Scott Reviews The New 52: Week 9

Scott Reviews The New 52:  Week 9      Action Comics #3 The awesome run of DC’s flagship comic continues, and I’m going to be sad to see this version of Superman going away in a few issues.   Clark Kent is a bedraggled reporter, ambushing big business tycoons on behalf of the little guy, and it feels like such a fresh take on the character.  We also get some backstory on the history of Krypton here, as a flashback-within-a-flashback reveals that it was destroyed by a mysterious planet-killing creature, who is now on Earth.  And possessing John Corben, who is obsessed with getting Lois Lane back for himself with the help of a suit of armor.  The glee that young Superman does his job with, even to the point of showing disregard for a truck that nearly gets totalled as a result of him trying to stop it from hitting an innocent, feels like the Golden Age Superman.  Older and wiser Superman might have just whisked away the kid before he got hit, but young and stupid Superman just goes for the dramatic destruction instead.  Never mind the goofy armoured Jim Lee version, give me this one.       Animal Man #3 This is a pretty weird series thus far, and now it’s getting more heavily into the horror aspect.  Buddy and Maxine are still trapped in The Red, and learn that the Animal Man powers actually came from the animal dimension, rather than aliens as previously thought.  We also discover that Maxine is the chosen one of sorts, kind of like the Neo of the creepy super-powered animal set.  Unfortunately there’s also creepy super-powered animals terrorizing the Baker family, and this stuff might just creep you the hell out if you’re the squeamish type.  This is a seriously atmospheric and horrific comic at times, totally unlike anything else you’re going to find in a mainstream DC comic today outside of Vertigo.  The dude with his face folding in on itself will probably give you nightmares for a few days, at least.        Batwing #3 This has been a pretty underrated series thus far, although it hasn’t fallen into the “blow away surprise” category, more of a competently executed comic book with a character that I don’t really have much personal investment in.  The building backstory, with the Zawimbe brothers murdering an entire army division as children, is interesting stuff, and leaves you wondering if there’s more to David than Batman’s gifted toys.  This issue is mostly a big fight between Batwing and Massacre while Thunder Fall is dying, and that gives this one more of a filler feel than it probably should have.  The Watchmen-style story about Massacre hunting down retired superheroes and beautiful artwork are enough to keep me coming back, but hopefully Judd Winnick doesn’t burn out before the character gets established enough to carry things without the Bat-connection.        Detective Comics #3 I’m starting to wonder why we need so damn many Batman titles at this point, especially since Detective feels so inessential.  As most people guessed, the mutilated Jim Gordon from the cliffhanger of issue #2 wasn’t actually Gordon.  Batman actually does some detective work in Detective Comics and discovers the rather underwhelming secret of The Dollmaker, leading to the dumbest cliffhanger I’ve seen in a while.  I’m not finding it actively offensive or anything, but the guy who sews together other people isn’t exactly a thrilling storyline for me.  You have to figure that they’ll keep throwing talent at what is another flagship title for the company, and the artwork here is certainly easy on the eyes.  But I’m going to give this another couple of issues to get a lot better, because Scott Snyder’s Batman is currently knocking it out of the park and I really only need 2 Batman titles at most.       Justice League International #3 People busted on the first couple of issues, but Dan Jurgens is finding a groove with these characters now and it’s nice light entertainment.  Given the thin characterizations of the first issue, it’s nice to see Jurgens doing the old “divide the team to deal with multiple enemies” storytelling technique, and that gives us a chance to meet n’ greet everyone for a couple of scenes.  Booster Gold seems to be on a more straightforwardly heroic arc here, rather than the backdoor heroism that was his last solo title (RIP), but that’s to be expected from the guy who created him.  Hopefully a moment like Batman giving him props for his leadership won’t get flushed away by future writers.  This book feels like a throwback to the 80s JLA title, which earns a lot of fondness from me.  It’s not reinventing the wheel, but that’s not what the intention is anyway.  It’s comic book comfort food, basically, with my favourite characters (why not just throw Wally West in here, too?) and one of my favourite writers.    OMAC #3 Speaking of my favourite writers, Keith Giffen continues his fun and goofy tribute to Jack Kirby with a book that came out of nowhere and became one of my most anticipated.  Kevin Kho continues having a really bad week, getting cyber-stalked by supercomputer Brother Eye, and ends up in prison as a terrorist for reasons that are only known to Eye.  As it turns out, he was needed to deal with a budding supervillain who basically runs the prison from his cell, but Maxwell Lord’s Checkmate group gets involved and a giant brawl erupts.  Much like JLI, this isn’t attempting to do anything above its own level, and it’s a heck of a fun book as a result.  Plus kudos to whoever has to come up with new titles that spell “OMAC” every month. So everything was basically pretty good this week, but Action Comics #3 is the clear champion as usual.

