This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
There’s no “i” in “team”.
Tony Stark is a selfish jerk. It’s one of the things we like best about him! But there’s no denying that his success as Iron Man is contingent on the hard, capable work of thousands of employees, and countless robots and A.I. systems. As writer Dan Slott and artist Valerio Schiti take the Iron reins, they pitch Iron Man as a team venture, while casually undermining the autonomy of every individual on the team. Aside, of course, from Tony Stark. Tony remains a singular genius, more of a puppeteer than a team leader. Continue reading →
Today, Taylor and Drew are discussing Uncanny X-Men 25, originally released September 3rd, 2014.
Taylor: While comics readers know it not to be true, there is a stigma that hero worship is something juvenile. Why this stigma persists I can’t say — after all, we have grown men who wear the jerseys of their sports heroes on a weekly basis. Why superhero worship is considered nerdy in comparison to these other idols, I don’t know. Still, it says something about people that we love to have heroes, even after we’ve reached an age where we like to think we don’t need them anymore. But the weird thing about heroes is that they seldom live up to our conception of them. We seem to never outgrow this aspect of hero worship, and as Scott Summers learns in Uncanny X-Men 25, this can be a bitter pill to swallow.
Today, Patrick and Greg are discussing Deadpool 20, originally released December 4th, 2013.
Patrick: There’s no single person or institution that’s introduced me to more media than The Simpsons. I didn’t know that it was happening at the time, but my 10 year old mind was being educated in the works of Alfred Hitchcock, Rod Serling, Francis Ford Copola, Stanley Kubric, Martin Scorsesse, Tennessee Williams, and on and on. But the film that seems to have cropped up the most was Citizen Kane. I can’t possibly convey what my first experience of watching Citizen Kane was like: by that point in my life, I’d seen the same scenes and camera angles and transitions and themes and characters reconstituted a hundred different ways on The Simpsons. It was invigorating and shocking to see everything in its original context, granting new meaning to my favorite old Simpsons episodes, but also imbuing Citizen Kane with a kind of pre-loaded meaning. Deadpool has never shied away from referential humor, but writers Gerry Duggan and Brian Posehn and artist Scott Koblish narrow their focus in the third inventory issue, and convinces us that Jack Kirby’s work is the Citizen Kane of comic books. Continue reading →