It's been BILLIONS of years, and Earth is finally about to be swallowed up by the red giant Sol has become; no matter that Superman had apparently pushed the entire planet of Earth out of its orbit, it still finds itself being consumed. And Superman speaks to his long-dead parents–Jonathan and Martha Kent–as he says goodbye for the final time. He's got to let go–of them, and of Earth itself. After five BILLION years. Somehow, Superman, and Lois, and Jon, have been essentially immortal, thanks to (apparently) an "Eternity Formula." He speaks of them, as he forms the diamond into a specific shape. He tells his parents "I miss you. I love you. Every day. It doesn't matter how long it's been. It's still every day." And as the planet burns up and wee see the grave plate reading:
JONATHAN & MARTHA
BELOVED PARENTS & GRANDPARENTS
YOU GAVE US HOPE
Superman leaves with the words "We're all stardust fallen. And so we look to the sky. And we wait to be reclaimed. Good-bye, Ma. Good-bye, Pa. And thank you. For everything."
This is an odd sort of story. While we can consider that the ongoing story of Superman is not one that's gonna end anytime soon; while we've had stories of Superman surviving into the far future–thousands, even millions of years…to consider that he'd live another five BILLION years seems a bit out there for me. It changes the character. It's best not to dwell on.
The point is: to the end of the Earth–literally–Superman has been shaped by his parents. He's continued to live. He's lived his life. He's gone on–but that doesn't mean that he's forgotten. The love of his parents–his adoptive parents, the REAL parents he actually knew–they molded him into who he became, and that's NOT something that changed with time. Their brief moment with him lasted through time, a huge legacy, outlasting the planet itself.
But on a smaller level, this speaks in an abstract sort of way to anyone who has ever lost loved ones. Wondering at the futility of visiting a grave, of speaking to those gone before, and I'd say to how even a year can feel like a lifetime, several years like countless lifetimes, when separated from the loved ones.
And on a "meta" level, Superman has outlived this planet, outlived all those lives…as he outlived his creators, and has and likely will outlive so many others.
On the literal level, this reminds me of an old story of an ancient Supreme or Mr. Majestic (I believe written by Alan Moore) (edit: yeah, I'm pretty sure that was Wildstorm Spotlight: Mr. Majestic #1: a story called The Big Chill.) recalling a world he once spent time on…he thinks its name had begun with 'E'.
On the general level, that abstract level…this just speaks to the heart and I got choked up contemplating loss to come and what that'll mean to me personally; and teared up considering losses I've already experienced. In a way, this had no reason to hit me like it did; yet, this is its own deeply personal, powerful piece…certainly worthy of being a Superman story, and well worth its inclusion in this issue!
Five Minutes
Writer: Louise Simonson
Artist: Jerry Ordway
Colors: Dave McCaig
Letters: Carlos M. Mangual
This is another 5-page "short." Clark is trying to finish a story, with Perry and Jimmy standing by, noting they're 5 minutes to deadline, with Printing already giving hell for holding the presses. Even as Clark points out he's nearly done, he's hearing cries of distress, and jumps from his seat to go into action, while Perry tells him he has five minutes. Superman stops a runaway train; saves Bibbo; stops space debris from crashing to Earth, and still makes it back to the Planet to finish his story. But turns out in being so focused on that, he didn't even consider the impact he just had, saving numerous people, maybe much of Earth…that the story he WAS working on is nothing compared to the story of Superman's recent super-feats.
This is a neat piece, and as with others in this issue of Action, not one I'd care much for as an entire issue, but as a "backup," as a piece included in this issue, I really like it. And with Louise Simonson writing and Ordway on art, it's one that's hard to beat, having such positive memories of both creators' work in the '90s on my early Superman comics.
And the idea of Clark Kent, Reporter, working, having to deal with stuff as Superman and still make his deadline is not new, but it works well here…and the fantastic art just makes it a beauty to behold.
I enjoyed this for that, and its relative timelessness.
Actionland!
Script: Paul Dini
Pencils: Jose Luis Garcia-Lopez
Inks: Kevin Nowlan
Colors: Trish Mulvihill
Letters: Josh Reed
What would a big, giant Superman comic be without Mr. Mxyzptlk? This is a short story showing an amusement park take on Superman and his history, where visitors get to "ride" in a replica of the ship that bore baby Kal-El away from Krypton; lift a tractor like little Clark in Kansas, witness Superman performing super-feats, view other heroes that served with Superman, as well as villains that were fought, and then the way things ended, with Superman… sacrificing himself…giving his life…the ending? The scene we've been seeing is a reality of sorts from Mxy, who just can't quite figure out how he'd like to see the story of Superman end, even though he himself has the power to blink him out of existence with hardly a thought.
