Patrick: A lot has been made of Hollywood’s apparent inability to adapt Wonder Woman for the screen. Is that driven by the sexism inherent in action film-making? Probably, in part. But Diana, Princess of the Amazons, suffers from a pretty severe case of “what the hell is she about?” We have easily understandable slug lines for just about any other bankable superhero: Batman is the mortal knight of vengeance; Superman is invincible alien boy scout, etc. There’s a how and a why expressed in both of those descriptions. Those attitudes have aged well, but for some reason, the essential nature of Wonder Woman is harder for creators to assert in perpetuity throughout the decades. What Brian Azzarello and Cliff Chiang have done in their 37 (and a half) issues of Wonder Woman is reassert just who this character is, and why her fundamental qualities are every bit as iconic as truth, justice and the American way. Continue reading
Mark: As DC’s unquestionable cash cow, there is never a dearth of new Batman-related titles and spinoffs in the works. Within the past month DC has launched two new Batman-adjacent titles, first the youth-oriented Gotham Academy and now Arkham Manor. Continue reading
Spencer: So far Grant Morrison’s The Multiversity has been chock-full of ideas and meta-commentary, but while the first issue was essentially a celebration of everything comics offer as an art form, The Multiversity: The Just 1 explores much more critical, perhaps even cynical takes on the medium. Fortunately, it’s just as dense, thought provoking, and flat-out bonkers as the issues that came before. Continue reading
Such hath been our sinceritie in these tymes, not to give any comfort to the hurt of the King or his countries; and now, if these reports which we heare should be true, we might think ourselves evil recompensed, and should be provoked for our defense to use such means as otherwise of ourselves we did never allow or like.
Queen Elizabeth I, 1570
Shelby: Sadly, we are already knee deep in speculation over who will run for president in 2016. As much as I hate the way politics is far more about campaigns than actually accomplishing anything, I have to admit a certain curiosity over Hillary Clinton; will she try to run again? Is it possible I’ll soon see the first female leader of this country? What sort of unique challenges will she have to face, whether based on Ms. Clinton’s previous political history, or her gender alone (be it Clinton or not)? Based on the numerous references to Queen Elizabeth I in Catwoman 35, I suspect new writer Genevieve Valentine has a lot of similar questions in mind.
Spencer: Patrick and I recently lamented a certain style of comic, the kind that tries to recap an entire lifetime with voiceover, practically becoming an illustrated Wikipedia article in the process. It seems as if the entire purpose of these comics is simply to relay information without attempting to further characterization or plot, and the longer I read comics the more this kind of story bothers me. This particular style seems to pop up most often when retelling origin stories (just check out our Zero Month coverage for proof), and that made me particularly cautious about picking up Secret Origins 6. Each of the three stories presented in this issue tackles the business of telling an origin story slightly differently, yet two of them still stick pretty close to this format. I suppose that raises the question of who this title is actually for: newbies who may need an illustrated Wikipedia article, or long-time readers who might expect a little more from their stories? Continue reading
Spencer: Lex Luthor has basically been the main character of Justice League ever since Forever Evil ended, and to be honest, I’m not quite sure how I feel about that. It’s inevitable that Lex will go back to being a full-time villain at some point (unless writer Geoff Johns manages to pull off the biggest reformation in DC history and make it stick), but I’m not sure how much that should influence my reading of Luthor’s intentions. There are two things I do know for certain, though: 1. Luthor’s presence has finally made the rest of the Justice League the competent, inspirational team we’ve been hoping they’d become since the New 52 began, and 2. even if Luthor’s reformation is somehow 100% legit, he still has plenty of misdeeds in his past to face up to. Continue reading
Spencer: We here at Retcon Punch haven’t been subtle about our love of Batman’s new Hellbat armor. The suit is awesome, and what’s better is that it isn’t just some gimmick meant to push toys; writer Peter Tomasi has created “realistic” (in comic book terms, at least) reasons for the Hellbat’s great power and for why Batman needs to use it in this particular situation. Still, he and penciller Patrick Gleason, inker Mick Gray, and colorist John Kalisz understand just how cool the Hellbat is, and much of Batman and Robin 35’s success comes from how the creative team chooses to portray the suit — which, in some cases, means not showing it at all. The issue is visually dazzling, and the artists know which types of imagery to use to best convey the stories both on Apokolips and on Earth. Continue reading
Suzanne: As a reader, I’m constantly shifting my understanding of “realism” in comics. I try to be mindful of my relationship with suspension of disbelief, although the line between credible and ridiculous is a subjective thing. Some people look for flaws and inconsistencies in storytelling while others are just looking to be entertained. Superboy Prime’s punch through reality not withstanding, I usually am able to fully transport myself into the world of fantasy. This isn’t necessarily easy in a universe where a man can harness a ring of willpower and befriend a talking alien chipmunk in the same panel. Continue reading
Patrick: Comic books aren’t exactly a safe space for women. Like any medium with a long enough memory, comics carry some pretty ugly baggage when it comes to the depiction and treatment of female characters. It seems things are even rougher for residents of Gotham City, arguably the quintessential “comic book city” — not only are the police corruption and organized crime families stuck in the 1930s, but an awful lot of those gender politics linger there too. You needn’t look any further than the most recent Catwoman series to know what I’m talking about. A lot of the same specifics that plagued that series are present in Batman Eternal 27 — themes of sexual slavery, Selina’s dangerous naivety, gratuitous ass shots, even a cameo from Mr. Bone — but the issue manages to present these problems as a contrast to the world Batman Eternal seems hellbent on cultivating. Is the BE team’s Gotham a better place for female characters? Continue reading
Drew: Referring to the setting of a story as a character has always irked me. Never mind that it’s a total cliche, but it’s almost invariably applied as a shorthand for a sense of place we all recognize that the story relies on as a crutch. In that way, I suppose settings are used as characters, but they’re stock characters, no more remarkable than, say, “high school jock” or “loose cannon cop.” The genericness of locations-as-characters only becomes more exaggerated in the fictional cities of comics, which have seen just as many interpretations over the years as the heroes that occupy them. When Gotham has been interpreted as everything from gothic to neo-gothic to art deco to just straight-up modern, and from post-apocalyptic to post-corruption, it’s impossible to generate any sense of setting without elaborating on this particular interpretation of the city. Fortunately, Cameron Stewart and Brenden Fletcher do just that as they take the helm of Batgirl, lending specificity to their Gotham by, of all things, co-opting the stock character of Brooklyn. Continue reading