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Post by Confessor on Sept 22, 2024 16:00:57 GMT -5
I re-watched the 1984 nuclear war movie Threads yesterday... and it's fully as depressing as when I first saw it thirty-five years ago. It's less soap-operatic than The Day After, which dealt with similar themes and was produced at roughly the same time; Threads has more of a documentary feel to it, not focusing so much on individual characters and what happens to them. Society is the main character, so to speak. While The Day After concludes shortly after the end of the nuclear exchange, with the United States severely damaged and the main characters dying of cancer, Threads briefly cranks the despair dial to eleven by showing us England many years later, reduced to a Middle Ages level society... with its children mentally retarded, and the hope of a renewed world crushed by the final image of a stillbirth. It's a harrowing spectacle, and a good reminder (in these times of renewed international tensions) that no one can win a nuclear war. traumatised a whole generation of us 80s kids. |
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Post by Confessor on Sept 22, 2024 11:35:16 GMT -5
Some comments on issues #48 and #49... THE AMAZING SPIDER-MAN 48 and 49   As you said in your review, and tarkintino mentioned it too, there's a nice bit of misdirection on the cover of Amazing Spider-Man #48 in the way John Romita hides the Vulture's head from view, thus preserving the surprise that this isn't the original Vulture. Spidey’s web-swinging takes him past Municipal Prison, where unbeknownst to him, an old foe is on his deathbed, and, at his side, a new foe is ready to be born! I've always sort of wondered whether Stan Lee and John Romita genuinely intended to kill off the original Vulture at this point? He is pretty aged, after all, and the prison doctor seems pretty convinced that he's only hours from death. Perhaps the two creators were thinking that a new, younger Vulture would go over better with the readers? Of course, that's not the way things turned out and the original Vulture would return in issue #63 to confront Blackie Drago in an attempt to establish who the true Vulture is. But yeah, the original Vulture's death seems pretty imminent here. I don’t really think Blackie Drago counts as a new super-villain created by John Romita the same way as the Rhino or the Shocker, but it’s still a new plot that hasn’t been seen in these pages before. I agree. Having Blackie Drago taking on the mantle of the Vulture is a surprising and interesting twist, but this isn't really a new villain per se. Peter Parker has caught a cold, from all that web-swinging in the cold winter weather… This isn’t the first time we’ve seen Peter get sick… Despite his super-powers, Peter Parker is still susceptible to many of the things that regular people have to deal with, and that includes health problems. Surely, Peter's catching a cold and being weakened is just a narrative device to explain why Blackie Drago – who is just a normal thug, lest we forget – should give Spider-Man any trouble at all? Then again, I guess the original Vulture was a regular human too (and an old one too!) and he gave Peter a fair bit of trouble. On a related subject, the scene in ASM #49, where Blackie repeatedly dives at a helicopter almost toppling it out of control, is ridiculous. Drago has no super-strength, so he would just bounce off the 'copter and cause only minor danger to it. He'd be more of a danger if he flew into the rotor-blades!  Not even Gwen Stacy’s new hairdo is enough to perk him up. Harry mentions that Gwen’s new hairdo is almost like the way Mary Jane wears hers, Gwen’s classic, iconic look has almost arrived, and the reason that’s provided for why she may have decided to change her hairstyle is a nice simple, but realistic touch. As I mentioned in my comments for ASM #46, Romita deliberately gave Gwen a haircut similar to Mary Jane in an attempt to make her as popular as MJ with the readers. Her hairstyle will become even more like Mary Jane's over subsequent issues, eventually looking pretty much identical except for the colour. This was all part of Stan's strategy to put fans off MJ and have them instead prefer Gwen as the perfect choice for Peter Parker's girlfriend. I went into more detail about this in my comments on your review of ASM #46, jtrw2024. I do agree though that the in-story reason – that she is jealous of how much attention MJ gets from Peter – and the subtle way in which it is handled in Stan's dialogue, is a very realistic touch. I like the addition of the helmet to the Vulture’s costume, and can’t really stand any of those scenes where he’s flying around without it. Blackie Drago says it’s for extra protection, and to make him look scarier. The original Vulture looks okay without the helmet since he was designed by Steve Ditko with that distinct bird-like head and face, but Drago, or anyone else wearing the costume, would need that little something extra. Drago's helmet or cowl also makes his head look "balder", much like the original Vulture's. Most species of Vulture have featherless heads, so the helmet makes him look more like his avian namesake. That's why it kinda looks wrong when we see Blackie flying about with a full head of hair. Kraven worked with the original Vulture as part of the Sinister Six a while back, and being the expert hunter he is, can probably tell that this is a new guy in the suit, but doesn’t say anything, nor seem to care. I don't think Kraven realises this is a new Vulture until he observes Blackie attacking the helicopter: on page 9 he says, " I've finally seen him in the flesh! Now that I have the scent, he cannot escape me!" Since, as you point out, Kraven and the original Vulture have met before, that says to me that Kraven has definitely realised that this is a new guy. Kraven has been hanging around his jungle-themed hideout where a news broadcast informs him that New York’s deadliest menace is the Vulture. I love Kraven's jungle-themed TV!  