Category Drew Baumgartner

Drew Baumgartner, Co-Editor-In-Chief
drew@retcon-punch.com

Location: Milwaukee

History With Comics: Drew grew up with Superman pajamas. His best days were when he never had to change out of them. He fell in love with Batman the Animated Series when he was 5. He had never read a comic in his life, but started reading Batman trades when he was in high school. He continued to pick up trades and one-offs throughout the 00’s, but never got into the monthly swing. After almost a decade of being an outsider looking in, Drew seized upon DC’s relaunch to start picking up monthlies.

Oct 25 2013

Wolverine and the X-Men 37

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Today, Patrick and Ethan are discussing Wolverine and the X-Men 37, originally released October 23rd, 2013. This issue is part of the Battle of the Atom event. Click here for our complete coverage of Battle of the Atom.

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Patrick: Marvel and DC are known for their outrageously fun sandboxes. Each publisher has an impossibly large sack of toys to play with, and creators work their entire lives to have access to them. And when they finally get their hands on those toys, the gloves come off, and the story telling gets ambitious, bombastic and spectacular in every sense of that word. Brian Bendis, Brian Wood and Jason Aaron may have been given access to a shallower sandbox, but their gleeful deployment of several versions and generations of the same handful of characters has cast an enormous number of iconic characters into the spotlight. We’ve had the pleasure of watching them wrestle with the emotional result of all of these characters coming together, but Wolverine and the X-Men 37 finally gives us the Battle Royale (of the Atom) we’ve been waiting for. It trips every pleasure-center in my lizard brain, and I’m suddenly 9 years old, playing with my toys in my childhood bedroom. In this way, Battle of the Atom achieves something amazing — not only do I have to confront time traveling X-Men, I have to reconcile my own prepubescent excitement, as it rockets from the past and lands squarely in the present. Continue reading →

Oct 24 2013

The Flash 24

Alternating Currents: Flash 24, Drew and ScottToday, Drew and Scott are discussing The Flash 24, originally released October 23rd, 2013.

Drew: Endings are hard. Part of it is simply that people tend to struggle with goodbyes — we hate to let a good thing go — and part of it is that they’re inherently unnatural. Short of every character dying, there’s always more story that could be told (not to be confused with the story that should be told). Attempting to “end” a run in a serialized setting is doubly tricky, as a creator’s desire to wrap things up neatly is at odds with the fact that the story isn’t actually ending. Technically, Flash 24 isn’t Francis Manapul and Brian Buccellato’s final issue on the series (their “last” issue is 25, and Buccellato is actually coming back for three more with Rogues Rebellion artist Patrick Zircher), but it features such a clean, unlabored assertion of their thesis, concluding their run while pointing the way forward for the series, it works beautifully as a farewell. Continue reading →

Oct 23 2013

Weekly Round-Up: Comics Released 10/16/13

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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, Patrick and Drew discuss Justice League of America 8, Green Lantern: New Guardians 24, Batman/Superman 4, A+X 13, Code Monkey Saves the World 1, Letter 44, and Fables 134.

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Patrick: Let’s knock some of the big mythological issues out of the way first. Justice League of America 8, now under the pen of Matt Kindt, shows us where the Justice League has been while the world has gone to shit. Their prison — and it does appear to be a physical space, somehow — is able to take advantage of the team’s emotional weaknesses. Sometimes that means giving them exactly what they want (Shazam is struck in a world he can destroy endlessly with no consequences) and sometimes that means frustrating them (Diana’s love interests are being held captive and she’s afraid of being left alone). It’s a little bit like For The Man Who Has Everything, only with fewer fun “what if” scenarios. The issue’s not without its compelling moments, but they are far too brief and scattered, and Martian Manhunter acts as our dispassionate guide throughout. Everything is just so obviously fake and/or unattractive that it’s hard to imagine how this would be an effective mental prison for any of the heroes. Continue reading →

Oct 23 2013

Chat Cave: “Nerd Culture”

On the opening night of the NYCC, Janeane Garofalo posited “discerning taste” as the defining characteristic of nerddom, but is that all? Events at cons range in focus from comics to videogames to film and TV, but fine art connoisseurs and jazz aficionados — in spite of having inarguably discerning tastes — aren’t catered to at all. So what is it that makes certain types of art nerdy? Is it the content? The medium? The fans? Welcome to the Chat Cave.

Drew: Ugh. I’ve often bristled at the “nerd” label — not because I think it means anything bad, but because I don’t really think it means much of anything. What could a word that can be applied both to someone who enjoys God of War and to someone who enjoys My Little Pony possibly be describing? It’s situation-specific ad absurdum. Still, it’s hard to deny some kind of innate sense of what is nerdy: Futurama? You bet. Matlock? Not so much. Continue reading →

Oct 22 2013

100 Bullets: Brother Lono 5

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Today, Patrick and Drew are discussing 100 Bullets: Brother Lono 5, originally released October 16th, 2013.

