February 14th is about three things: socks with hearts on them, discount chocolates on the 15th, and corny Valentines cards for your friends. We can’t really share the first two with you, our loyal readers, but boy can we share the third! A couple years ago we made a bunch of corny Valentine’s Day cards, and we had so much fun we did it again last year. Because we’re once, twice, three times a lady, we’ve done it again and made a new batch of Valentines for you all. Feel free to print and pass them out to the nerds you love the most, just keep our name on them, huh? More after the break.
C.O.W.L. is the story of a superhero union in mid-century Chicago. That logline heaps on the atmosphere, from the period setting to the particular climate of organized labor in Chicago, giving writers Kyle Higgins and Alec Siegel a ton of space to explore. With issue 6, they offer a bit of a sideways approach to that world-building, giving us an in-universe comic book with an obvious in-universe political agenda. Parsing that agenda uncovers layers of meaning, telling us a great deal about Geoffrey Warner, even if the story isn’t entirely true. Patrick sat down with Kyle and Alec and went through the issue page by page, so get your copy handy and join us on the Commentary Track.
Retcon Punch: Let’s just start right from the cover: we’ve got a wildly different approach, right from the get-go.
Kyle Higgins: This cover is illustrated by Joe Bennett and it’s inked by Marcelo Mueller and colored by Rod Reis. Joe and Marcelo were originally supposed to do the entire issue when we were putting together the idea for the one-shot. Alec and I love the idea of world-building, and the opportunity to have this comic be something that’s of the world, we realized we were killing a couple birds with one stone, you know? Continue reading
Interviewer: So, why do you write these strong female characters?
Joss Whedon: Because you’re still asking me that question.
This exact change may be a tad apocryphal. The rhetoric is too biting, too effective, even for a wordsmith like Whedon to toss out on the fly. The quote comes from a speech Whedon gave on gender equality, and it’s the well-scripted button on the top of an extremely well-crafted, well-reasoned argument for normalizing equality. The reason his response cuts so deep is because it is an intuitive truth. I can’t tell you how many times we’ve patted artists on the back for not being lecherous fuckers, or how frequently we need to sing the praises of a writer that creates female characters with real agency. We are so used to the imbalance between quality female characters and quality male characters that simply resisting this trend is often greeted as progress. This needs to change. Continue reading
Today, Patrick and Shelby are discussing Harley Quinn 0, originally released November 20th, 2013
Patrick: My buddy Andrew and I once went halfsies on a copy of the game Catherine. If you’ve never played it, the game is half puzzle game, half infidelity simulator. You’re barely even in control of the main character as he blushes his way through an affair with a blonde sex nymph. Those portions of the game when you’re sitting in the bar, trying to non-suspiciously excuse yourself to the bathroom so you can read the sexy tests your new lady is sending you are novel as shit. I don’t know that it was an engaging gameplay experience, but it was addictive and unique – an “experience” devoid of any qualifiers like “game” or “storytelling.” Harley Quinn 0 manages the same feat, simultaneously throwing out and embracing everything you’ve ever known about visual storytelling. The result is a manic experience. Continue reading