Drew: Last month, in our discussion of Daredevil 6, I was struck by the darker, distinctly Miller-esque tone of that issue, wondering “is it a sign of respect to that era of Daredevil history, or an assertion that a return to that style would only bring pain?” I don’t know what would compel me to apply such a simple binary to this series, but true to form, Mark Waid and Javier Rodriguez manage to deliver an answer that is somehow both and neither option. Waid’s run has been all about pulling that darkness into the light (with a twist), and this issue distills that theme into a charming bite-sized little adventure. Continue reading
Greg: In middle school I had a problem, and that problem was flood pants. You know, pants that are too short for you, leaving your ankles embarrassingly exposed, as if you want your pants to be safe in case of a flood. Maybe we didn’t have enough money for new pants, maybe I just didn’t care, but I got ravenously bullied for wearing these things. One night, as I fought back tears and told my mom my woes, she offered a line for me to say in reponse — a line so well-crafted I can’t believe my mom didn’t have a previous career as a comedy writer. The very next day, when one of my tormentors chipped away at me, I unleashed this bomb: “When the flood comes, you’ll all be sorry.” The response was intense, way more than I could’ve imagined. These kids laughed until they cried, and didn’t bother me about my flood pants so much anymore. I learned that day a valuable lesson, one that makes itself known in this issue of Rocket Raccoon: humor is a powerful way to work through traumas.
Drew: One of the biggest challenges in analyzing any work of art is understanding the parameters on which it should be judged. There aren’t “right” and “wrong” ways to appreciate a work of art, but it is possible to select aesthetics that are more appropriate than others. That Picasso and Da Vinci or Hemingway and Melville were working in the same medium doesn’t mean that they should (or even could) be assessed using the same metrics. We’re used to those metrics being dictated by social tastes, but there are certain works of art that seem to be defined only by internal parameters — crystalized nuggets of simplicity that belies the true complexity of the piece. My list of examples is short — I honestly can’t think of one beyond Beethoven’s Fifth Symphony — but that makes the company Moon Knight 6 occupies all the more rarified, as the issue refracts and clarifies its respective series. Warren Ellis, Declan Shalvey, and Jordie Bellaire distill their hero down to his absolute essence, only to stretch that essence out to the size of a whole issue. It’s absolutely beautiful. Continue reading
Today, Spencer and Courtney are discussing Hawkeye 19, originally released July 30th, 2014.
Spencer: My best friend is an artist, and he constantly complains that I read my comics too fast, that I don’t pay enough attention to the art. I’ll admit it, he has a point; I’m so eager to read the story that I often devour my comics, and miss things in the art I don’t catch until my second or third time through a book. There was no way I could do that with Matt Fraction and David Aja’s Hawkeye 19, though. This issue demands that you slow down and pay attention to every detail. It’s a challenging read in many ways, but it’s a challenge that’s absolutely worth attempting. Continue reading
Spencer: This new volume of Daredevil has largely revolved around Matt Murdock’s move to San Francisco and how his unfamiliarity with that city has affected his skills as a crime fighter. Mark Waid and Javier Rodriguez’s Daredevil 6 finds Matt returning to New York City (seemingly only so he can get mixed-up with Original Sin), but despite being back in his old stomping grounds, things don’t get any easier for Matt. Waid spends this entire issue showing us just how unprepared Matt is now that all his secrets are out in the open; the way Waid piles tragedy atop tragedy atop tragedy is horrifically beautiful. 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, Scott and Patrick are discussing Rocket Raccoon 1, originally released July 2nd, 2014.
Scott: I have something of a sidekick complex. As the youngest of three brothers, I typically wound up as the Robin to someone else’s Batman (often literally). As a kid, my favorite athlete was Scottie Pippen, perhaps the most famous ‘sidekick’ in sports history. (I liked his name.) There was one other Scott in my high school class, and he was the prom king, so for the most part I was the other Scott (which probably makes me more of a second-fiddle than a sidekick, but hey, I needed a third example to solidify my argument, so play along). Of course, we’re each the main character of our own life, so being the overly sentimental kid I was, I often wondered how it made the various sidekicks feel to be relegated to a secondary role in everyone else’s eyes. Chewbacca, Mr. Smithers, Gromit — these are great characters, and they deserve their share of the spotlight. The Guardians of the Galaxy are a team, so Rocket Raccoon might not be a sidekick in a strict sense, but he’s never had a strong story of his own to carry in Brian Michael Bendis’ title. Honestly, this story by Skottie Young (I like his name!) probably could have been chopped in to smaller pieces and told as a B-story in Guardians, but I’m all for the little guy getting his shot at the big time. Continue reading
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
Today, Patrick and Shelby are discussing Guardians of the Galaxy 16, originally released June 25th, 2014.
Patrick: I very vividly remember being first introduced to Star Wars: Knights of the Old Republic – it was late in the summer of 2003, and I was visiting my buddy Scott at his parents’ house between our Freshman and Sophomore years of college. Scottie had been playing the game on a borrowed console and the whole thing felt like a kind of wish fulfillment: suddenly there was a whole galaxy of Star Wars characters, stories and locations to explore, and all without leaving the confines of a single video game. There’s a promise inherent in KotOR’s premise – the depths of your imagination are already on display here, you only need look hard enough. This immediately becomes overwhelming. Even when alien races and spaceship designs look the way you remember them, you realize that any emotional connection you make with the material must be generated in-game. Without my core band of plucky rebels to get my automatic-love, I was left without a rudder, and instead of sailing the high seas of Star Wars adventures, I was mired in meaningless ephemera. This is often how I feel about the cosmic corner of the Marvel Universe. I may be able to recognize Broods and Spartax and Skrulls and Grand Inquisitors, but without someone to actually care about at the heart of it? Not a lot to hang a story on. Brian Michael Bendis addresses this issue head-on by spreading the Guardians of the Galaxy out among the cosmos. Suddenly, even the muddiest mythology has emotional resonance.