By Michael DeLaney
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
Green Lanterns 43 concludes the “Inhuman Trafficking” arc. In the span of four issues this tale has explored a wide range of themes including faith, self identity and even Tinder. Continue reading
By Taylor Anderson and Mark Mitchell
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
Taylor: Being a Star Wars fan who grew up with, and only with, the original trilogy, I would consider myself fairly protective of the movies which have spawned a pop-culture empire. This being the case, you might expect that I would hold the new movies to a high standard of excellence since I wouldn’t want their history besmirched. It turns out that the opposite is true. I’ve come to accept that nothing’s going to replicate my love of the original trilogy and that’s OK. That being said, as long as a Star Wars story is decent, I’m pretty happy just to get to spend more time in a galaxy far, far away. Sadly, this can’t be said for all Star Wars stories, which is the case in Star Wars 45.
By Spencer Irwin
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
The density of prose, as well as the ample opportunities for dialogue and conversations, make novels a format that excels in rich, deep characterization; there’s just more room and opportunity to get into a character’s head than in most other mediums. It’s no surprise, then, that writer and novelist Rainbow Rowell would excel in this regard, but it is a pleasant surprise that she’s been able to translate those skills so perfectly to her comic book work on Runaways. This is a title where every character feels real and three dimensional, more than just archetypes or action stars but like actual kids with actual concerns, desires, deep-seated fears, and the ability to grow and change. Most importantly, Rowell makes us feel the effects of their history, of everything they’ve gone through since first being created 15 years ago. Continue reading
By Drew Baumgartner
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
On the surface, grief and regret may not seem all that similar; one deals with an inescapable force of nature, the other is preoccupied with (potentially avoidable) personal failures. I might argue that regret is a kind of grief, albeit over the death of an idea or an opportunity, as opposed to a loved one, but there’s a more fundamental commonality between these two: how personal they feel. This can make both grief and regret feel very lonely, potentially driving us away from the friends and family who might want to support us through those difficult times. It’s a trap Ivy falls into, trying to go it alone in the face of her own grief and regrets, but Batman and Catwoman (and the entire creative team behind Batman 43) have a better way. Continue reading
By Taylor Anderson
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
Taylor: Read enough comic books and you eventually begin to take for granted just how magical they can be. This is true of most things in life, whether it be eating pizza or using the internet, but this lesson is especially true for me with comics. When I think about it, the fact that sequential art makes any sort of sense to the human brain — that we can essentially fill in the blanks between panels — is nothing short of amazing. But this isn’t the only unique aspect of comic book making involving paneling, as TMNT Universe 20 so wonderfully demonstrates. Continue reading
by Drew Baumgartner and Patrick Ehlers
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
Dyin’? Boy, he can have this little life any time he wants to. Do ya hear that? Are ya hearin’ it? Come on. You’re welcome to it, ol’ timer. Let me know you’re up there. Come on. Love me, hate me, kill me, anything. Just let me know it.
Luke, Cool Hand Luke
Drew: It’s hard for me to read genre fiction through anything other than a deconstructionist lens. I mean, it’s hard for me to read anything through anything other than a deconstructionist lens, but this is especially true of genre fiction, where by definition conventions must be explicitly followed. Fortunately for me, that postmodern generic awareness is just as prevalent in creators as it is in audiences, so I’m never struggling to find multidimensional, self-aware, fully postmodern genre fictions. But the good ones, the ones that actually force me to reexamine the genres they’re deconstructing (rather than just having fun with some winking references), are few and far between. But Brian Azzarello and Eduardo Risso’s collaborations have always gone a step further. Beyond cute self-awareness or even symphonic use of references, Azzarello and Risso’s work offer new perspectives on the foundational genre pieces they take on. That is to say, their comics don’t just gain meaning from their references — their references gain meaning from the comics. They’re almost a purer form of postmodernism, digesting entire genres in a few issues, offering new readings to even the most familiar works of art. Continue reading
by Spencer Irwin
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
The battle between Damian Wayne and his mother, Talia al Ghul, is the centerpiece of Super Sons 14, but it’s a showdown I feel like I’ve seen before. I don’t mean the actual physical fight, which is well choreographed and which artist Carlo Barberi fills with hits that look like they really hurt; it’s their argument, the words and ideas they toss back and forth, which feels lifted from every other Damian/Talia story I’ve ever read. Thankfully, writer Peter Tomasi brings it all to an interesting conclusion; the idea that Damian is upset that, no matter what he does, he’ll never be able to please both of his parents is an affecting one, and is probably familiar to many children of divorce (at least the more contentious ones). It’s a great place to end the issue, even if it doesn’t do much to lift up the rest of the fighting that came before.
Thankfully, Jon Kent’s half of the issue shines where Damian’s doesn’t. Continue reading
by Drew Baumgartner and Ryan Desaulniers
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.
H.P. Lovecraft, Supernatural Horror in Literature
Drew: I’m not sure there’s anything we fear quite like the unknown. Whether it’s xenophobia or just things that go bump in the night, every fear is defined by the things we don’t (yet) understand. And while our society has legitimized the former (effectively forgetting that it’s as nonsensical as the latter) all fears spring from that same well of the unknown. Which is what makes Pornsak Pichetshote and Aaron Campbell’s Infidel so alluring; they’ve brought those fears back together, using supernatural elements to illustrate the more pressing real-world fears its characters live with. Continue reading
by Michael DeLaney
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
What would you say to your younger self if you had a chance? Would you try to change the future or just enjoy the literal stroll down memory lane? Peter Parker: The Spectacular Spider-Man 301 does a little bit of both, actually. J. Jonah Jameson and Peter have traveled back in time a little earlier than their target date and have some time to kill. Peter spends it thwipping webs with his younger counterpart while Jonah enlists his younger self to track down The Tinkerer. Continue reading
by Mark Mitchell
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
Political commentary is not New Super-Man and the Justice League of China 21’s forte. It’s mostly informative in the sense that characters are literally declaring information, like when Bat-Man flatly proclaims that, “North Korea is an asylum inmate that only listens to China…” But while the political message of the book lacks nuance, that writer Gene Luen Yang bothers to go there at all is commendable. If every comic book is someone’s first comic books, than every fleeting discussion of Sino-North Korean politics is someone’s first fleeting discussion of Sino-North Korean politics — and that’s worth celebrating. (Information is power!) Continue reading
Retcon Punch 