Scott Reviews The New 52: Week 9

Scott Reviews The New 52:  Week 9      Action Comics #3 The awesome run of DC’s flagship comic continues, and I’m going to be sad to see this version of Superman going away in a few issues.   Clark Kent is a bedraggled reporter, ambushing big business tycoons on behalf of the little guy, and it feels like such a fresh take on the character.  We also get some backstory on the history of Krypton here, as a flashback-within-a-flashback reveals that it was destroyed by a mysterious planet-killing creature, who is now on Earth.  And possessing John Corben, who is obsessed with getting Lois Lane back for himself with the help of a suit of armor.  The glee that young Superman does his job with, even to the point of showing disregard for a truck that nearly gets totalled as a result of him trying to stop it from hitting an innocent, feels like the Golden Age Superman.  Older and wiser Superman might have just whisked away the kid before he got hit, but young and stupid Superman just goes for the dramatic destruction instead.  Never mind the goofy armoured Jim Lee version, give me this one.       Animal Man #3 This is a pretty weird series thus far, and now it’s getting more heavily into the horror aspect.  Buddy and Maxine are still trapped in The Red, and learn that the Animal Man powers actually came from the animal dimension, rather than aliens as previously thought.  We also discover that Maxine is the chosen one of sorts, kind of like the Neo of the creepy super-powered animal set.  Unfortunately there’s also creepy super-powered animals terrorizing the Baker family, and this stuff might just creep you the hell out if you’re the squeamish type.  This is a seriously atmospheric and horrific comic at times, totally unlike anything else you’re going to find in a mainstream DC comic today outside of Vertigo.  The dude with his face folding in on itself will probably give you nightmares for a few days, at least.        Batwing #3 This has been a pretty underrated series thus far, although it hasn’t fallen into the “blow away surprise” category, more of a competently executed comic book with a character that I don’t really have much personal investment in.  The building backstory, with the Zawimbe brothers murdering an entire army division as children, is interesting stuff, and leaves you wondering if there’s more to David than Batman’s gifted toys.  This issue is mostly a big fight between Batwing and Massacre while Thunder Fall is dying, and that gives this one more of a filler feel than it probably should have.  The Watchmen-style story about Massacre hunting down retired superheroes and beautiful artwork are enough to keep me coming back, but hopefully Judd Winnick doesn’t burn out before the character gets established enough to carry things without the Bat-connection.        Detective Comics #3 I’m starting to wonder why we need so damn many Batman titles at this point, especially since Detective feels so inessential.  As most people guessed, the mutilated Jim Gordon from the cliffhanger of issue #2 wasn’t actually Gordon.  Batman actually does some detective work in Detective Comics and discovers the rather underwhelming secret of The Dollmaker, leading to the dumbest cliffhanger I’ve seen in a while.  I’m not finding it actively offensive or anything, but the guy who sews together other people isn’t exactly a thrilling storyline for me.  You have to figure that they’ll keep throwing talent at what is another flagship title for the company, and the artwork here is certainly easy on the eyes.  But I’m going to give this another couple of issues to get a lot better, because Scott Snyder’s Batman is currently knocking it out of the park and I really only need 2 Batman titles at most.       Justice League International #3 People busted on the first couple of issues, but Dan Jurgens is finding a groove with these characters now and it’s nice light entertainment.  Given the thin characterizations of the first issue, it’s nice to see Jurgens doing the old “divide the team to deal with multiple enemies” storytelling technique, and that gives us a chance to meet n’ greet everyone for a couple of scenes.  Booster Gold seems to be on a more straightforwardly heroic arc here, rather than the backdoor heroism that was his last solo title (RIP), but that’s to be expected from the guy who created him.  Hopefully a moment like Batman giving him props for his leadership won’t get flushed away by future writers.  This book feels like a throwback to the 80s JLA title, which earns a lot of fondness from me.  It’s not reinventing the wheel, but that’s not what the intention is anyway.  It’s comic book comfort food, basically, with my favourite characters (why not just throw Wally West in here, too?) and one of my favourite writers.    OMAC #3 Speaking of my favourite writers, Keith Giffen continues his fun and goofy tribute to Jack Kirby with a book that came out of nowhere and became one of my most anticipated.  Kevin Kho continues having a really bad week, getting cyber-stalked by supercomputer Brother Eye, and ends up in prison as a terrorist for reasons that are only known to Eye.  As it turns out, he was needed to deal with a budding supervillain who basically runs the prison from his cell, but Maxwell Lord’s Checkmate group gets involved and a giant brawl erupts.  Much like JLI, this isn’t attempting to do anything above its own level, and it’s a heck of a fun book as a result.  Plus kudos to whoever has to come up with new titles that spell “OMAC” every month. So everything was basically pretty good this week, but Action Comics #3 is the clear champion as usual.

