Patrick: I’d never really considered how strange it is that we refer to the biggest global political players as “super powers.” It’s…weird, right? That’s a phrase taken from our capes and cowls, our frequently immature power fantasies, and applied to governments. It might be comforting to think of the United States as Superman, swooping in to altruistically save the day, but the truth isn’t so clear-cut. How can a government take altruistic action when there is no “self” to sacrifice? One body makes a decision, another carries out the action, and a third has to deal with the consequences. Heroism comes from that internalizing the whole process, from decision-making through the consequences. With Superman Unchained 8, Scott Snyder suggests that Superman can (and should) be that singular entity. Continue reading
Patrick: Okay, so why “five years later,” huh? What’s the point of all these glances into the theoretic furutre of DC Comics? I know it shouldn’t matter that these stories may prove to be part of a future-narrative that gets wiped out of the canon, but it’s hard to shake the feeling that we’re reading a bunch of what-if stories. Intriguingly, these glimpses into future have their eyes set on the past; evoking elements of Pre-Flashpoint continuity and reconciling that with what’s been established since September of 2011. The future is a point on a line, plotted using the past and present as reference. It’s a herculean task, but one that writer Charles Soule and artist Jesus Saiz are more than up for, aligning themselves with the intrepid Alec Holland, perhaps unsure that they would make it through to the other side unharmed.
Today, Spencer and (guest writer) Mark are discussing on Batman Eternal 22, originally released September 3rd, 2014.
Spencer: 2014 marks the 75th Anniversary of Batman, so it’s easy to understand why DC decided to publish a weekly Batman book this year. It’s interesting to me to think about Batman Eternal as a part of the celebration, though, because it’s a series that is decidedly not about Batman; instead, it’s focused on those who Batman has inspired and the city he protects. Issue 22 is the first in a new arc, but it only further emphasizes those themes, welcoming a reluctant new ally into the family and presenting more villains with their own twisted ideas about what Gotham city truly is.
Drew: Without getting too abstract, I’d like to suggest that western art is really about the development of ideas. The beginnings and ends of our books, plays, symphonies, movies, jazz tunes — virtually any art form that can said to have a “beginning” and “end” — are largely prescribed, but everything in between is totally open. For someone who is largely suspicious of rules in art, those middle sections — the rising action, the development, the open solos — are my favorite parts, where the artists are free to express, explore, and fully realize their creative potential. Of course, that also means that I’m often bored by beginnings and endings; especially in genre fiction, where the rules of exposition and resolution are even more specific. What differentiates one noir mystery from another tends to be a little subtler than can usually be communicated in the first issue of a comic, which is why Ed Brubaker and Sean Phillips The Fade Out 1 is such a pleasant surprise. The issue doesn’t shy away from its genre trappings — if anything, it leans into it — but the result is something that transcends its boilerplate outline, creating an alluringly familiar late ’40s LA. Continue reading
Today, Patrick and (guest writer) Mark are discussing Batman and Robin 34, originally released August 20th, 2014.
Patrick: When The Death of the Family was heading into its final issue, Scott Snyder appeared in a ton of interviews claiming that this conclusion was going to have a lasting effect on Batman and the Batfamily. But after that story line wrapped up, Snyder took his own series into Batman’s past, conveniently avoiding working through much of this fallout. Similarly, Grant Morrison killed Damian in Batman Incorporated, but wrapped up his series only a few issues later. The emotional heavy lifting as fallen to Peter Tomasi and Patrick Gleason, who have dutifully presented the most erratic, emotional and frustrating Batman possible. Everything that Batman is — the selfless knight of justice, the patriarch of the Batfamily, the infallible detective — has been undermined in the wake of these twin tragedies. Understandably, that pushes Batman away from his readers, and his alienation from the world started to reflect the audiences’ alienation from the character. In issue 34, Tomasi and Gleason have Bruce offer a naked apology to his protégés, but they’re also inviting us to trust Batman again. Fuck yes: I’m ready to forgive. Continue reading
Today, Spencer and
Greg Patrick are discussing The Multiversity 1, originally released August 20th, 2014.