I think my initial thought–that it's "fitting" to have Mxy get a story in something like this–comes from the Newstime special after the death of Superman, where there was some throw-away piece referencing the character, sort of explaining his showing up during all that, and yet not having an actual issue til well after the return.
Story-wise, I'm not overly enamored. It's a solid enough piece with an interesting premise. Structurally, not a bad story. I think I've just kinda felt put-off to Mxy stuff after Superman: Reborn and being reminded of stuff from Whatever Happened to the Man of Tomorrow? recently. It has its merits–a glimpse at parts of Superman's origins; shows us Mxy himself and reminds us he's around and his powers, and that he can be "just" an imp messing with Superman without wanting to truly destroy him. I just didn't singularly like this story that much.
Art-wise, this is solid, and though Dini has plenty of pedigree himself, having a new Jose Luis Garcia-Lopez story is quite appealing on principle. I can't say I'd recognize the art on sight, but knowing Garcia-Lopez has significant association with Superman, this certainly deserves its place in the issue!
Faster Than a Speeding Bullet
Writer: Brad Meltzer
Artist: John Casaday
Colors: Laura Martin
Letters: Chris Eliopoulos
This was an interesting story, touching on elements that I don't often think of with Superman stories. A gunman with a hostage prepares to pull the trigger…while from a significant distance, Superman's flying as fast as he can to the scene. We get Superman's inner thoughts as he zips toward the gunman, even as he pulls the trigger and the bullet begins to move, as Superman does the math and everything remaining as-is, knows he will not make it in time. Yet, it turns out while he was focused on the gunman, the hostage was shifting, which bought the extra fraction of a second Superman needed to get there, and he saves her. He compliments her on her bravery, that she could be Police, and flies off.
The story here does a good job with building tension as Superman tries to get to the scene. All too often we have the imagery and stories of Superman getting somewhere JUST in the nick of time to bounce bullets off his chest, or pluck them from mid-air, mid-movement before they strike their intended target…but we rarely get something from his point of view, where even he might realize he will be a fraction of a second too late. We get a positive ending here, though, as the woman–Lila–shifts to resist her attacker and Superman is able to save her.
I was not expecting a Meltzer piece, but he's another name that I feel certainly deserves his place and involvement with the issue…if not for prior Superman work, then for his real-world involvement with stuff–helping bring attention to the Siegel house, helping bring about the Superman display at the Cleveland airport, and other involvement with folks preserving the history of Siegel and Shuster and all that.
The art isn't bad…and actually, is quite good–overall. There's just something to the way Casaday does Superman's face that seems really "off" to me. It looks like someone else's face, a stranger's face, is pasted onto a body with "a" Superman costume. Where some artists' Superman is recognizable just by the face, I wouldn't be able to look at the faces in this story and just form those know this was Superman.
For another "short," I can't really complain beyond that about this one!
Writer: Brian Michael Bendis
Pencils: Jim Lee
Inks: Scott Williams
Colors: Alex Sinclair
Letters: Cory Petit
Outside of the number, I'm sure this story is one reason for a lot of people to pick up this issue: it offers a prologue to a prologue to a mini-series that itself will lead into the ongoing story in the continuation of this title and rebooted-numbering fifth-volume of Superman. This piece kicks off Bendis' work on Superman…and does so with a beaten, bloodied Superman crashing through what looks like a cave wall, and on zooming out, we see a couple more hits as he smashes through the ceiling and out the side of the L-shaped Lexcorp tower, and then hits a road so hard he bounces a few times, destroying pavement, vehicles, and storefronts. Bystanders of course whip out cellphones to take photos/video of the fallen hero, while they try to drag Superman behind a counter. They comment on him wearing "the red shorts" again (rather than the cosmetic change being just there). Some giant creature with a huge battle axe is after him, and after taking a huge punch and repeated jabs from the just-arrived Supergirl, hits her once, taking her outta the fight (sending her flying toward the huge globe of the Daily Planet). Maggie Sawyer and the SCU shows up, though their weapons do nothing to the creature. There's more discussion from further bystanders of him having "the shorts" again, and the creature continues to get the best of Superman, continuing to physically beat the crap out of him (so to speak), and a simple energy-blast wave-of-the-hand takes a just-returning Supergirl back out of the fight. Transforming the handle of the axe into a sword, he seems to plunge it with a splash into Superman's chest, as he claims to be wiping out remaining Kryptonians, finishing the job he started when he destroyed Krypton.