Scott Reviews The New 52: Week 9

Scott Reviews The New 52:  Week 9      Action Comics #3 The awesome run of DC’s flagship comic continues, and I’m going to be sad to see this version of Superman going away in a few issues.   Clark Kent is a bedraggled reporter, ambushing big business tycoons on behalf of the little guy, and it feels like such a fresh take on the character.  We also get some backstory on the history of Krypton here, as a flashback-within-a-flashback reveals that it was destroyed by a mysterious planet-killing creature, who is now on Earth.  And possessing John Corben, who is obsessed with getting Lois Lane back for himself with the help of a suit of armor.  The glee that young Superman does his job with, even to the point of showing disregard for a truck that nearly gets totalled as a result of him trying to stop it from hitting an innocent, feels like the Golden Age Superman.  Older and wiser Superman might have just whisked away the kid before he got hit, but young and stupid Superman just goes for the dramatic destruction instead.  Never mind the goofy armoured Jim Lee version, give me this one.       Animal Man #3 This is a pretty weird series thus far, and now it’s getting more heavily into the horror aspect.  Buddy and Maxine are still trapped in The Red, and learn that the Animal Man powers actually came from the animal dimension, rather than aliens as previously thought.  We also discover that Maxine is the chosen one of sorts, kind of like the Neo of the creepy super-powered animal set.  Unfortunately there’s also creepy super-powered animals terrorizing the Baker family, and this stuff might just creep you the hell out if you’re the squeamish type.  This is a seriously atmospheric and horrific comic at times, totally unlike anything else you’re going to find in a mainstream DC comic today outside of Vertigo.  The dude with his face folding in on itself will probably give you nightmares for a few days, at least.        Batwing #3 This has been a pretty underrated series thus far, although it hasn’t fallen into the “blow away surprise” category, more of a competently executed comic book with a character that I don’t really have much personal investment in.  The building backstory, with the Zawimbe brothers murdering an entire army division as children, is interesting stuff, and leaves you wondering if there’s more to David than Batman’s gifted toys.  This issue is mostly a big fight between Batwing and Massacre while Thunder Fall is dying, and that gives this one more of a filler feel than it probably should have.  The Watchmen-style story about Massacre hunting down retired superheroes and beautiful artwork are enough to keep me coming back, but hopefully Judd Winnick doesn’t burn out before the character gets established enough to carry things without the Bat-connection.        Detective Comics #3 I’m starting to wonder why we need so damn many Batman titles at this point, especially since Detective feels so inessential.  As most people guessed, the mutilated Jim Gordon from the cliffhanger of issue #2 wasn’t actually Gordon.  Batman actually does some detective work in Detective Comics and discovers the rather underwhelming secret of The Dollmaker, leading to the dumbest cliffhanger I’ve seen in a while.  I’m not finding it actively offensive or anything, but the guy who sews together other people isn’t exactly a thrilling storyline for me.  You have to figure that they’ll keep throwing talent at what is another flagship title for the company, and the artwork here is certainly easy on the eyes.  But I’m going to give this another couple of issues to get a lot better, because Scott Snyder’s Batman is currently knocking it out of the park and I really only need 2 Batman titles at most.       Justice League International #3 People busted on the first couple of issues, but Dan Jurgens is finding a groove with these characters now and it’s nice light entertainment.  Given the thin characterizations of the first issue, it’s nice to see Jurgens doing the old “divide the team to deal with multiple enemies” storytelling technique, and that gives us a chance to meet n’ greet everyone for a couple of scenes.  Booster Gold seems to be on a more straightforwardly heroic arc here, rather than the backdoor heroism that was his last solo title (RIP), but that’s to be expected from the guy who created him.  Hopefully a moment like Batman giving him props for his leadership won’t get flushed away by future writers.  This book feels like a throwback to the 80s JLA title, which earns a lot of fondness from me.  It’s not reinventing the wheel, but that’s not what the intention is anyway.  It’s comic book comfort food, basically, with my favourite characters (why not just throw Wally West in here, too?) and one of my favourite writers.    OMAC #3 Speaking of my favourite writers, Keith Giffen continues his fun and goofy tribute to Jack Kirby with a book that came out of nowhere and became one of my most anticipated.  Kevin Kho continues having a really bad week, getting cyber-stalked by supercomputer Brother Eye, and ends up in prison as a terrorist for reasons that are only known to Eye.  As it turns out, he was needed to deal with a budding supervillain who basically runs the prison from his cell, but Maxwell Lord’s Checkmate group gets involved and a giant brawl erupts.  Much like JLI, this isn’t attempting to do anything above its own level, and it’s a heck of a fun book as a result.  Plus kudos to whoever has to come up with new titles that spell “OMAC” every month. So everything was basically pretty good this week, but Action Comics #3 is the clear champion as usual.

