Today, Mark and Michael are discussing Superman 14, originally released January 4, 2017. As always, this article contains SPOILERS.
Mark: There was something in the air starting around 2005 that demanded male-driven pop culture be characterized by “grit.” Space marines were to be bald, worlds were to be painted in shades of concrete, and heroes were meant to be broken. It’s perhaps unfair to lay the root of this phenomenon at the feet of Christopher Nolan’s Batman Begins — but here we are. Whatever you think of the movie itself, there’s no question that Nolan’s take on Batman had the (unintended?) side effect of making the character joyless. Everyone wants to be Batman, but who would want to be that Batman? By the time The Dark Knight Rises was released in 2012, this No Fun Allowed Batman was so ingrained in the public consciousness that when Nolan and his brother Jonathan attempted to inject a bit of levity into the proceedings with a handful of actual jokes, some fans of the series balked. And who can blame them? For many, this was the only Batman they knew, and Batman — an adult man who dresses as a bat to beat up clowns and squat fat men and women squeezed into male-gaze fetish gear — was nothing to joke about.
Whether by decree of shared corporate Time Warner overlords or just an attempt to reinvigorize their lineup by capitalizing on the trends of the time, DC’s 2011 New 52 re-launch became an exercise in Nolanization. And while perhaps never as literally grey as the video games of the time, the race to appeal to the same Mountain Dew Gamer Fuel-fueled demographic had the (again, unintended?) side effect of slowly and fundamentally eroding what was so beloved about many of DC’s characters to begin with. To be fair, before Rebirth DC had already begun course correcting toward a more vibrant, diversified, and generally happy lineup of characters, but in some cases the rot was considered too deep. Let us pour one out for New 52 Superman, a sacrificial lamb killed off as a sign of good faith toward spurned fans. Continue reading →
Today, Drew and Michael are discussing The Multiversity 2, originally released April 29th, 2015.
You’re missing stuff by reading too fast.
Mercury Man, The Multiversity 2
Drew: There’s a specific type of confusion that comes when reading certain Grant Morrison comics — the kind that comes when you have absolutely no idea what’s going on, but you have faith that it will all make sense in the end. Or, at least, you’ll be able to draw conclusions from it in the end. Mercury Man suggests that it all makes sense if we just slow down to make all of the connections, but Morrison books tend to require reading at a pace several orders of magnitude slower than the average comic. That Morrison doesn’t write “the average comic” is exactly why his works are so worth that effort, but I’ll be damned if it doesn’t make them incredibly difficult to talk about. Continue reading →
Today, Spencer and Greg Patrick are discussing The Multiversity 1, originally released August 20th, 2014.
Spencer: It may not seem like it at first, but comics are one of the more interactive art forms out there. While movies and TV shows dictate the pace you experience them at, you can move through a comic book at any pace you desire, and even just the act of turning the page involves you in the story; you are advancing the story, and without your actions, the plot cannot move forward. The Multiversity is a Grant Morrison story, so it should be no surprise that it’s meta as piss. The reader’s power over the narrative is just one of many themes Morrison plays with in this title, but it’s certainly one of the most fascinating — and will likely also be one of the most divisive. Continue reading →