Once upon a time, Jim Lee was just about my favorite Superman artist–perhaps behind or tied with Jurgens and Ed Benes. But here, I just don't care for the art. I'm sure part of it is the coloring…this seems "dark" and "grim and gritty" especially compared to the rest of the issue, and feels out of place visually with the rest of the issue.
Ditto on the story side–this beating, this violence and Superman just being pummeled and beaten and such, and Supergirl coming off as completely ineffective as well–is sickening after so many happier, brighter, celebratory bits.
Sure, this is a new villain, but we don't even get the name here. We just get nothing but fight. Superman himself points out he hasn't gotten a name, and the villain accuses him of stalling, rather than giving his name. And sure, on one hand, it would be old-style, stereotypical monologuing or such to just give a name at that point…typically, the villain would be depicted in a large panel with a logo-style word balloon declaring his "cool"-sounding name and such, so instead he calls Superman out for stalling, and on a technical level, I guess this is good to get away from the typical.
I don't like that we're thrown into the middle of a fight like this, that we end on a cliffhanger, when the entire rest of this issue has been self-contained one-off stories and whatnot.
Surely we could have started on a brighter note, seen a bit of a different status quo or perspective maybe hinting at this villain's coming or some such. I don't know–but based solely on this 12-page piece, I'm not looking forward to the upcoming Man of Steel mini, and I'm suddenly quite concerned about what to expect from Bendis' run, where until now I've been content to "wait and see" and been fairly optimistic. I suppose I'll now have to "wait and see" what we get in the DC Nation #0 issue and go from there.
I guess it's appropriate enough in its way to launch Bendis' run with this issue…and yet despite assurances to the contrary, the part of me that suspects his "coming" heralded the end of Jurgens' and Tomasi's runs feels like they should have had more pages to play with in this issue, and Bendis could launch with DC Nation or The Man of Steel (after all, the last time, one creator (Alan Moore) ended the previous Superman, and it was the interstitial mini-series Man of Steel where Byrne's stuff started.
This is 12 pages of what's likely a multi-year, dozens-of-issues run by one writer, so ultimately may not be indicative of what to expect on the whole and long-term…but for just these pages, and to come after such positive stories for the other 60+ pages…this just seems out of place and inappropriate for something as celebratory as a 1,000th issue…especially seeing nothing but Superman take a beatdown outta nowhere.
Overall Thoughts on the Issue As a Whole
I've looked forward to this issue for a long time. In some ways, I've probably looked forward to it for nearly 30 years, ever since the first issue I ever owned of the title (#651). At the least, I'm sure I wondered at a comic making it to #1,000 during the Doomsday! and Funeral for a Friend stuff, and the years following, as Adventures of Superman hit #500, Action hit #700, Superman (vol. 2) hit #100, and so on. I certainly wondered about it seven years ago when DC announced what came to be The New 52, that every single title including Action Comics and Detective Comics would be restarted with a #1. Though I still feel that Action making it to #1,000 technically needs an asterisk denoting the 1-52 sequence (there are no issues numbered 905-956) from the New 52 run. But I give DC a "pass" on that, as it was only one "hiccup" in the numbering. Given cover dress, paper condition, and literally the pricing should anyone actually find a copy of the original issues 1-52, one just needs to add 904 to the issue number to know what the issue is in that sense. There have not been numerous iterations where multiple hundreds of issues here, a hundred issues there, another several dozen issues, a mini-series, and a couple of less-than-20-issues runs suddenly add up to a big number. Number-wise, there's virtually no reasonable confusion.
When Rebirth was announced, when it was announced that Action Comics and Detective Comics would get their original numbering back, and that Action Comics (especially) would indeed get to make it to #1,000, I jumped back in. And all these issues and almost two years later, here we are. I feel like this issue is a sort of reward, an attained destination, a prize that's been driven toward since Action Comics #957 back in 2016.