I like these two issues a fair bit, though I consider Blackie Drago utterly inferior to the original Vulture. The plot about him assuming the Vulture's mantle is strong enough to sustain the story across two issues and the soap opera elements involving Aunt May, Gwen, MJ and Harry visiting Peter while he's suffering from a nasty cold, causing him to hide his Spider-Man costume under the bed sheets, are a lot of fun. Romita's artwork in these issues is good as ever. By the way, there's an uncredited Mike Esposito inking issue #49. |
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Post by Confessor on Sept 22, 2024 8:47:44 GMT -5
I have a friend who is an older guy, and he tells a story of being in the original Forbidden Planet comic shop in Denmark Street, London in the early 80s and one of the staff there showed him several big stacks of copies of Silver Surfer #4 they had in their basement. They would only release one copy at a time upstairs into the shop though because it had that reputation of being particularly scarce and they could charge a lot of money for it. The fact that they had loads of copies in storage obviously speaking the fact that the comic was not particularly rare. Can't breathe fire and brimstone for that, I'd employ the same tactic by regulating one copy at a time. Having the rest in storage and knowing time is your friend makes hoarding work for you with that particular book.
Oh, absolutely. It's basic business accumen, with regards supply and demand. It wasn't a criticism -- just an observation about the supposed low distribution of Silver Surfer #4. |
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Post by Confessor on Sept 22, 2024 8:37:56 GMT -5
THE AMAZING SPIDER-MAN 47 (reprinted in Marvel Tales 187)  That’s an interesting cover, which is different from what I’d expect from John Romita. It seems almost like something Steve Ditko would design. The various Spider-man figures are reminiscent of the ones used on the cover of Amazing Spider-man Annual 2. I think I recognize one of the poses, so I assume the rest are also re-purposed from previous issues. I’m guessing sort of deadline problems required this cover to be put together in a hurry, but I think it turned out pretty good. This cover has never been a favourite of mine, I'm afraid. It's fine, but it doesn't grab me and make me desperate to read this issue – which is a shame because I think this issue is a knock-out! This story opens up with flashbacks to earlier stories of Spider-man and Kraven’s battles. Once again John Romita gets to re-create scenes from old Steve Ditko comics. This time, there’s a bit of a twist, as a little creative, retroactive continuity establishes that it was Norman Osborn (posing as a go-between for his own alter-ego the Green Goblin) who hired Kraven to go after Spider-man. Is this the first Spider-Man recton? I can't think of an earlier example off the top of my head, but I might be forgetting something. Might it even be the first retcon in the Marvel Universe? Enquiring minds want to know. Unfortunately, although the retcon is nifty enough within the context of this issue, it doesn't really work. It's clear the flashback in this issue takes place at around the time of Amazing Spider-Man #34, but there are two problems with that. Firstly, Kraven was back in Africa at the start of that issue, when he decided to return to the U.S. to battle Spider-Man in order to regain his honour. And secondly, Kraven tells us (by talking out loud to himself, as super-villains often do), exactly why he is going after Spidey again: "I can endure the frustration no longer! I must battle and defeat my greatest mortal enemy or else everything that has gone before is but a hollow mockery!" There's no mention of any other motive or the involvement of the Green Goblin at all. So yeah, this is both a clever retcon for the purposes of the story and a bit of a goof by Stan. This issue really does include as many supporting cast members as they could cram into these pages. Aunt May and Anna Watson, are shown settling in to their new shared home, with Mary Jane stopping by to liven things up in her usual manner. Meanwhile Gwen is busy arranging a send-off for Flash Thompson before he leaves for the army. Harry is still interested in dating Gwen and despite the comments he made last issue, it doesn’t seem that he is anything more to her than a casual friend, though he’s still in a bit of denial over that. Peter has shown an interest towards Gwen in prior issues, but now his attraction seems to have grown, and will develop even further in the upcoming issues. I really enjoy all the supporting cast moments in this issue. Stan Lee apologises for focusing on the soap opera elements so much, but as far as I'm concerned, they are my favourite parts of the comic. The party offers John Romita the chance to demonstrate his talented skills as both Mary Jane and Gwen show up in elaborately designed outfits and show off their dance moves. Peter Parker has some