Today, Spencer and Patrick are discussing Hal Jordan and the Green Lantern Corps 7, originally released October 26th, 2016. As always, this article contains SPOILERS.
Spencer: Have you ever gotten into an argument with a long-time friend? With that much history between you, it’s far too easy for whatever sparked that particular conflict to fall to the wayside as your argument instead becomes about every slight the two of you have ever inflicted upon each other. That’s exactly what happens in Hal Jordan and the Green Lantern Corps 7. Hal and Sinestro’s grand battle for control of the universe is more of a grudge match between these former friends and rivals; the actual stakes matter less to Hal and Sinestro than themselves finally proving their methods and emotion of choice superior to the other’s. Continue reading →
Today, Drew and Patrick are discussing Dead Drop 4, originally released August 26th, 2015.
Drew: Endings always take a bit of finesse, but Ales Kot set his ending to hard mode in Dead Drop 4. He had to do all of the regular ending things — wrapping up the plot, landing on a resonant theme, giving every character a satisfying final beat — but he also had to introduce a new agent to do it; not only to maintain the pattern established in the first three issues, but because all of his other agents had been incapacitated. That’s no easy task, but Kot cleverly uses that need to his advantage, bringing in a character that is as much about tying up loose ends as this issue needed to be. Continue reading →
Today, Michael and Patrick are discussing Convergence: Green Lantern/Parallax 2, originally released May 13th, 2015. This issue is part of Convergence. For our conversations about the rest of Convergence last week, click here.
Patrick: There’s a scene in every Star Wars movie where the score drops out entirely and the audio landscape is occupied entirely by sound effects. George Lucas, for relying so heavily on the excitement and gravitas of John Williams’ symphonic scores, understood the power of allowing the action itself to dictate the viewer’s sonic experience. Suddenly, Luke and Vader’s lightsaber duel in Cloud City becomes more intimate and immediate, as the viewer no longer has the dramatic distance afforded us by a full orchestra. A silent medium, comic books have a strange relationship to sound effects: do they imply sound? are they fun panel-dressing? are they a reminder of the medium’s limitations? Tony Bedard and Ron Wagner’s conclusion to the Convergence: Green Lantern Parallax mini-series presents an intense sound effects symphony, only, y’know, completely silent. Continue reading →
Today, Spencer and Scott are discussing Nightwing Annual 1, originally released October 30th, 2013.
Spencer: Will they or won’t they? Television romances love to milk the idea of two characters who are obviously into each other, but for whatever reason, simply can’t spit it out, or if they can, will be kept apart by circumstances beyond their control. Dick Grayson and Barbara Gordon are one of DC’s ultimate “will they or won’t they?” couples, and in the Nightwing annual, writer Kyle Higgins decides to further explore their relationship. If these two are so perfect for each other, why can’t they be together? It takes a superpowered arsonist for them to discover the answer. Continue reading →
Today, Patrick and Mikyzptlk are discussing the Green Lantern: New Guardians 13, originally released October 17th, 2012. This issue is part of the Rise of the Third Army crossover event. Click here for complete Third Army coverage.Patrick: You ever stop to think about how weird the emotional spectrum is? The green power of Will is easy enough to understand, and furthermore, easy enough to understand as a tool used by a superhero. The implication is that all a Green Lantern really needs to do is try hard enough and he’ll be successful. “Will” is abstract, emotionally. But the other pillars of the emotional spectrum are more literal – you’ve got to be scary to make Yellow work for you; you’ve got to genuinely believe that everything will get better to make Blue work for you; and you’ve got to be pissed off to harness the Red. The funny thing about emotions though: you don’t just turn them on and turn them off. Kyle Rayner may have the ability to tap into all the colors of the rainbow, but at what cost?