This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
“Let’s make America great again / by making racists ashamed again.
Let’s make compassion in fashion again; / let’s make America great again.”
“Make America Great Again,” Frank Turner
In isolation, the words “make America great again” shouldn’t elicit a strong negative biological/emotional response. But this fairly innocuous phrase has been twisted beyond recognition by white nationalism, isolationism, and just general shitheadery. On Frank Turner’s newest record, Be More Kind, he attempts to overwrite the listener’s associations with those four little words on track five, boldly titled “Make America Great Again.” The song is big, joyful and rebellious at the same time, like all of Turner’s best tunes. I like it a lot, but I still flinch when chorus comes around. Some words and some symbols are just too thoroughly corrupted to be reformed. Brian Michael Bendis and Ivan Reis’ Man of Steel 1 has a similar hurdle to overcome: attempting to return Superman to the platonic ideal that maybe only exists in the imaginations of Kal El’s biggest fans. The results are miraculous. Continue reading →
Today, Patrick and Mark are discussing All-Star Batman 5, originally released December 28th, 2016. As always, this article contains SPOILERS!
Patrick: From the outset, Batman seems like a pretty simple concept: an orphaned billionaire who grew with a grudge against the criminal element that took his childhood away from him. Plus, y’know – gadgets and punching dudes. But nearly 80 years of publishing history have done a number on what the character “means.” A holistic view of Batman is nearly impossible, and it usually takes a savant like Grant Morrison to synthesize it all into one character. With their “My Own Worst Enemy” story arc, Scott Snyder and John Romita, Jr. make a case for the existence of multiple takes on Batman, and by extension multiple takes on heroes, villains, and humanity in general. It’s an exercise in not pinning anything down, which makes for a genuinely exciting, if often unsettling, narrative. Continue reading →
Today, Patrick and Michael are discussing All-Star Batman 1, originally released August 3rd, 2016.
Patrick: It’s hard to think of a creator at DC comics that has had a more lasting, meaningful, and marketable impression on a character in the last five years than writer Scott Snyder. His run with Greg Capullo on Batman (coupled with his role running the rooms for both Batman Eternal and Batman and Robin Eternal) makes Snyder the mental and emotional authority on Gotham’s Dark Knight. Bruce Wayne may be the “Batman” in the title, but Snyder himself is the “All-Star.” The first issue moves with such breathless confidence, willfully tossing out repulsive imagery, C-tier villains, and disorienting chronology with such abandon, it’s like the blockbuster creative team is daring us to stay away. But for every “22 minutes earlier,” for every appearance of Firefly, for every horrifying account of people subtly slashed to death, All-Star Batman 1 is an amazingly good time. It’s a remarkable change from Batman, which while obviously excellent, often wasn’t “a good time.” But it’s like Batman reiterates a couple times in this issue: “I’m trying something new.” Continue reading →
Today, Mark and Spencer are discussing Batgirl 50, originally released April 6th, 2016.
Mark: Batgirl 50 is the culmination of the Fugue storyline, and Brenden Fletcher and Cameron Stewart successfully check the box on every superhero trope a reader could want. Mind control? Check. A bank robbery? Check. Previously unmentioned deus ex machina device? A big, fat pneumatic tube-shaped check! The Fugue has released all of Batgirl’s previous foes and is using them to set up mind control devices to lure Burnside’s citizens to Burnside Bridge. Then he’s going to blow up the bridge, killing the citizens, and then convince the rest of Gotham that Batgirl is responsible. This is not a good plan! Continue reading →
Today, Spencer and Patrick are discussing Green Arrow 34, originally released August 6th, 2014.
Spencer: Eighteen months ago, Jeff Lemire and Andrea Sorrentino began their run on Green Arrow, which had been a meandering, mediocre title ever since the New 52 relaunch. Lemire and Sorrentino arrived with a distinct style and a strong, specific vision, quickly transforming the title into one worth paying attention to. Now — with the exception of next month’s Futures End tie-in — their run has drawn to a close, and more than ever it’s apparent how much effort the creative team has put into rehabilitating Green Arrow. Issue 34 gives the conflict between Ollie and Richard Dragon a happy ending, but it also lays bare Lemire and Sorrentino’s strategy for creating a compelling superhero comic. Continue reading →
Today, Spencer and Shelby are discussing Green Arrow 33, originally released July 2nd, 2014.
Spencer: Despite being the title character, throughout Jeff Lemire and Andrea Sorrentino’s run on Green Arrow Oliver Queen has largely been a pawn, pushed back and forth by businessmen, various factions of the mysterious Outsiders, and even members of his own family (or sometimes all three!), all trying to use him for their own means. After declaring his independence from the Outsiders, though, Oliver Queen has moved to the front-and-center of his book — as Richard Dragon says, they’re both kings now. There’s still a massive focus on the supporting cast, of course, but now Lemire is using the supporting cast to teach us more about Ollie. I don’t necessarily understand every revelation, but it’s still a refreshing change of pace. Continue reading →