A few months ago, there was some definite ambiguity as to formatting and such for the issue and what to expect for the issue. Part of me thinks this should have been even bigger, included even more–both in the way of original stories as well as reprints. But the companion hardback collection Action Comics: 80 Years of Superman handles a lot of that–with essays and reprints of stories both for characters and creators tied to Superman, and Action Comics itself. I was also a bit curious about what the issue's story would be, or if it would be an anthology/"jam" issue.
Back in the 1990s there were periodic special issues such as The Wedding Album that were key, integral chapters in the ongoing Superman story unfolding in the actual, ongoing titles; though this would be an actual numbered issue, I'd wondered if this would have any singular through-story that just happened to have a bunch of different artists and maybe some narrative structure allowing for different writers to leave a mark on the story.
Obviously what we got was 15-page chunks of the two main creative teams of the ongoing titles, and then 8 more stories/contributions, and a 12-page launch sequence from the new writer coming onto stuff.
As with my excitement for Rebirth and Action Comics #957, I bought this digitally, and I bought this in-print, and I'll gladly buy the hardcover edition that I believe will be out this Fall. I also ordered the "Decades Variants" through DCBS, and will be getting the 1,000 covers poster, which will be an excellent, appropriate addition to my comics space.
This is an issue that rightly deserves the "celebration" that variants offer. There are artists who may not otherwise have had involvement with the issue, who get to be associated with Action Comics #1000 if only with a variant. And as the first American comic book to make it to #1000…it's more than worthy. 80 years of continuous publication of a comic titled Action Comics is nothing to sneeze at. I'm among the first to complain and gripe and grouse about variants, and will continue to, where they merely cheapen stuff and are "abused" (really, does a #17 or a #81 or a #962 truly deserve a variant? What makes such numbers special if they're just another issue?) But this 1,000th issue deserves the added recognition, the "fun" of certain variants…especially what I've seen of the "Decades" variants, that bring back the logo style and even the DC logo of each decade…the DC Bullet I grew up on is back with several of the issues, and even the "swoosh" logo gets some love with the 2000s variant.
$7.99 for a single issue is a bit much in most cases. This is squarebound and has 81 story pages with no ads between stories nor interrupting any stories, and the cover is a stronger cardstock…so this is absolutely worth its price for the physical product as well as the content it contains.
None of the stories seem to specifically continue from anything; nothing I'm aware of comes off of a To Be Continued; and other than the Bendis segment leading into stuff out of/after this issue, that's still 69 or so pages that stand alone quite well, neither requiring previous reading nor requiring subsequent reading. This is well worth getting just for itself; a 1,000th issue; a standalone, celebratory Superman issue. Perhaps it's an endpoint; maybe it can be a starting point; it's definitely an excellent one-off, special thing.
I highly recommend this to any Superman fan or anyone interested in checking out some Superman content, period, and especially if you don't want to commit to anything ongoing or long-form.
Filed under: 2018 posts, 2018 Reviews, Action Comics, Action Comics, DC, DC Rebirth, DC Universe | Tagged: 1000, Action Comics, Actionland, Alejandro Sanchez, Alex Sinclair, An Enemy Within, Brad Meltzer, Brian Michael Bendis, Butch Guice, Carlos M. Mangual, Chris Eliopoulos, Clark Kent, Clay Mann, comic books, Comic Reviews, Cory Petit, Curt Swan, Dan Jurgens, Dave McCaig, Dave Sharpe, DC, DC Comics, dc entertainment, Faster Than a Speeding Bullet, Five Minutes, From the City That Has Everything, Geoff Johns, Hi-Fi, Jerry Ordway, jim lee, John Cassaday, John Workman, Jordie Bellaire, Jose Luis Garcia-Lopez, Josh Reed, Kevin Nowlan, Kurt Schaffenberger, Laura Martin, Lex Luthor, Lois Lane, Louise Simonson, Marv Wolfman, matt wilson, Neal Adams, Never Ending Battle, Nick Napolitano, Norm Rapmund, Of Tomorrow, Olivier Coipel, Patrick Gleason, Paul Dini, Paul Levitz, Peter J. Tomasi, Rafael Albuquerque, Richard Donner, Rob Leigh, Scott Snyder, Scott Williams, Smallville, Superman, The Car, The Fifth Season, THe Game, The Truth, Tom King, Tom Napolitano, Trish Mulvihill |	2 Comments »
The Terrifics #1 [Review]
Meet the Terrifics part 1 of 3
Storytellers: Ivan Reis & Jeff Lemire
Inker: Joe Prado
Colorist: Marcelo Maiolo
Cover: Ivan Reis with Marcelo Maiolo
Associate Editor: Jessica Chen
Editor: Paul Kaminski
Group Editor: Marie Javins
Of the New Age of Heroes line so far, this is the series I've been specifically looking forward to, on the idea that if Marvel wasn't going to publish something like Fantastic Four, at least DC WOULD. And for the line so far, this one feels the most "normal" or "familiar" to me while being something different.
