Drew: Last month, Patrick laid out the difference between time travel narratives that amount to fish-out-of-water stories and those that are actually about time travel — that is, those where the actions and repercussions of time travel are the point of the story. Turtles in Time 1 fell squarely into the first category, basically giving the Turtles an excuse to run around with dinosaurs for a while. It’s certainly a noble endeavor (and darn successful — we loved the heck out of that issue), but for a mini-series titled Turtles in Time, it seems only natural that the focus should shift back to the time travel itself, bringing all the concerns of causation and the space-time continuum to the fore as the Turtles encounter themselves pre-reincarnation in feudal Japan. Continue reading
Look, there are a lot of comics out there. Too many. We can never hope to have in-depth conversations about all of them. But, we sure can round up some of the more noteworthy titles we didn’t get around to from the week. Today, Spencer, Patrick, Drew and Shelby discuss Harley Quinn Invades Comic-Con International San Diego 1, Batman Eternal 15, Robin Rises: Omega 1, Teenage Mutant Ninja Turtles 36, Original Sin: Hulk vs. Iron Man 2, Elektra 4, Original Sin 6, Uncanny X-Men 23, Ms. Marvel 6, Nova 19, Silver Surfer 4, She-Hulk 6, Rat Queens 7 and The Wicked + The Divine 2.
Spencer: As many of you probably know (due to my extremely in-depth coverage), I recently attended my first Comic-Con. With that experience still fresh in mind, I have to say that Harley Quinn Invades Comic-Con International San Diego 1 feels like an uncannily accurate representation of the Comic-Con experience. I mean, sure, Wizard World is nowhere near as large as SDCC, and I am nowhere near as manic as Harley Quinn (I hope), but I can still relate to Harley’s various quests to meet creators, as well as to the suffocating crowds (which probably necessitated the eight different artists who contributed to this thing). Continue reading
Today, Patrick and Drew are discussing The Last Fall 1, originally released July 16th, 2014.
Patrick: You know what’s wrong with the narrative in the Star Wars prequels? I mean, beyond “everything” — if you had to pin-point what’s so awful about the story itself, what overarching storytelling philosophy leads that series astray? I’m sure everyone has their own answer to this, but for me, the biggest culprit is Lucas’ refusal to make the interstellar conflict personal. All the motivating factors for going to war are tariffs and alliances — which could be effective if only our characters had some sort of relationship to how futile and trivial their efforts are. That’s a damn shame: there’s a lot of compelling mileage to mine from the futility of war. Tom Waltz and Casey Malone’s The Last Fall is set to explore just that thematic territory.
Look, there are a lot of comics out there. Too many. We can never hope to have in-depth conversations about all of them. But, we sure can round up some of the more noteworthy titles we didn’t get around to from the week. Today, Spencer and Drew discuss Grayson 1, Batgirl 33, Batman Eternal 14, Detective Comics 33, Superman Wonder Woman 10, Justice League United 3, Daredevil 5, Captain Marvel 5, All-New X-Men 29, Deadpool 31, Original Sins 3, Avengers 32, and Thor & Loki: The Tenth Realm 1.
Spencer: I was recently discussing Grayson 1 with a friend of mine, a deeply devoted Nightwing fan who was worried about what DC had been doing with the character and especially about the decision to jettison his superheroic identity and turn Dick into a secret agent. My counterargument was that this book has so far been quite respectful of who Dick Grayson is, and I stand by that. Tim Seeley and Tom King depict Dick as compassionate, intelligent, humorous, and skilled, and pitting him against the Midnighter — an obvious stand-in for Dick’s mentor, Batman — is an excellent way to display just how competent Dick actually is. There’s been a lot of fuss about Dick using a gun, but Seeley and King actually use that same gun to reinforce that Dick’s morality is as solid as ever. Continue reading
Last week, we noted that the great Marvel Hype Machine has kicked into full gear where the Guardians of the Galaxy are concerned. Let’s be honest: while there’s a lot of non-specific good will built up towards Marvel Studio Movies, this is a completely untested property. That means fans of the comics are going to have to be amazing ambassadors, and to move these five characters up to the forefront of our minds, Marvel has kicked off three new series: one of which was Rocket Raccoon — a high-profile release by a rock-star creator and featuring the prescribed breakout character from the movie. What about the other two?
