This article containsSPOILERS. If you haven’t read the issue yet, proceed at your own risk!
We’ve written a lot over the years about how the disparate tones of various incarnations of Batman have created a kind of range that the character operates in. Maybe he’s light and campy, maybe he’s dark and serious. Maybe he’s a high-tech wizard, maybe he’s a low-tech sleuth. Maybe he’s a bitter loner, maybe he’s cultivating an ever-growing family of friends and allies. That range applies just as much to the look of Batman, as different character designs emphasize different aspects of his character. Is his costume scary, or silly? Is humanity obscured by his costume, or made more obvious by it? In practice, the platonic image of Batman we keep in our minds might be just as diffuse as his mood — a kind of pastiche of the designs from, say, our favorite comics runs, Batman: The Animated Series, and maybe even a few movies. High in the mix for most modern comics fans, though, must be David Mazzucchelli’s distinctively line-smart Batman: Year One, which distilled Batman down to as few brush strokes and dabs of color as possible, creating a kind of shorthand iconography for the character that perfectly suited the early-days nature of that story. It’s a style that Lee Weeks and colorist Elizabeth Breitweiser evoke in Batman 52, though rather than celebrating that iconography, they’re interrogating it. Continue reading →
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
Drew: Bruce Wayne understands that his responsibilities as Batman demands sacrifice. He devotes his time, body, and earthly resources to his mission to fight crime, and generally takes that mission very seriously. All of which can look like he’s sacrificed his own happiness in order to be Batman. Or, more precisely, that his happiness is a necessary sacrifice for his existence. Batman’s drive, the argument goes, comes from his grief, anger, and sadness, so anything that blunts or dilutes those feelings weaken his mission. It’s a position DC Editorial staked out back in 2013, when Dan DiDio explained why Batwoman’s marriage could never happen, but it’s not necessarily a philosophy writer Tom King ascribes to. Indeed, King has argued that Batman’s happiness is a valuable source of drama, stating “There’s no conflict in having Batman be sad. There’s conflict in having Batman be happy.” That may mean King sees Batman’s happiness as only a temporary condition, but it’s obviously not out of the question. The point is, it’s a hotly debated topic, and one that King cleverly allows to play out in the pages of Batman 50. Continue reading →
We all love a good one-off or anthology, but it’s the thrill of a series that keeps us coming back to our comic shop week-in, week-out. Whether it’s a brand new creator-owned series or a staple of the big two, serialized storytelling allows for bigger casts, bigger worlds, and bigger adventures. That bigness was on full display this year, as series made grand statement after grand statement about what they were all about. These are our top 10 series of 2017. Continue reading →
This article will contain SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
If you haven’t been paying much attention, Tom King is a big shipper of Batman and Catwoman. In Batman Annual 2, King forgoes any direct connection to his current Batman run and instead writes a Batman/Catwoman tale that functions as the first and last word on the couple. Continue reading →
Today, Spencer and Mark are discussing Superman: Lois & Clark 3, originally released December 30th, 2015.
Spencer: In any comic storyline lasting more than two or three issues, it’s the middle chapters that are usually the weakest. Openings can rely on the excitement of starting a new story, penultimate chapters generally benefit from a big twist, and conclusions, of course, seem to matter the most simply because they’re the end of the story. Those middle chapters, though — third and fourth issues specifically, if it’s a six-issue arc — tend to blend together, existing only to “move the story forward” without really gaining an identity or having a complete, satisfying narrative of their own. Issue 3 of Dan Jurgens and Lee Weeks’ Superman: Lois and Clark fits this description to a “t,” and is a weaker installment because of it. Continue reading →
Today, Michael and Mark are discussing Superman: Lois & Clark 1, originally released October 14th, 2015.
Michael: Many of my early pieces for Retcon Punch consisted of me complaining about The New 52 and comparing it to the old DCU that I knew and loved. I’d often go off on tangents about the way DC does business and neglect the book I was actually covering. I loved and missed the pre-Flashpoint DCU and I still do. Enter a book like Superman: Lois & Clark 1, which allows me to cheat by writing about the old DCU and the book in front of me. Continue reading →