Today, Michael and Patrick are discussing Justice League: The Darkseid War Special 1, originally released April 4, 2016.
Michael: Damn, in a few weeks “The Darkseid War” will have been going on for an entire year — roughly the same amount of time that Jim Gordon was the Caped Crusader in the pages of Batman. Whereas Gordon’s tenure as Batman felt like it was cut short, “The Darkseid War” almost feels like it has been going on for eternity. Though Justice League is still full of powerful superhero smash-em-ups and the League has seen its fair share of changes, “Darkseid War” has been crawling at a snail’s pace. Unfortunately for us all, Justice League: The Darkseid War Special 1 is more of the same. Continue reading →
Today, Mikyzptlk and Patrick are discussing Aquaman 24, originally released October 23rd, 2013.
Mikyzptlk: Families can be tough to deal with. Sometimes, you want nothing more than to make sure that everyone is happy, even if that means doing what is expected of you. Other times, maybe even most of the time, you just want to head for the hills and do your own thing. Aquaman has it infinitely worse because he has a royal family to deal with. For years, Aquaman was planted firmly in the hills doing his own thing until he made the choice to become the king of Atlantis. It’s a bit of a bummer though, because Aquaman 24 reveals that he was never meant to be king in the first place and that he might just be the villain of this piece…or at least the descendant of one. Continue reading →
Today, Shelby and Mikyzptlk are discussing Aquaman 20, originally released May 29th, 2013.
Shelby: An interlude is a mini bit of music, inserted in the middle of a larger musical composition. Like an intermission, except you don’t get to go to the lobby to stretch your legs and stand in the bathroom line for 15 minutes. If we’re talking a theatrical interlude, it’s a little play squished between acts of a bigger play; why we wouldn’t just keep watching the regular play, I couldn’t tell you. I may not see the necessity of an interlude as a member of the audience, but sometimes the entertainers just need a 15 minute breather, and I guess providing some sort of filler entertainment is considerate. But if you’re going to stop the action for something completely different that isn’t especially good, don’t be surprised if I walk out before the second act. Continue reading →
Today, Patrick and Shelby are discussing Aquaman 17, originally released February 27th, 2013.
Patrick: When I originally got my friend Taylor into comic books, I suggested Scott Snyder’s Swamp Thing series. Taylor was intrigued, saying that the idea of a Captain Planet made of Plants seemed like a really fun book to read. Of course, Snyder’s Swamp Thing has more to do with elaborate mythologies and alternate futures and cool stuff like that, but that idea stuck with me. We read so few comic books about superheroes that stand for anything. Our heroes are driven by revenge or obligation or circumstance to fight crime, but none of them end up championing any causes – they just keep fighting whatever supervillains pop up to challenge them. After the events of Throne of Atlantis, Aquaman finds himself wedged uncomfortably between the roles of superhero and supervillain. What other choice does he have than to enact his own values and forge his own path?
Michael: Nothing gets me going like a dramatic reveal. I love stories wherein tables are turned and even villains fall in and out of virtue. In comics, a strikingly juxtaposed panel can make a subtle twist even more shocking. There’s something thrilling about being duped by a brilliant turn. We’re told something is true, relevant, or congruous, only to find out that some or all of these things don’t matter, and yet the story is somehow better for it. It may be that we enjoy the release of tension or delight in dashing our assumptions that makes these betrayals so enjoyable, but part of what makes them effective is context. What the hero knows determines how new information changes him. Issue 16 of Aquaman delivers some really solid twists from Geoff Johns with vivid art from Paul Pelletier and Sean Parsons to back it up, but our heroes are so clueless and mired in chaos that the impact of these bombshells are hard to gauge. Continue reading →