This is another one of those books with the tri-fold cover…but I've not been impressed with any of these, outside of the wishful thinking/impotent hope that they've meant less variant covers, by providing "alternate cover images" that OTHERWISE would have been presented as their own separate units as variant covers. The single front panel is the actual cover, and nothing overly impressed me of the other images.
Mr. Terrific–Michael Holt–shows up to confront Simon Stagg. While the two have an apparent history–including Stagg's having maneuvered Holt's company out from under him–Holt is here to deal with a particular situation involving access to the Dark Multiverse. What he finds is an old ally in Metamorpho, and in dealing with the breach that Stagg has opened (and tried to plug with Metamorpho), also succeeds in reviving Plastic Man. The trio then finds themself on a planetoid that turns out to be a giant body, where they rescue a Linnya Wazzo, from Bgztl; an alien whose entire race can become intangible…though it's presently a form she's stuck in. As the group addresses a homing beacon…they're confronted by the appearance of Tom Strong.
As a first issue goes, this works pretty well. We're introduced to the "entire group" in the issue–Mr. Terrific, Metamorpho, Plastic Man, and Linnya. We also meet an antagonist in Simon Stagg and have some setup to see that he's gonna be problematic, as well as the situation that brings everyone together in Stagg's trying to access the Dark Multiverse. Though we don't get a LOT of time or motivational reasoning spent on any single character, they all at least do appear in the issue, we have introduction and setup, and a fun cliffhanger: I'm aware of the existence of Tom Strong, and this was rather unexpected, but is a welcome intro/experience that could lead to me seeking out some of the original stuff with the character! The credits/story title of the issue comes on the final page, and I really dig the fact that this is listed as part 1 of 3! Only three issues. Not four, not five, not six-for-the-trade. Three. Which suggests to me that this is written to be enjoyed as single issues as well, and at least on this first issue, it's done a good job of that to me.
Visually, I also enjoyed this issue. Mr. Terrific, Plastic Man, and Metamorpho all looked quite familiar to me; nothing wonky to their appearances. I'd swear I recognized Stagg's assistant from somewhere, too! And what little I've seen, Tom Strong also looked like he stepped right out of his own series, whenever that had left off. We'll see how this art team holds up after this first three issue arc…but for this issue at least, I found it quite enjoyable.
It's been a long time since I last regularly followed any iteration of the Fantastic Four–my two "major stints" with the book being the first couple years of the Heroes Return iteration, and then the Waid/Wieringo run in collected format several years later. While this didn't feel like any rip-off of the format, I definitely see plenty of room for comparison, with a girl that can go intangible, a guy who stretches, a guy who's super-smart, a guy that can morph/be an elemental-like figure…not exactly the blood-family and close-friend dynamic, but I see plenty of potential for a family dynamic to come of this…and if these characters as a group wind up out exploring/dealing with the edges of reality, and this Dark Multiverse…then yeah, I can see where it'll fill a "void" left for readers that like the concept of the Fantastic Four. That I can find a title like this at DC is a welcome thing.
I was pleasantly surprised as well with this issue, to realize it was "only" $2.99. I didn't pay much attention for its price at the shop–since I was already "sold" on the title and looking forward to it specifically ahead of time, that gave it a one-issue "pass" on price, since I knew it at least did NOT exceed the standard $4.99 of a Marvel #1. coming in at $2.99 as I believe the others have is definitely a strong positive, and makes this well worth supporting on principle alone!
All in all…I recommend checking this book out. It's a #1, it's a fresh concept to DC, it's only $2.99 for the standard cover (with new tri-fold for extra art), and though there's likely more to "get" or appreciate if you're "up" on the Metal stuff, it's an enjoyable issue in itself just knowing THAT Metal has happened and introduced some Dark Multiverse into characters' knowledge.
