Today, Patrick and Ethan are discussing Nova 11, originally released December 11th, 2013.
Patrick: When I was in Junior High School, I had to babysit for my little sister kind of a lot. It was fine – I think she’s one of the best people in the world, and we were friends even then. But it was something of a running joke with my friends: “Patrick can’t come to band practice because he’s got to babysit,” “Patrick can’t go roller skating because he’s got to babysit,” “Patrick can’t explore the starfield map in his brain because he has to babysit.” Oh, wait, that one’s not me. That one’s Nova. Continue reading →
Today, Patrick and Drew are discussing Catwoman 14 originally released November 21st, 2012. This issue is part of the Death of the Family crossover event. Click here for complete DotF coverage.
Patrick: The scenario “Joker plays mind games with Selina Kyle” is ripe with potential for unpacking deep psychological issues. But that would be asking a fundamentally stupid series to try something smart. The result here is disastrous — a pointless diversion through visually incoherent space populated with flat characters playing a no-stakes game of Who Gives A Fuck. Continue reading →
Today, Shelby and Drew are discussing Catwoman 13 originally released October 17th, 2012. This issue is part of the Death of the Family crossover event. Click here for complete DotF coverage.
Shelby: Last week, we talked about the overuse of darker tropes as a means to make a story excessively dark and gritty in our Chat Cave discussion of Sword of Sorcery 0. The particular example we were discussing was an attempted rape scene which many viewed as a way to make the comic edgier and sell more copies. Drew made the point that the same argument can be made of any emotion; character’s emotions and their reactions to the emotions of those around them help propel the story forward, and they can easily be twisted to sell comics first, and develop plot second. The same can be said of madness. It can be used to effectively display a character’s unraveling, or it can be included in a story merely to push the envelope and be unique. The big problem with madness is it is, by nature, very confusing. So, when we’ve got a story that pushes madness to the extreme with very little reason behind it, we’ve got a disorienting mess on our hands. Continue reading →