“Yesterday’s” Comic> Warriors Of Tomorrow #1

I was going to make a toy joke but research says this was an actual toyline in Argentina.

Warriors Of Tomorrow #1

(aka Guerreros del Manana)

UMC Ediciones (May, 2019, but I’m using Drive Thru Comics latest update at time of writing, April, 2023)

“The Expedition”

WRITER: Diego Mascaro

ARTIST: Guillermo Villarreal

COLORIST: Carolina Cesario

COVER ART: Axel Gimenez

COVER COLORIST: Francisco Etchart

no letterer credited

EDITORS: John Curcio & Luis Sanchez

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BW’s Daily Video> Breathe A Flame For Christmas

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BW Vs. Screenrant> Star Wars And The Retcon Bomb

In articles and v-logs passed I’ve referred to the retcon (retroactive continuity) as the most dangerous weapon in a writer’s arsenal. Used correctly it can build upon a world and make characters and worldbuilding more interesting, or fix mistakes and plot holes that are capable of being filled. Used incorrectly and it destroys characters and ruins worldbuilding, causing mistakes and plot holes that can’t possibly be fixed without calling it a lie or a misremembering of events. Guess what we get more of these days, as retcons are used to recreate the world in the new writer’s vision rather than the original creators, or reflect their current worldviews since they don’t want to let go of a previous property that made them money. The American Heritage Dictionary of the English Language, 5th Edition, according to whatever AI Duckduckgo uses in their search engine defines retcon thusly:

  1. The depiction of fictional events, as in a television series or comic book, that entail a revision of the narrative presented in an earlier installment.
  2. A situation, in a soap opera or similar serial fiction, in which a new storyline explains or changes a previous event or attaches a new significance to it.

A good retcon builds on what came before. A bad retcon destroys what came before and not only ruins a character or past storyline from then on, but retroactively (hence the name) ruins the character when you go back to the older story. For example, when Marvel Comics turned every post WWII appearance of Dum Dum Dugan into a robot (life model decoy for the geeker fans–yes, I know what it is) and told us the original Nick Fury would blow up planets to keep them from banging into Earth (or was it whole multiverses?), it’s hard to go back and see those characters as originally intended ever again. It didn’t enhance them, it ruined them as part of the legend of the Marvel universe 616.

That brings us to this article from Screen Rant lead writer Lewis Glazebrook. “Star Wars Is Officially Retconning The Sequel Trilogy” makes the claim that…well, it’s in the title. The idea is that the Disney+ shows and upcoming films will alter the sequel trilogy by altering the previous two trilogies. I’m not sure how that works, but read the article for yourself, then come back here (the link opens another tab or window depending on your settings and device) and see if you agree with me that he might not be using the term “retcon” correctly.

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“Yesterday’s” Comic> Sonic The Hedgehog #201

“Mobian Idol” oddly didn’t last long.

Sonic The Hedgehog #201

Archie Comic Publications (August 2009)

“Change In Management” & “Devotion”

WRITER: Ian Flynn

PENCILER: Tracy Yardley

INKER: Terry Austin

COLORIST: Matt Herms

LETTERERS: John Workman (main story) & Teresa Davidson (back-story)

EDITOR: Mike Pellerito

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BW’s Daily Video> Never Pour Guinness For Santa’s Reindeer In December

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Hollywood’s Warner Brothers/Netflix Freakout

Sadly, we live in interesting times.

Netflix, the former mailaway home video rental service that killed the home video rental industry by putting the stores out of business and then moved to streaming when technological advances of the internet allowed for decent quality videos without tying up the landline telephone for hours, now will do the same thing to the movie theater. At least if you ask Hollywood. Sure, it’s not like Netflix co-CEO Ted Sarandos has been subtle in his goal of ending the movie theater experience, thus bringing more people to Netflix. They practically all but ended physical media, which Hollywood studios love because it means they can get more money out of you like they do in theaters since you have to keep paying or get them ad revenue through streaming like they can out of movie theaters.

On the other hand, it wasn’t a single company operation. Hollywood itself did their part in ending interest in the theatrical experience. It just isn’t the reward it used to be with technological advances and rude people, plus the quality of the movies themselves, I find it funny that Netflix is opposed when nobody had a problem with Disney doing the same thing. It’s all about the theatrical experience. These directors, actors, and producers were taught that the theatrical movie experience was the top of the media pecking order, especially in live-action. So now Netflix is being poised as the scapegoat when the theaters close for good. Look, I’m one of those people raised to see the movie theater as a reward. I have good memories of going to the theater with my parents or my friends, and my grandma took me to see The Muppet Movie in theaters. I remember always wanting to visit the drive-in I saw from the highway leaving my grandparents house, and my parents surprised me by taking me there for Star Wars…and then I fell asleep during the Star Destroyer going after Princess Leia’s ship because I was that young. I saw the second movie in theaters before the first one. It was still cool getting to finally see The NeverEnding Story in the theater as well as The Transformers: The Movie. Nowadays more than streaming is responsible for the end of theaters as the go-to experience and no matter who ultimately wins Warner Brothers (Skydance is now trying for a hostile takeover, going after all of Warner Brothers Discovery, believing they were robbed by David Zaslav), but the Hollywood mindset is not prepared for the real world.

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“Yesterday’s” Comic> Thunderbolt #59

If I’m in trouble I can think of greater heroes to choose. One who will actually show up for starters.

Thunderbolt v3 #59

Charlton Comic Group (September, 1967)

Okay, when comes to the main story, I’m not sure if “Assassins” is supposed to be a title or not. Editor Dick Giordano credits Pat Boyette (with P.A.M as series creator) as having researched a story that Peter Cannon denies happening, which serves as the framing device.

The Sensational Sentinels: “Night Of Doom”

WRITER: Sergius O’Shaugnessy

ARTIST: Sam Grainger

EDITOR: still Dick Giordano

[Read along with me here]

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