impressive moves of his own The scenes at the Silver Spoon during Flash's send-off party are great fun. Fab dialogue from Stan, which, along with John Romita's artwork, does a fantastic job of conveying the personalities and emotions of all the characters – even the background youngsters in the café we've not met before. Also, the scenes of Mary Jane and Gwen Stacy dancing (along with Peter thowing some shapes, of course) are fabulous. Great mod outfits on the two girls too. When Kraven crashes the party and grabs Harry, Flash tries to intervene but is easily shunted aside. I love that Flash takes a swing at Kraven, even if the Hunter brushes him aside like a gnat. Say what you will about Flash, but he's not a coward; he might be a bully, but he's certainly not "all mouth" and will get stuck into a scrap when he needs to. Note also that Harry Osborn even throws a punch at Kraven's face as the Hunter is carrying him away. You go, Harry, boy! But of course, the most serious question about this scene is who's gonna pay for the hole in the Silver Spoon's wall?!! The action in this issue is pretty good, and takes place at a work site across the street from the party where a building is being constructed. The staging and choreography of the fight between Spidey and Kraven on the half constructed high-rise building is brilliant, even by Romita's standards. This might be the best fight sequence he's delivered in the comic thus far. Since their last battle, Kraven has upgraded his arsenal to include ray-blasts which shoot out from his vest providing an added advantage against Spider-man’s agility and strength. I’m not sure if the addition of these gizmos push Kraven too much into standard sci-fi super-villain terrority. I know what you're saying. I certainly don't mind Kraven's "nipple lasers"  , but at the same time I'm not overly enamoured with them either. I guess I'm just kind of ambivalent about them either way. The story ends with Peter and Flash saying their goodbyes on good terms, and shows just how much both these characters have matured Absolutely. The way in which Pete and Flash's relationship has changed and matured over the last fifty or so issues (including annuals) has been one of the most satisfying aspects of these comics. Also, I find it very touching how in the last panel Peter is genuinely worried about Flash being killed in Vietnam, even after everything Flash has put him through…  It's a moving panel – and not just because of how well we know these characters, but because it expresses feelings that would've been shared by many youngsters in 1967 who watched their friends and classmates going off to fight in Vietnam. Overall, this is just a stupendous issue of Amazing Spider-Man – one of my absolute favourites from this era. Stan Lee and John Romita are just going from strength to strength at this point. The artwork is starting to look much more like Ronita now, as his pencil line becomes thicker, or rounder and his action panels are becoming larger in order to move away from his self-imposed Ditko imitation. The only thing that lets this issue down for me is the slightly mediocre cover and Stan's minor continuity error regarding the retcon. The moments involving Peter and his supporting cast in this issue are what really make it though. |
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Post by Confessor on Sept 22, 2024 6:25:27 GMT -5
I assume just the amazing cover- one of the best ever. Back in the day in the Overstreet guide (maybe still today) SS #4 was always listed as having "low distribution", which I guess meant the demand was always greater than the supply and hence the higher price. I've seen some pushback on the low distribution designation around here before and that the higher price isn't really justified I have a friend who is an older guy, and he tells a story of being in the original Forbidden Planet comic shop in Denmark Street, London in the early 80s and one of the staff there showed him several big stacks of copies of Silver Surfer #4 they had in their basement. They would only release one copy at a time upstairs into the shop though because it had that reputation of being particularly scarce and they could charge a lot of money for it. The fact that they had loads of copies in storage obviously speaking the fact that the comic was not particularly rare. |
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Post by Confessor on Sept 21, 2024 8:59:36 GMT -5
More catching up... THE AMAZING SPIDER-MAN 46 (reprinted in Marvel Tales 186)  I like the Shocker a fair bit and think his costume is very cool. That's a great cover image too: it's nicely composed and clearly shows us the destructive power that the Shocker can unleash, while Spidey leaps or swings out of harms way. Great stuff! By the way, I've read online (so take it with a pinch of salt), that the Shocker was originally going to be called "The Vibrator".  