Today, Spencer and Patrick are discussing Silver Surfer 12, originally released June 10th, 2015.
Spencer: “Consent” is a word I didn’t hear much as a teenager, unless it involved waivers or some other sort of legal document. While I was (thankfully) taught from a young age never to make somebody do something that would make them uncomfortable, the concept never had a name, and that’s a shame, because there are very few ventures where waiting to get consent before proceeding is ever a bad idea — especially when it comes to sex and relationships. Dan Slott and Michael & Laura Allred’s Silver Surfer 12 emphasizes the importance of consent by featuring an entire planet that, despite having the best of intentions, needs to learn a serious lesson on the subject. Continue reading →
Today, Drew and Spencer are discussing Silver Surfer 11, originally released April 29th, 2015.
Drew: I both love and hate that Birdman was shot the way it was. I love that it uses the single-shot effect to such awe-inspiring ends, but hate that it feels so gimmicky. I want to be clear there: it’s not that I think it is gimmicky, just that it feels gimmicky. The conversation is so often about how Alejandro G. Iñárritu and Emmanuel Lubezki achieved those effects (or even just that they achieved them at all), that reason why they did it often goes unaddressed. That this kind of formal affectation might have an unnoticed thematic justification speaks to the low regard we have for form — we only notice it when its weird, and then only to comment on how weird it is. That low regard makes formal outliers all the more daring — will they be known for their reasoned narrative choices, or will they be dismissed as a vehicle for the most unusual of those choices? With Silver Surfer 11, Dan Slott and Michael Allred attempt an even more convoluted formal trick, but its rewards are well worth the challenges it poses to the reader. Continue reading →