Today, Drew and Patrick are discussing Grayson 8, originally released March 4th, 2015.
Drew: I like to read into titles. We tend to boil down the difference between Superman and Action Comics to the creative teams involved, but I think the focus of every story is informed by its title. Luke Skywalker may feature prominently in Star Wars, but not in quite the same way he would if the movies were titled Luke Skywalker. In that same vein, when a story’s title is the protagonist’s name, we understand that story to necessarily be about that character. Oliver Twist may deal with poverty and exploitation, but the story is ultimately about a single orphan. In the month-to-month grind of comics, it’s sometimes easy to forget that Spider-Man is actually about Spider-Man (and not the criminal-of-the-month), but the best writers manage to keep the focus on the heroes, even as they’re put up against an endless lineup of threats. Tom King and Tim Seeley have never lost sight of Dick as the center of Grayson, but issue 8 reasserts that focus so strongly, we never feel lost — even as they yank the rug out from under us. Continue reading →
Today, Patrick and Spencer are discussing Grayson 6, originally released January 14th, 2015.
Your nifty hypnos tech trick may make it so I can’t see Spyral agents’ faces, but I’d know that ass anywhere. Grayson.
Midnighter, Grayson 6
Patrick: Do you have any idea how many times Sherlock Holmes has been adapted? From George C. Scott to Benedict Cumberbatch, from VeggieTalesto The Great Mouse Detective, there’s virtually no end to the twists and variations writers, actors and filmmakers can apply to this character. But no matter how the story is dressed up, the personality of Holmes himself always shines through. Dick Grayson, as it turns out, is very much the same way; whatever the genre, whatever the story, whatever the supertechnology trying to disguise him, we’re always going to recognize Grayson. Continue reading →
Today, Taylor and Shelby are discussing Justice League Dark 19, originally released April 24, 2013.
Taylor: There’s nothing like having a little time to yourself. This proves to be especially true after you’ve completed a large project or gone through an important life event that required a lot of your time or energy. Having just completed a stint as a student teacher, I understand how nice it is to regain a little bit of time for yourself. Suddenly, I have ample time to pursue my own interests, to take care of things I’ve been putting off for too long, and to generally dedicate myself to laziness and slobbery. Comic book writers and artists, along with the characters they give life to, similarly get to enjoy these moments of re-centering when they come to an end of a story arch. Without the obligations of having to progress a plot or defeat absolute evil, comic creators have the chance to spend a little more time on their characters and enjoy their company. Additionally, this is a chance for writers to reassess where they would like the focus of their series to fall and on whom. Justice League Dark, having wrapped up the Timothy Hunter arc, is enjoying one of these precious moments and in issue 19 it’s a pleasure to see what effect that has on the series.
Today, Scott and Patrick are discussing Detective Comics 13, originally released October 3rd, 2012.
Scott: My former boss created a “Law and Order” cheat-sheet, a minute by minute breakdown of every plot point, twist and reveal that occurs over the course of an episode. Each episode follows this same format, almost down to the second. Even more impressive though, is that the show still manages to captivate, and even surprise the audience. Even though the format is totally predictable, they withhold just enough information that we still feel like we’re solving the crime along with the detectives, and revelations that we might have known were coming are completely satisfying. Withholding that information is key, and it’s also where Detective Comics 13 falters; what could have been an interesting mystery ultimately lacks intrigue because it gives away too much at the start. Continue reading →