That's why there's a "V" on his belt…  Harry also makes a comment about calling up Gwen to double date with Peter and Mary Jane. Harry was out with MJ last issue, but Peter thinks to himself that Harry has been seeing a lot of Gwen lately. Eventually the usual arrangement will become Pete/Gwen, Harry/MJ, but I wonder if that was always the plan, or did Stan and/or Johnny have something else in mind before changing course? According to John Romita, he and Stan used to disagree during this period about whether Gwen Stacy or Mary Jane should be Peter Parker's girlfriend. Right from Mary Jane's first proper appearance in ASM #42 she was immediately popular with the readers; Marvel received lots of letters begging Stan to let her be Peter's girlfriend, along with requests for Mary Jane pin-up posters (and not necessarily the Comics Code-approved type of posters either!). Romita tended to agree with the fans that she should be Pete's GF. Stan, however, preferred Gwen as Peter's love interest and intended to use MJ as a way of making Gwen jealous of Peter. Stan instructed Romita to draw Gwen ever more gorgeously as time went on – even eventually giving her Mary Jane's hairstyle – but no matter what Stan and Romita did, the fans still preferred Mary Jane. It has even been suggested that one of the reasons that Stan and John gave MJ that ugly, shorter haircut in issue #64 was to put the fans off her and make Gwen the more glamourous of the pair. Frederick Foswell has become increasingly suspicious these last few issues, about Peter and his ability to deliver exclusive pics of Spider-man. Earlier in the issue when Peter drops by the Daily Bugle to deliver J. Jonah Jameson some photos of Spider-man’s first battle with the Shocker, Foswell takes advantage of the opportunity to do a little investigating in his other identity Patch. When Patch stumbles onto the truth about Spider-man and Peter, our hero manages to improvise a quick elaborate deception to convince him otherwise. This is a silly plan that would fit right in with any random silver-age comic published by Marvel’s Distinguished Competition, but it works. That scene where Peter talks to himself in two different voices and uses a hastily concocted web dummy of Spider-Man to throw Foswell off the scent is utterly ridiculous. I totally agree with you that this is the sort of thing I'd expect to see in concurrent DC comics of the era – not in Spider-Man. Still, it seems to work. Clearly Foswell isn't the hard-nosed investigative journalist we've been led to believe he is. The Shocker is the second new villain to be introduced during John Romita’s run. Romita wasn’t really as prolific as Ditko was when it came to coming up with new villains, but that’s not necessarily a bad thing. It’s not like all of Ditko’s run had a new villain every issue. I like the villains Romita came up with, even if there weren’t that many… I like Romita's villains too – and let's not forget that the likes of the Rhino and the Shocker are actually Lee/Romita creations. The thing with the Lee/Romita villains though is that, enjoyable though they are, they aren't a patch on the best of Lee and Ditko's creations, like the Vulture, Doc Ock, the Sandman, the Green Goblin etc. I guess The Kingpin would be the only Lee/Romita villain to be up there with the best of those earlier villains. Unlike the last two issues, this one has a more optimistic tone to it. Not only is Spider-man back in full-fighting form, but he’s ready to move on to the next stage of his life. With Aunt May moving in to Mrs. Watson’s house, Peter is free to take up Harry on his offer to share an apartment close to campus It's great to see Peter getting his own place with Harry at last. We're really seeing Peter maturing and moving away from his earlier high school student characterisation. This is a cracking issue. As I said before, I like the Shocker and I think his "vibro-smashers" are a really unique weapon. I also think it's cool how he's able to vibrate himself enough that Spidey's blows slide off him. The scenes set at the Silver Spoon are fun as always, with Gwen dancing and MJ being less than impressed with her moves. All in all, this is a really fun comic, with lots of action, some gorgeous Romita art, a cool new villain, and a change to the status quo with Peter moving into his own pad with Harry. |
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Post by Confessor on Sept 20, 2024 6:43:45 GMT -5
THE AMAZING SPIDER-MAN 44 -45 (reprinted in Marvel Tales 184)   Catching up with my thoughts on these two issues... It’s kind of interesting that it took this long for the Lizard to make his comeback. The Lizard was one of this series’ earliest villains, who would go on to become a popular recurring member of Spidey’s rogues’ gallery, while also appearing in cartoons, movies and other media. I like the Lizard a fair bit. As I think I've said before, Curt Connors is a tragic figure insofar as his motives for inventing the Lizard serum were altruistic, but obviously they had terrible consequences. I particularly like how John Romita draws the Lizard too; he has elongated the creature's snout more than Steve Ditko's version and perhaps made him a bit better looking (you know, for a Lizard-man). Heh! Romita can't help himself – he even draws handsome Lizard-men! I would think that Connors' relationship with Spider-Man would've been unusual for the time, what with the hero being friends with one of his enemies like that. The dual nature of Connors/The Lizard makes for some great conflict for Spidey too, as he tries to defeat the monster, while also attempting to protect Connors' family and not harm Connors himself. As chance would have it, Dr. Curt Connors is at the train station at the same time as Peter awaiting the arrival of his wife Martha and son Billy, who have come to New York to visit him. I love Romita's artwork in the scene in Penn Station – and that splash-page on page 1 is gorgeous. This whole sequence is very memorable, with Connors' newly arrived family looking for him in the crowd of passengers, as he starts to metamorphosise into the Lizard and flees down a subway