Main Event Mic Style?

Hey Scott,
I was engaging in a forum discussion about the awesomeness of a Rock vs Punk promo, most thought it would be the coolest thing since disposable diapers, but I believe that their mic styles are way too different to really mesh into a great promo.  And as I thought more on that subject, I’ve noticed a trend with the promo style in WWE, especially amongst faces.
Here’s how it usually goes, insults towards the heel, involving/talking to the audience, say something very simple in content at very high intensity and finish it off with a catch phrase.  Now, without going into the quality of the promos, it seems that this style, which is if not invented, certainly perfected by the Rock, has been used by most every face to come out of the company in the last ten years (the only real exceptions being Punk and Orton, and of course those that don’t get mic time).  Now of course elements of this style were evident in Hogan and Flair’s work (high intensity plus catch phrases) Rock completed it by keeping the content fairly simple (he’s better than you) and added insults.
So, if the Main-Event Style is the standard for working the ring, do you believe that there is an equivalent standard for working the mic?
p.s. If so, come up with a catchy name for it.

Honestly, I don’t think there’s any kind of generic style for the main eventers.  Cena’s poopy jokes are quite different from Orton’s super-intense and humorless interviews, for example.  On the heel side, Dolph Ziggler has a much different timing than, say, Miz, but both guys insult the audience as a part of their gig.  Yeah, everyone is overly scripted and rehearsed, but I don’t think you can say that all promos follow the same “style”.  So no catchy name, sorry.

Main Event Mic Style?

Hey Scott,
I was engaging in a forum discussion about the awesomeness of a Rock vs Punk promo, most thought it would be the coolest thing since disposable diapers, but I believe that their mic styles are way too different to really mesh into a great promo.  And as I thought more on that subject, I’ve noticed a trend with the promo style in WWE, especially amongst faces.
Here’s how it usually goes, insults towards the heel, involving/talking to the audience, say something very simple in content at very high intensity and finish it off with a catch phrase.  Now, without going into the quality of the promos, it seems that this style, which is if not invented, certainly perfected by the Rock, has been used by most every face to come out of the company in the last ten years (the only real exceptions being Punk and Orton, and of course those that don’t get mic time).  Now of course elements of this style were evident in Hogan and Flair’s work (high intensity plus catch phrases) Rock completed it by keeping the content fairly simple (he’s better than you) and added insults.
So, if the Main-Event Style is the standard for working the ring, do you believe that there is an equivalent standard for working the mic?
p.s. If so, come up with a catchy name for it.

