Today, Greg and Spencer are discussing Secret Avengers 10, originally released November 26th, 2014. Greg: I studied a lot of television history in college, and there are many similarities between that medium and comic books. Particularly, there’s a notable trend in both mediums from self-contained, episodic units that could be watched and appreciated with no greater context, to highly serialized, novelistic longform works that have identifiable cause-and-effect and require consumers to know their stuff. TV content creators seem to understand this is a primary method of creating and consuming TV now, with binge-watching services like Netflix and Hulu taking storm, and even half-hour sitcoms serializing like crazy (I would not recommend jumping into New Girl halfway through, for example). Comic book creators, however, still seem to try and cater to both extremes of readership; in the case of Secret Avengers 10, they manage to succeed, but just barely. Continue reading
Spencer: I’m a big proponent of comics being goofy, and due to my embracing the sillier aspects of comic books, I’ve been a big fan of Secret Avengers thus far. Still, it’s way too easy for “silly” to cross some sort of line, becoming corny or cringe-worthy or sometimes just tonally jarring. I liked last month’s issue a lot more than Drew and Shelby did, but I still have to agree with them that some of the issue’s more bizarre jokes felt out of place amongst the drama of the story itself. That’s not a problem in issue four, though. Gone are the random (if funny) throwaway gags; instead, Ales Kot and Michael Walsh embrace the inherent ridiculousness of their cast and the world they live in without ever betraying the high stakes of the mission itself. Continue reading
Drew: There was a point in my life, from my late teens through my early twenties, where I firmly ascribed to the notion that making an impression, good or bad, was better than going unnoticed. It made me a very outgoing person, but it also made me pretty obnoxious. I may have gotten a bit more cynical over the years (I’ve definitely gotten quieter), but I’m now fairly certain that outgoing and obnoxiousness may be more than just directly correlated; frankly, I think they’re the same trait. “Outgoing” is the term we use when we find that kind of extroverted behavior charming, but it doesn’t take much to see those same behaviors as utterly grating. It forces us to walk a tricky line — we don’t want to be faceless cookie-cutter bores, but we also don’t want to be so fixated on the beat of our own drums that we turn people off (at least, not everyone).
Art walks a similar line, struggling to distinguish itself from the pack without alienating its audience. All art exists on a continuum of underdone to overdone but the vanguard has always been on that overdone edge, as artists push the envelope of taste ever further from the known. I don’t want to suggest that Secret Avengers 3 is quite on the bleeding edge of comic book trends, but it certainly toes the line of obnoxiousness. I know that sounds like a harsh criticism, but I really don’t mean that in a bad way. I may not mean it in a good way, either, but it’s certainly not all bad.
-S.H.I.E.L.D. Director Maria Hill
Patrick: For all the crap people give the superhero genre for being “formulaic” or “predictable,” the medium of comics is anything but. I really liked Captain America: The Winter Soldier — and that flick does take a lot of big crazy chances — but one of the moments I was disappointed by was the split second we thought we were going to see Nick Fury’s car fly through the streets of D.C. Hot damn, I wanted to see that car fly. “Flying car” is one of those things you sorta just have to shrug at and say “comics are weird, man.” Or, more precisely, “there are no rules.” Ales Kot’s Secret Avengers embraces this philosophy, combining a cast of button-down Special Agents with a band of superhero (…and supervillain) misfits into one cacophonous volume. It’s a buffet of surprises, each one gleefully undermining all the others. Continue reading