How Camera Angles Raise Stakes in Despicable Deadpool 297

by Patrick Ehlers

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

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Superheroes have an insane amount of mobility. Whether they’re fwipping around on spider webs, or flying through the air, or just brooding on a gargoyle on top of a skyscraper, there’s always a sense that the whole city is laid out before them. Artists can achieve this effect with dynamic camera angles, revealing the city below, and hopefully inducing a touch of vertigo in their readers. Despicable Deadpool 297 shows just how effectively Mike Hawthorne can use those same techniques to sell a change of setting and raise the stakes in Wade’s non-stop-slay-a-thon Continue reading

Captain America: Sam Wilson 16

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Today, Patrick and Michael are discussing Captain America: Sam Wilson 16, originally released December 21, 2016.

Patrick: Under Nick Spencer’s pen, both Sam Wilson and Steve Rogers have been intensely political figures in their roles as simultaneous Captains America. The underlying ugliness of both of these series echoes the ugliness we see in modern political system, but the nature of the characters narrows Spencer’s perspective a bit. For as much as he’s been free to comment on racism and fascism and nationalism, Spencer’s Captain America series have been relatively quiet on the subject of sexism and misogyny. Of course, that’s an incomplete picture of American politics, especially as we grow closer to having to salute the Pussy-Grabber In Chief. With Captain America Sam Wilson 16, Spencer and artists Angel Unzueta and Szymon Kudranski tackle a the very really threat of slut shaming and doxing and simplify them through the magic of the Marvel Universe. That simplification may undersell the complexity and sheer hopeless around this issue, but it sure as shit is satisfying to see it punished. Continue reading