Honestly, I don’t think there’s any kind of generic style for the main eventers.  Cena’s poopy jokes are quite different from Orton’s super-intense and humorless interviews, for example.  On the heel side, Dolph Ziggler has a much different timing than, say, Miz, but both guys insult the audience as a part of their gig.  Yeah, everyone is overly scripted and rehearsed, but I don’t think you can say that all promos follow the same “style”.  So no catchy name, sorry.

Main Event Mic Style?

Hey Scott,
I was engaging in a forum discussion about the awesomeness of a Rock vs Punk promo, most thought it would be the coolest thing since disposable diapers, but I believe that their mic styles are way too different to really mesh into a great promo.  And as I thought more on that subject, I’ve noticed a trend with the promo style in WWE, especially amongst faces.
Here’s how it usually goes, insults towards the heel, involving/talking to the audience, say something very simple in content at very high intensity and finish it off with a catch phrase.  Now, without going into the quality of the promos, it seems that this style, which is if not invented, certainly perfected by the Rock, has been used by most every face to come out of the company in the last ten years (the only real exceptions being Punk and Orton, and of course those that don’t get mic time).  Now of course elements of this style were evident in Hogan and Flair’s work (high intensity plus catch phrases) Rock completed it by keeping the content fairly simple (he’s better than you) and added insults.
So, if the Main-Event Style is the standard for working the ring, do you believe that there is an equivalent standard for working the mic?
p.s. If so, come up with a catchy name for it.

Honestly, I don’t think there’s any kind of generic style for the main eventers.  Cena’s poopy jokes are quite different from Orton’s super-intense and humorless interviews, for example.  On the heel side, Dolph Ziggler has a much different timing than, say, Miz, but both guys insult the audience as a part of their gig.  Yeah, everyone is overly scripted and rehearsed, but I don’t think you can say that all promos follow the same “style”.  So no catchy name, sorry.

X-Pac Heat

Scott, I think that X-Pac doesn’t deserve to associated with that term. True, there was a time where people just hated him, primarily because they didn’t like him. The Invasion PPV sticks in my mind when he was the only WWF wrestler to get booed. There was however a time when he was popular and well liked and he is acknowledge as a talented wrestler.
Michael Cole, on the other hand, as far as I can recall, has never been widely loved. He has real "f--- this s---, let’s change the channel heat". His commentary is just so f------ grating, when he is a face or a heel. Although he has done some good things in his recent heel run, I would say most of his heat comes from his abysmal commentary. He was atrocious when he replaced JR in 98, when JR had Bell’s Palsy. A good example is the commentary on the DX’s nation parody and DX’s corporation parody. I will grant that he has improved since then, but still, after over 10 years of experience he’d be much better.
I think that Waltman should catch a break and we should rename "X-Pac heat" to "Cole heat", as Michael Cole is a far better example of a wrestling personalty being hated due the audience not enjoying their work. I’m sure part of it is the way he is produced, but JR was produced by the same people and he did a good job.
Thoughts? I’m sure the Blog will have some opinions.

Yeah, but X-Pac was supposed to be a pushed heel who headed up his own heel faction.  God knows what Cole’s role is even supposed to be, so it’s not really fair to blame him entirely for being annoying as he is.  It’s not like Cole is acting this way and then going out there and having matches, too, so it’s kind of apples and oranges.  Sorry, but X-Pac Heat is gonna be around for a while as a term, I’m pretty sure. 

X-Pac Heat

Scott, I think that X-Pac doesn’t deserve to associated with that term. True, there was a time where people just hated him, primarily because they didn’t like him. The Invasion PPV sticks in my mind when he was the only WWF wrestler to get booed. There was however a time when he was popular and well liked and he is acknowledge as a talented wrestler.
Michael Cole, on the other hand, as far as I can recall, has never been widely loved. He has real "f--- this s---, let’s change the channel heat". His commentary is just so f------ grating, when he is a face or a heel. Although he has done some good things in his recent heel run, I would say most of his heat comes from his abysmal commentary. He was atrocious when he replaced JR in 98, when JR had Bell’s Palsy. A good example is the commentary on the DX’s nation parody and DX’s corporation parody. I will grant that he has improved since then, but still, after over 10 years of experience he’d be much better.
I think that Waltman should catch a break and we should rename "X-Pac heat" to "Cole heat", as Michael Cole is a far better example of a wrestling personalty being hated due the audience not enjoying their work. I’m sure part of it is the way he is produced, but JR was produced by the same people and he did a good job.
Thoughts? I’m sure the Blog will have some opinions.

