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, we discuss Star Wars: Poe Dameron 12, East of West 32, Kill or Be Killed 7, and Sex Criminals 17. Also, we discussed Archie 18 on Monday, and we’ll be discussing American Gods: Shadows 1 on Tuesday, and Injection 11 on Wednesday so come back for those! As always, this article contains SPOILERS. Continue reading
A bad workman always blames his tools.
Drew: People don’t like to accept responsibility for their failures. If there’s anything else that can take the blame, it probably will. Of course, there’s always something that can take the blame — even absent tools, we can blame vague forces like “office politics” for holding us back. Indeed, when there are no more tangible forces to pin our failures on, we’ll will sooner make up concepts like fate than hold ourselves accountable. As with any tool blaming, that equation is flipped when things are going well — our successes aren’t the result of outside forces or inanimate objects, but our own effort and ingenuity. Taken to the extreme, that illusion can utterly disorient our ability to judge our own actions; if we can effectively do no wrong the very notion of “wrong” loses all meaning. This is the precipice Dylan finds himself on in Kill Or Be Killed 5, as he attempts to reconcile his actions with his own sense of morality. Continue reading
Today, Drew and Ryan D. are discussing Kill Or Be Killed 3, originally released October 12th, 2016. As always, this article contains SPOILERS.
Drew: Narrative modes in comics are a particular fascination of mine, as the visual “narrator” isn’t necessarily tied to any of the modes we understand in prose — indeed, while comics may have an explicit narrator in the text, the visual storytelling isn’t necessarily tied to the perspective of that narrator. Film may be a better analogue, because the visual storytelling can similarly be divorced from, say, voiceover narration, but I’d argue that such explicit narration is FAR more common in comics than film. Point is: narrative modes are complicated in comics, yet are rarely remarked upon. Unless, of course, we’re talking about a comic by Ed Brubaker and Sean Phillips, in which case, I struggle to talk about anything but the narration. I’ve never really been able to put my finger on why their use of narration draws my attention in this way, but Kill Or Be Killed 3 reveals that the idiosyncrasy may be more with their visual narration than their textual one. Continue reading
Today, Spencer and Ryan D. are discussing Kill Or Be Killed 1, originally released August 3rd, 2016.
Spencer: Maybe I’m just sheltered, but even at 29 years of age, I have trouble wrapping my head around the concept of people killing other people. I obviously understand that it happens, but there’s a difference between accepting that and actually being able to put yourself in the headspace to understand being capable of such a thing. As much as I may dream of justice in such situations, I’m equally baffled by the people who are actually able to fight for it, be they police or simply someone out for revenge; I can’t even imagine taking a life to save my own, much less purposely killing someone, no matter how evil they are. What pushes somebody to that point, allows them to take such a drastic step? That’s one of the primary questions explored in Ed Brubaker, Sean Phillips, and Elizabeth Breitweizer’s newest collaboration, Kill or be Killed, which opens with its protagonist, Dylan, working as a Punisher-esque vigilante, before rewinding the clock to see how he became one in the first place. Continue reading