Spencer: It may not seem like it at first, but comics are one of the more interactive art forms out there. While movies and TV shows dictate the pace you experience them at, you can move through a comic book at any pace you desire, and even just the act of turning the page involves you in the story; you are advancing the story, and without your actions, the plot cannot move forward. The Multiversity is a Grant Morrison story, so it should be no surprise that it’s meta as piss. The reader’s power over the narrative is just one of many themes Morrison plays with in this title, but it’s certainly one of the most fascinating — and will likely also be one of the most divisive. Continue reading
Spencer: Although I haven’t been talking about it much (if only because I’d work myself into a frenzy it’d take hours to recover from), I’m absolutely livid about the injustices going on in Ferguson right now. A police force essentially militarizing and terrorizing an entire city to cover up the murder of a child is some straight-up supervillain level madness, but what’s worse is that no one in any positions of authority are doing anything about it. I’m legitimately having a hard time focusing on comics at the moment, but if there’s one book that can bring me some peace of mind right now, it’s Scott Snyder, Gerry Duggan, and Matteo Scalera’s Batman 34. Although the situation faced by the Meek’s victims isn’t exactly the same as the people of Ferguson’s, it’s hard not to see parallels in how both groups are looked down upon or considered unworthy of merit or compassion. This issue is a timely reminder to always treat everyone with dignity, but it’s also a showcase of the best sides of Batman’s personality; here he provides an example we should all aspire to. Continue reading
Today, Spencer and Patrick are discussing Green Arrow 34, originally released August 6th, 2014.
Spencer: Eighteen months ago, Jeff Lemire and Andrea Sorrentino began their run on Green Arrow, which had been a meandering, mediocre title ever since the New 52 relaunch. Lemire and Sorrentino arrived with a distinct style and a strong, specific vision, quickly transforming the title into one worth paying attention to. Now — with the exception of next month’s Futures End tie-in — their run has drawn to a close, and more than ever it’s apparent how much effort the creative team has put into rehabilitating Green Arrow. Issue 34 gives the conflict between Ollie and Richard Dragon a happy ending, but it also lays bare Lemire and Sorrentino’s strategy for creating a compelling superhero comic. Continue reading
Patrick: Friday night, I was at a bar with some friends and — after the second round — the topic of conversation turned to “panty raids.” None of us had even participated in one nor had any of us been victim of one, but we all had these half-formed ideas from 80s college movies (and anything parodying 80s college movies). We all understood the same broad strokes: a group of men, probably a fraternity, steals underpants from a group of girls, probably a sorority. The purpose of a panty raid was still sort of elusive, and even among our small group, our perceptions of the gender and sexuality politics involved were all over the map. Is it a harmless prank? An anarchic expression of teenage sexuality? A skeezy male sexual power fantasy? That last thought hung with me through the weekend: no matter how panty raids were intended, the end result is at least a little rapey. Even something as stupid and frivolous as a panty raid has overtones of rape. Modern feminism has an awful lot to say about this prevalent rape culture, especially as a particularly glaring example of how far we really are from gender equality. As DC’s de facto symbol of feminism, Wonder Woman was bound to address the issue eventually, and the subtlety and grace of the conclusion to Brian Azzarello and Cliff Chiang’s masterpiece was the perfect place for it to happen. Continue reading
Drew: The Riddler may not have seemed like the most intuitive choice for a retelling of Batman’s origin — he’s in no man’s land, much more specific threat than those posed by organized crime in Year One, but he’s also not Batman’s biggest villain. Of course, that ignores the specific nature of this origin story, one that openly acknowledges how well-known the story is — or at least how well we think we know the story. That is, in order to not be a total retread, it requires the type of surprise ending we typically associate with riddles. It’s the kind of ending that recontextualizes the three-part story we’ve been reading as one emotional arc with a focus on something we may not have been expecting: Bruce’s relationship to Alfred. Continue reading