tunnel. Meanwhile, Peter Parker is bidding farewell to his Aunt May, who is going on vacation, when he spots a clearly distraught Mrs. Conners and her son Billy. Romita's art really brings these few pages to life. Interestingly, the art makes this look like the old Penn Station, which closed in 1963 or thereabouts. By 1966, when this comic was published, this beautiful building was in a partially demolished state. Wikipedia tells me that rail services did continue during demolition and the construction of the new station (apparently photographs of the day show passengers waiting for trains while the station was being demolished around them). But yeah, the station depicted here definitely looks like old Penn Station. Edit: I just read ASM #46 and when Peter goes back to the station again to meet Aunt May returning from her vacation, the narration explicitly states that this is the newly constructed Penn Station. But it really doesn't look like it in Romita's artwork. Here's a shot of the interior of the old Penn Station to compare with the scenes in issue #44…  A trip to the Daily Bugle includes a brief appearance by Betty Brant, and a few panels with J. Jonah Jameson and Frederick Foswell. Foswell has his suspicions about Peter and his connection to Spider-man which he plans to pursue using his disguise as Patch. I really enjoy the whole sub-plot about Foswell having suspicions concerning how Peter gets so many great photographs of Spider-Man. The Silver Spoon café was mentioned a few issues back, and now provides the setting for this story’s obligatory appearance from the Empire State University cast of characters. Peter arrives at the café, where he meets up with Flash, Harry and Gwen, but the most significant moment is the arrival of Mary Jane. This group of characters will all play major roles in this era of Spidey stories, and here they all are on the same page together for the first time. Flash has seen MJ once before in ASM 25, but if he recognizes her, he doesn't mention it. That scene in the Silver Spoon with Peter, Gwen, Harry, Flash, and MJ is a classic. I love these kinds of teen drama moments and, as I think I said a page or two back, the Silver Spoon always looked like a cool place to hang out with your friends. During the course of the battle, Spider-man falls, injuring his arm. A doctor on the street manages to bandage him up, but now that Spider-man has been seen with a broken arm, Peter can’t go out in public. Except that in the next issue, he just thinks, "screw it!" and goes out anyway. I always felt like Spidey's injured arm was a pretty lame excuse for Peter not going out. It just smacks of Stan injecting some drama at the end of issue #44, even though it doesn't make a whole lot of sense. Hence why Peter just throws caution to the wind and goes to university in the next issue. The action really picks up towards the middle of the story as Spider-man tracks the Lizard to a train yard where a traveling reptile exhibit is making its way to Philadelphia. The fight between Spider-man and the Lizard takes up a good amount of pages, and with his arm still injured and bandaged, our hero is fighting with a handicap. The Lizard attacks Spidey with an army of reptiles which he commands, providing the opportunity for some unique action. The big fight between Spider-man and the Lizard takes place atop a speeding train which is well choreographed and culminates inside an enclosed refrigerator car which provides the means by which the villain is defeated. Really fantastic art in this fight sequence – I love all the alligators and snakes escaping from the train car and coming towards Spidey. The panel where Spider-man is seen leaving the Connors family has empty word-balloons, for the reader to fill-in themselves. It’s a cute gimmick, but if you’re buying this as a back issue, check first to make sure no one has filled in the blanks!  I'd love to know what the thinking was behind that panel. I mean, sure, it's a neat gimmick, but I've never seen anything else like this in a Marvel comic of the period. Myself, I think that if I bought a back issue and some kid back in the '60s had filled in his own dialogue, I'd be fascinated to see what they'd written. I'm not adverse to stuff like this in old comics: I see it as little bit of provenance or a tiny slice of history... and it's also kinda touching. Overall, these two issues are really fun, and Romita's artwork is lovely throughout. It's interesting to see Spidey having to fight with an injured arm, and the way he defeats the Lizard by tricking him into fighting in a refrigerated railway car is a nice example of Peter using his science smarts to defeat an enemy. The soap opera elements are also very enjoyable. I love how Stan is showing us how free and easy Mary Jane is. Seeing her casually accept Peter blowing off their date, with a minimum of drama, and then later her being seen out riding around with Harry Osborn without a care in the world sure is a big change from all the angst, recriminations, and hysterics we used to get with Betty Brant (and we still do get with Gwen Stacy, to a lesser extent). That MJ really is a groovy, '60s chick! |
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Post by Confessor on Sept 19, 2024 11:04:57 GMT -5
Well, I still think Mantlo was a good writer who on occasion could produce great stuff. So...  |
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Post by Confessor on Sept 18, 2024 22:09:40 GMT -5
Edward James Olmos was excellent as Gaff in Blade Runner.