Yeah, but X-Pac was supposed to be a pushed heel who headed up his own heel faction.  God knows what Cole’s role is even supposed to be, so it’s not really fair to blame him entirely for being annoying as he is.  It’s not like Cole is acting this way and then going out there and having matches, too, so it’s kind of apples and oranges.  Sorry, but X-Pac Heat is gonna be around for a while as a term, I’m pretty sure. 

X-Pac Heat

Scott, I think that X-Pac doesn’t deserve to associated with that term. True, there was a time where people just hated him, primarily because they didn’t like him. The Invasion PPV sticks in my mind when he was the only WWF wrestler to get booed. There was however a time when he was popular and well liked and he is acknowledge as a talented wrestler.
Michael Cole, on the other hand, as far as I can recall, has never been widely loved. He has real "f--- this s---, let’s change the channel heat". His commentary is just so f------ grating, when he is a face or a heel. Although he has done some good things in his recent heel run, I would say most of his heat comes from his abysmal commentary. He was atrocious when he replaced JR in 98, when JR had Bell’s Palsy. A good example is the commentary on the DX’s nation parody and DX’s corporation parody. I will grant that he has improved since then, but still, after over 10 years of experience he’d be much better.
I think that Waltman should catch a break and we should rename "X-Pac heat" to "Cole heat", as Michael Cole is a far better example of a wrestling personalty being hated due the audience not enjoying their work. I’m sure part of it is the way he is produced, but JR was produced by the same people and he did a good job.
Thoughts? I’m sure the Blog will have some opinions.

Yeah, but X-Pac was supposed to be a pushed heel who headed up his own heel faction.  God knows what Cole’s role is even supposed to be, so it’s not really fair to blame him entirely for being annoying as he is.  It’s not like Cole is acting this way and then going out there and having matches, too, so it’s kind of apples and oranges.  Sorry, but X-Pac Heat is gonna be around for a while as a term, I’m pretty sure. 

Overrated Matches

Just a quick little something for discussion – Any thoughts on matches that didn’t live up to the hype?  Not necessarily matches that don’t hold up well today, but matches that were built up as almost legendary by people, only to find they were just OK? 
My own pick is the Jerry Lynn/RVD series from ECW.  I usually just dipped in and out of ECW during this time, but I remembered seeing the Internet go into convulsions over this series, like it was the new Flair/Steamboat.  I checked out the matches and wasn’t exactly blown away.  They were good matches, Lynn did a pretty good job of reining in Van Dam’s ECW-era sloppiness, but it was just the usual stuff here as far as I could see.
Thoughts and comments?

The first Shane v. Funk v. Sabu three-way match.  It was the match where everyone raved about it and told me I HAD to get ECW tapes and such, and it just wasn’t great to me, even at the time.  It sure as hell doesn’t hold up today either, but a lot of that is Sabu not holding up in general. 

Overrated Matches

Just a quick little something for discussion – Any thoughts on matches that didn’t live up to the hype?  Not necessarily matches that don’t hold up well today, but matches that were built up as almost legendary by people, only to find they were just OK? 
My own pick is the Jerry Lynn/RVD series from ECW.  I usually just dipped in and out of ECW during this time, but I remembered seeing the Internet go into convulsions over this series, like it was the new Flair/Steamboat.  I checked out the matches and wasn’t exactly blown away.  They were good matches, Lynn did a pretty good job of reining in Van Dam’s ECW-era sloppiness, but it was just the usual stuff here as far as I could see.
Thoughts and comments?

The first Shane v. Funk v. Sabu three-way match.  It was the match where everyone raved about it and told me I HAD to get ECW tapes and such, and it just wasn’t great to me, even at the time.  It sure as hell doesn’t hold up today either, but a lot of that is Sabu not holding up in general. 