Filed under: 2018 posts, 2018 Reviews, DC, DC Universe, The Terrifics | Tagged: comic books, Comic Reviews, comics, Dark Multiverse, Dark Nights, DC, DC Comics, Fair Play, Ivan Reis, Jeff Lemire, Jessica Chen, Joe Prado, Marcelo Maiolo, Marie Javins, Meet the Terrifics, metal, Metamorpho, Michael Holt, Mr. Terrific, New Age of Heroes, Paul Kaminski, Plastic Man, reviews, Rex Mason, The New Age of Heroes, The Terrifics, Tom Napolitano |	Leave a comment »
Legends of Tomorrow #1 [Review]
Posted on March 24, 2016 by Walt
Cover Art: Aaron Lopresti with Chris Sotomayor
I hadn't paid attention to this originally when I saw it solicited…I noticed the "title" and chalked it up as yet another soon-to-be-failed tv-tie-in of near-zero consequence, at least to me and my following the "regular" continuity of DC stuff. I'm not sure if the tv show had premiered yet or was just about to, but I had no interest in yet another digital-first thing seeing print, and thus ignored it. Then recently there was an ad for it that caught my attention, and left me curious. I was a bit put off learning the thing would be $7.99…even for a double-length issue, being frustrated with $3.99 price points, essentially $8 seemed a bit MUCH for just one issue of something I wasn't overly familiar with. Still, I resolved to wait and see, not swearing to avoid the book but not intending absolutely to buy it, either. When it came out last week, it was a small week for me, so the $8 wasn't terribly steep…plus the issue's squarebound with the title on the spine, so it can actually go on a shelf like a mini tpb, and not simply disappear into a box.
While I'd expected a "lead" story and the others to essentially be "backup" features…if I counted correctly, we have 4 20-page stories in this issue, giving the thing excellent "value" for the content, if one is interested in or doesn't mind what's included (vs. say, wishing it was Superman, Batman, Wonder Woman, Flash, or Green Lantern content).
Firestorm – United We Fall part 1
Writer: Gerry Conway
Penciller: Eduardo Pansica
Inker: Rob Hunter
Letterer: Corey Breen
Editor: Jessica Chen
I remember checking out Firestorm: The Nuclear Men title at the launch of the New 52, and it didn't hold me enough to stick with it past a few months. I've never been a huge Firestorm fan, but I'd been loosely aware of the character at points–though mostly it was after the introduction of Jason as the new Firestorm and the apparent demise of Ronnie in Identity Crisis that the character was fully on my radar; and then the Deathstorm stuff around Blackest Night. Now there's been a fair bit on the Flash tv show and Legends of Tomorrow, so this "lead" story was a good enticement for me to buy the issue.
We open on Ronnie and Jason testing their powers, with something going on with them, and then the two split, and we get a glimpse into their personal lives–individually, and at school with a mutual friend. We also have the introduction of a new/old villain, and come to see that there is something up with Jason, and with the Firestorm Matrix in general, which leads to a cliffhanger promising imminent destruction.
In addition to the above preamble, I think another draw to THIS take on Firestorm is that it's written by the character's co-creator, Gerry Conway…with the added element that I've attended a panel where he spoke several years ago, so there's that quasi-personal-ish connection for me.
I like that the Jason/Ronnie mix has not been scrapped, and that along with both of them we also still have Professor Stein…indicating, for my limited experience with the character, a certain mix of original/classic and newer character elements and an observance of history for the characters. Yet, this also reads as a first issue, showing us bits of stuff with Firestorm and that it requires two people, and there's this "matrix" thing that allows them to join AS (a) Firestorm; We're "introduced to" Ronnie and Jason and see a bit about them–Ronnie's into sports, Jason's more into academics; We see a bit of "supporting cast" in Stein as well as the boys' mutual friend; as well as a bit of rivalry between them. I'm familiar enough to simply enjoy the re-introduction/"confirmation" of stuff I figured I knew, and I'm interested in where this story goes.
I'm not sure if I've seen Pansica's art before or not…but I had no real expectation going into this. I was not disappointed by the art…it's good, and worked for the story, avoiding random weirdness that'd put me off or have me wondering at anatomy and such; and I was never left trying to figure out WHAT happened or was going on. It's a good match for the story itself.