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Post by Confessor on Sept 18, 2024 5:13:22 GMT -5
To be honest, I don’t think he was ever a top tier writer. Not everyone can be Alan Moore. You need some Bill Mantlos too. Hey!!! Leave poor Bill Mantlo alone! He's a seriously underrated writer, in my view. His run on Peter Parker: The Spectacular Spider-Man is fantastic and his work on The Micronauts and Cloak & Dagger is very good too. I mean, sure...he's no Alan Moore, but really, who else in comics is? |
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Post by Confessor on Sept 17, 2024 20:41:45 GMT -5
Brother Power, the Geek #1-3.
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Post by Confessor on Sept 17, 2024 16:35:08 GMT -5
More a 50s hipster vibe, than the 60s generation. I do sort of agree with this...especially in the case of Mary Jane. I mentioned this a page or so back in my comments for ASM #43... Mary Jane's carefree, "party girl" personality is such a breath of fresh air in these comics. I also love all her hip, swinger dialogue – not that it's entirely authentic, you understand (it is, after all, a middle-aged Stan Lee trying to write like a youngster), but it's close enough. There's a real '50s Beatnik flavour to a lot of the lingo MJ uses, which, as a big fan of the Beat Generation poets and authors myself, I quite enjoy. |
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Post by Confessor on Sept 17, 2024 16:26:45 GMT -5
Anybody else have preferred "song orders" for certain artists that vary from the original albums? It's not quite what you're asking, I don't think Supercat, but I have a real problem with the track sequencing on Michael Jackson's Thriller, and pretty much have done since the day I got my first copy of it back in 1983. Obviously, as all sensible folk know, it's a tremendous album, with nine awesome tracks that are all killer, no filler. But...those tracks are in a really "clunky" running order that doesn't flow particularly well IMHO. As soon as I got a ghetto blaster twin-tape deck for my birthday in 1986, I was able to connect my record player up to it and compile a cassette with the album arranged in my ideal running order. These days, I have a CD-R compilation of my version of the album and it is still my preferred way to listen to it. Michael and Quincy Jones did a pretty good job, I suppose, but they really shoulda phoned 10-year-old me up in 1982 and got me to sort out the running order for Thriller. Just imagine what a success it might've been if they'd only involved me! 😂 |
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Post by Confessor on Sept 17, 2024 16:09:58 GMT -5
The excellent record shop in the next town to me has a 50% off used vinyl sale today. I think I'm gonna pop along later today and see what treasures I can find. R.I.P. to your wallet in advance. Ha!! You're not kidding. I got some cool stuff, but yeah...I went in the shop with the self-mandated budget of £50 in my mind and ended up spending £100 -- and that was with everything at 50% the listed price. I'm very pleased with my haul though. I'll post what I got in the vinyl collector's thread in the next day or two. |
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Post by Confessor on Sept 17, 2024 15:48:11 GMT -5
I'd love a copy of that. We've discussed these books before, you and I, and they are so cool. It's just a shame they are so expensive. |
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, but at the same time I'm not overly enamoured with them either. I guess I'm just kind of ambivalent about them either way.
That's why there's a "V" on his belt…