Overrated Matches

Just a quick little something for discussion – Any thoughts on matches that didn’t live up to the hype?  Not necessarily matches that don’t hold up well today, but matches that were built up as almost legendary by people, only to find they were just OK? 
My own pick is the Jerry Lynn/RVD series from ECW.  I usually just dipped in and out of ECW during this time, but I remembered seeing the Internet go into convulsions over this series, like it was the new Flair/Steamboat.  I checked out the matches and wasn’t exactly blown away.  They were good matches, Lynn did a pretty good job of reining in Van Dam’s ECW-era sloppiness, but it was just the usual stuff here as far as I could see.
Thoughts and comments?

The first Shane v. Funk v. Sabu three-way match.  It was the match where everyone raved about it and told me I HAD to get ECW tapes and such, and it just wasn’t great to me, even at the time.  It sure as hell doesn’t hold up today either, but a lot of that is Sabu not holding up in general. 

Match Quality

Hey Scott,

Clarify something for me here:

Say it’s before a big PPV, Wrestlemania for example. Why haven’t Vince/the agents/whoever just told the entire roster to “put on absolute classics/bring your A+ game? For example, what’s the downside of having CM Punk and Rey Mysterio cut loose and deliver a ****+ match at this past year’s WM? Or do you think Vince and Co. actually does go out and say that every so often, it’s just the talent that fails to deliver?

Do you know of any instances where Vince was gunning for purely match quality, and everybody delivered? Or tried to deliver? It just seems weird… why wouldn’t somebody like Punk/Cena/Rey/Christian/etc put on nothing but four-star and above PPV matches if they’re capable of doing it? That’s like asking your big homerun slugger to only swing for the fences once every few months.

The only times I know of where Vince did that was the Bret Hart-Randy Savage match on SNME years back, and the Michaels v. Perfect match at Summerslam where they went on TV and basically promised a **** match.  Otherwise it’s generally the talent who put that kind of pressure on themselves, like with Eddie v. Rey at WM21.  Of course it also backfires, like with the same match, so it’s pretty much impossible to just say “Have a classic match” and expect people to deliver.  Guys are pros and certainly know what works in theory, but there’s so many variables that it’s impossible to predict what will work and what will suck.

As for the downside, for sure there’s a downside.  Agents try to program the PPVs so that you don’t get 3 or 4 similar-style  matches in a row and burn out the crowd, because you’re trying to focus on your biggest stars and matches.  John Morrison going out and trying for a **** 20 minute classic in the second match might serve his own ego, but to me it’s like the opening act for U2 playing for 2 hours when no one paid money to see that.

Match Quality

Hey Scott,

Clarify something for me here:

Say it’s before a big PPV, Wrestlemania for example. Why haven’t Vince/the agents/whoever just told the entire roster to “put on absolute classics/bring your A+ game? For example, what’s the downside of having CM Punk and Rey Mysterio cut loose and deliver a ****+ match at this past year’s WM? Or do you think Vince and Co. actually does go out and say that every so often, it’s just the talent that fails to deliver?

Do you know of any instances where Vince was gunning for purely match quality, and everybody delivered? Or tried to deliver? It just seems weird… why wouldn’t somebody like Punk/Cena/Rey/Christian/etc put on nothing but four-star and above PPV matches if they’re capable of doing it? That’s like asking your big homerun slugger to only swing for the fences once every few months.

The only times I know of where Vince did that was the Bret Hart-Randy Savage match on SNME years back, and the Michaels v. Perfect match at Summerslam where they went on TV and basically promised a **** match.  Otherwise it’s generally the talent who put that kind of pressure on themselves, like with Eddie v. Rey at WM21.  Of course it also backfires, like with the same match, so it’s pretty much impossible to just say “Have a classic match” and expect people to deliver.  Guys are pros and certainly know what works in theory, but there’s so many variables that it’s impossible to predict what will work and what will suck.

As for the downside, for sure there’s a downside.  Agents try to program the PPVs so that you don’t get 3 or 4 similar-style  matches in a row and burn out the crowd, because you’re trying to focus on your biggest stars and matches.  John Morrison going out and trying for a **** 20 minute classic in the second match might serve his own ego, but to me it’s like the opening act for U2 playing for 2 hours when no one paid money to see that.