Mike D’Angelo on Children of Men
Drew: It’s funny to think about now, but I can remember a point in high school when I thought literary analysis was such a huge waste of time. Allusion, foreshadowing, symbolism, and any other literary devices were distractions that cluttered the actual enjoyment of the piece. It was years before I understood how ignorant that attitude was. In fact, it took hearing that same attitude from a peer that shook me into appreciating how much more depth of meaning we have access to thanks to analysis. Can being more aware of analysis pervert how we experience it? Maybe, but the benefits far outweigh the risks. That is, unless you allow your knowledge of analysis turn you into a total snob.
Today, Drew and Spencer are discussing Original Sin 5, originally released July 2nd, 2014.
Drew: As far as board game adaptations go, Clue actually does a pretty fantastic job of mimicking the experience of playing the game (it’s certainly closer than Battleship, and don’t even get me started on Twister). By the end of the movie, it really could be anyone, and the multiple endings play with that idea brilliantly. Of course, what’s truly clever is the way that those endings play with our expectations of parlor murder mysteries in general. Of course it could be anyone — that’s the whole point. Ultimately, the who, where, and what of the murder doesn’t matter so much as the why and how, which tend to be pulled out at the very last minute, anyway. Original Sin 5 subverts those explanations by showing us why Nick Fury killed all of those monsters and planets, but stopping just short of telling us who killed the Watcher. But hey, maybe it doesn’t matter! Continue reading
Reverend Anderson, Outcast 1
Scott: Faith is a complicated word. On it’s own, it’s almost inseparable from religious connotation. But I use the word frequently without giving any thought to God or the doctrines of any church. I ask people to have faith in me. I proclaim my faith in baseball teams and film directors. I advocate being faithful in relationships, and I refer to my morning coffee — and the trip to the bathroom it induces (indeuces?) — as “Old Faithful” (I think because of this). Sometimes there’s weight behind the word, but often there isn’t. It’s a word that probably suffers from overuse. Like Reverend Anderson suggests in this first issue of Outcast, I want to have faith in everything, but maybe that’s foolish. Writer Robert Kirkman is determined to make everyone think about faith, to examine the forces behind what they believe and why they believe it. With the help of artist Paul Azaceta, he’s crafted a compelling start to this story, as thought-provoking as it is creepy. Continue reading
Spencer: Speedsters aren’t generally known for their patience. Before the reboot, one of Wally West’s best known qualities was his impatience, and Impulse was the ADHD poster-child; over at Marvel, Quicksilver’s attitude problem canonically comes from the frustration he deals with daily when he’s forced to interact with people who move so much slower than him. My point is, Barry Allen’s methodical, patient lifestyle is the complete antithesis to most speedsters — to use a comparison this issue makes itself, Wally is a basketball fan while Barry’s a baseball fan. The more I read this issue, the more I realize that Barry is the kind of guy who genuinely enjoys slowing down because it means he gets to spend time with the people he loves. It’s what grants him more patience than other speedsters, but it’s also aggravating his greatest flaw; Barry cares so much that he’s trying to be everywhere at once, help everybody at once. It’s an impossible task even for the fastest man alive, and in the process Barry may just be driving away the people who make it worthwhile to slow down in the first place.
Oh, and he may also be tearing apart the space-time continuum. Oops. Continue reading
Today, Drew and Shelby are discussing C.O.W.L. 2, originally released June 25th, 2014.
Drew: When we first started this site, I don’t think I had ever considered how serialization changes the philosophy of a work of fiction. Movies, plays, and short stories have vastly less storytelling space than comics, television shows, even novels, which leaves them with less room for exploring truly complex themes. When I was more familiar with those shorter forms, I came to the conclusion that all stories are about those simple, easy-to-relate to themes that make the best movies so compelling — things like love, loss, fear, loyalty, or ambition. Obviously, there are short form stories that tackle more complex themes, but you really need five seasons to truly understand the systemic failures of “the system” in The Wire, or 25+ seasons to intimately know all of the denizens of Springfield on The Simpsons. Part of that is that individual episodes or chapters can focus on those more straightforward themes, which can be stacked to build to something much more complex. Of course, that means that the work will ultimately be quite varied over the course of its telling, shifting its themes, moods, and focus. That’s exactly what’s at work in C.O.W.L. 2, as things get both more political and more personal.