Patrick: Here’s a truth about me: I was raised in the Catholic church. Baptism, Sunday School, First Communion, Reconciliation, Confirmation, service, retreats, classes — you name it. If I ever sound like I’m too-cool-for-school now, brother, you should have known me back then. Ironic detachment was my only form of self defense, and I applied it liberally. Here’s an example of how far I’d push it away: I used to say I was giving up Catholicism for Lent. You can smell my shit-eating grin as you read that last sentence can’t you? I kinda still do it — I frequently site that period in my life as useful because now I can recognize Christian imagery in literature. But irony can only take you so far, and there are some concepts so compelling and elusive that they haunt you, no matter how thick your armor. Brother Lono 5 strikes on that most troubling of truths: not only are we all sinners, we are all meant to be sinners. Continue reading →

Oct 18 2013

Batwoman 24

Alternating Currents: Batwoman 24, Drew and Shelby

Today, Drew and Shelby are discussing Batwoman 24, originally released October 16th, 2013.

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Drew: When evaluating a work of art, I tend to ignore the artist — I’m far too focused on what the art means to me to care about what it means to anyone else, even if that anyone happens to be the one who made it. I think it helps me stay focused on the work in question — it’s all to easy to excuse bad art from an artist you like, or dismiss good art from an artist you hate — and focus on the meaning of a work of art. Occasionally, though, the artist (or the context into which the art was released) dominate the work’s meaning. Van Gogh paintings are presented as springboards for discussions of madness, and Beethoven symphonies simply cannot be performed without someone mentioning deafness. The real-world drama surrounding the release of Batwoman 24 are not nearly so biological, but in many ways, that only makes the issue a more frustrating read.

Continue reading →

Oct 18 2013

Avengers 21

avengers 21 infinityToday, Ethan and Drew are discussing Avengers 21, originally released October 16th, 2013. This issue is part of the Infinity crossover event. Click here for complete Infinity coverage.

infinity dividerEthan: The Infinity arc has been many things: ambitious, epic, nail-biting, repetitive, crowded. The adjective that perhaps best describes the current bit of the story — Avengers #21 — is “compressed.” We’ve groused a bit about the many angles through which we were forced to watch the events of Starbrand wiping out a Builder fleet and an Avenger strike team freeing their teammates, so maybe this issue is a welcome departure from the exhaustive coverage of the previous battles. Yet I’d almost welcome an alternate perspective / re-hashing of the events of this issue, because it was anything but drawn-out. We get the meditations of supercomputers, hand-to-hand fighting across 6 different planets, absurdly dangerous decisions made by a handful of commanders far from the fighting. The brink of despair, total salvation, all in a couple dozen pages.

Continue reading →

Oct 15 2013

Forever Evil: Arkham War 1

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Today, Mikyzptlk and Drew are discussing Forever Evil: Arkham War 1 , originally released October 9th, 2013.

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Mikyzptlk: Giant line-wide crossover events like Forever Evil can be exhausting. Suddenly, a story crops up that seemingly takes over the narrative of the entire “universe,” while sidelining the stories you might rather be following instead. Not only that, these events usually bring with them a slew of additional material in the form of tie-in miniseries. These minis can be very hit or miss, but the best ones tend to expand upon the main event by showing us the effects it’s having on the rest of the word, and characters, around it. This is where Arkham War comes in. The only problem is, I’m not sure who to root for.  Continue reading →

Oct 15 2013

Manhattan Projects 15

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Today, Patrick and Drew are discussing Manhattan Projects 15, originally released October 9th, 2013.

Patrick: Manhattan Projects is a series of many conceits. Writer Jonathan Hickman is a master at this sort of thing, distorting history and reality in a way that only he could. Every warped fact and twisted historical personage is filtered through his unique perspective. The very first issue of this series introduced the weirdest of all Manhattan Projects conceits — the devouring of Robert Oppenheimer by his brother Joseph. Any time we deal with that information, such as in the “part one” of the Finite Oppenheimers story back in April, that perspective gets EVEN WEIRDER. The whole of reality is reduced to the consciousness of one psychotic cannibal in the midst of a cognitive civil war. It’s exactly as crazy as it sounds. Continue reading →

Oct 10 2013

Deadpool 18

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Today, Drew and Scott are discussing Deadpool 18, originally released October 9th, 2013.

Drew: Color theory has always had an interesting relationship with superhero comics. To make the heroes stand out on the printed page, they were put in bright, primary colors. That practicality had a counterpart in the way the characters were written — with equally clear ideals (think “truth, justice, and the American way”). Those ideals (like the colors) can be mixed in ever more complex ways, covering all of the possible hues, but as any colorist can tell you: hue is only one dimension of color theory. Another is saturation, or the opacity of a color. Deadpool, with its knack for fourth-wall breaking, has long had a lot of play with this kind of figurative saturation, as Wade regularly peels the curtain back to comment on the absurdities of the world he inhabits. Desaturating Wade has always revealed a bright, zany world — even when disembowling presidents, the tone was always incredibly upbeat — but as writers Gerry Duggan and Brian Posehn move further into their “The Good, the Bad, and the Ugly” arc, they’ve revealed an increasing interest in the third dimension of color theory: value, or darkness. The result is a surprisingly rich comic, made up of all of the colors of the real world. Continue reading →