I'm not sure exactly how this would rate for me as a first issue wholly on its own…though I probably would not have bought a Firestorm #1. But this was only the first quarter of the issue purchased…
Filed under: 2016 posts, 2016 Reviews, DC, Legends of Tomorrow, New 52, The | Tagged: Aaron Lopresti, Amedeo Turturro, Andrew Marino, Bilquis Evely, Bound but not broken, Chris Sotomayor, Comic Reviews, Corey Breen, Dave Wielgosz, DC, DC Comics, Dean White, Eduardo Pansica, Fashion Sense, Firestorm, Gerry Conway, Ivan Pascencia, Jessica Chen, Keith Giffen, Legends of Tomorrow, Len Wein, Matt Banning, Metal Men, Metamorpho, Michael Heisler, Rob Hunter, Robots Go Home, Spike, Steve Wands, Sugar, Sugar and Spike, Tom Napolitano, Trevor Scott, Two Worlds One Destiny, United We Fall, Yildiray Cinar |	Leave a comment »
Batman and Robin Eternal #1 [Review]
Posted on October 8, 2015 by Walt
Story: James Tynion IV & Scott Snyder
Script: James Tynion IV
Pencils: Tony Daniel
Inks: Sandu Florea
Colors: Tomeu Morey
Cover: Tony Daniel, Sandu Florea, Tomeu Morey
Asst. Editor: Dave Wielgosz
Editor: Chris Conro
Group Editor: Mark Doyle
Against otherwise better judgment, I decided to check this out. I'm sure it had plenty to do with being a #1–a chance to "check it out" from the start, before things get deep. Also that I got the impression the series is due to focus heavily on the previous Robins–Dick, Jason, and Tim–which is something I'm quite interested in (particularly Dick and Tim). I also have the hope of it being a lengthy but mostly contained story, and while I'm really not thrilled at the prospect of a WEEKLY $4 book, since it's not like I'm really following anything else from DC and Marvel at the moment, I might be able to tolerate a weekly dose at the higher price.
We open with a flashback, then jump to the 'present' with Red Robin, Grayson, and Red Hood pursuing someone; a bit of an action sequence. Scene skips abound as we get a moment with the new Batman interacting with would-be Bat-protégé Harper Row, then more flashbacky stuff, and Grayson encounters a costumed figure that could have used lethal force but doesn't; we're introduced to this "Mother" as a concept, and "The Orphan," and ultimately get a fairly disturbing "reveal" for the ending of the issue.
Aside from the concept, probably the first thing I noticed with the issue was the art. I tend to enjoy Daniel's work, and even on a hit-or-miss basis, this one's a hit for me. I really liked the look of the issue on the whole–including Dick and Jason looking rather similar (thanks to metatextual knowledge of Jason's creation/introduction back in the '80s). Really no complaints visually.
Story-wise I'm less-keen on stuff. Structurally, I definitely appreciate the issue. I liked that we're dropped in on action right away (rather than some "talking heads" situation), and I like that we get a bit of an overview of the characters that seem poised to be focal points of this weekly series. It's silly details that hung me up–stuff like "The Narrows" as a location I don't ever remember in Gotham prior to the Nolan films or the Arkham games, as well as stuff from Dick's flashback to his first "super-villain" tying to those films. I can't quite put my finger on why that bugs me, but it's there. Hardly a "dealbreaker," though. I have more concern with Batman–Bruce's–actions and potential motivation, perhaps just on a metatextual level.
Whatever the specifics…I enjoyed this on the whole. The issue also felt thick (and it is–I count 30 pages of story to the usual 20ish) and so the issue is much more worth its $3.99 cover price.
Seeing the third volume of the paperbacks for the previous Batman weekly–Batman Eternal–also out this week plants the seed in my mind all the more that I might prefer to just wait for collected volumes…particularly given how quickly I lost track of DC's weeklies last year. If I'm not going to get around to/keep up with weekly issues and binge-read anyway…might as well wait for my preferred format.
Still…a good first issue, working well as a "pilot" issue and getting me interested, confirming that yes, I am (myself, at least) interested in where this story goes, whatever the format. And as a first issue…this is well worth checking out if you've any particular interest in Batman's sidekicks.
Filed under: 2015 posts, 2015 Reviews, Batman and Robin Eternal, DC, New 52, The | Tagged: Batman, Batman and Robin, Batman and Robin Eternal, batman eternal, Chris Conroy, Comic Reviews, comics, Dave Wielgosz, DC, DC Comics, James Tynion IV, Mark Doyle, Nightwing, Red Hood, Robin, Sandu Florea, Scarecrow, Scott Snyder, Tom Napolitano, Tomeu Morey, TOny Daniel |	1 Comment »