Today, Mark and Spencer are discussing Midnighter 7, originally released December 2nd, 2015.
Mark: Well, shit. After complaining about the anti-climactic fight between Frankenstein and Superman in Action Comics 47, writer Steve Orlando does not make the same mistake in Midnighter 7′s climactic matchup between Midnighter and Prometheus. This is a knock down, drag out battle that serves as an appropriate follow-up to last issue’s shocking reveal. Continue reading →
Today, Patrick and Michael are discussing Midnighter 6, originally released November 4th, 2015.
Patrick: I’ve got beef with Harry Potter and the Goblet of Fire. It’s one of my favorite books in the series, largely because of Rowling’s characterization of Alastor Moody. He’s a hard-as-nails, paranoid-but-rightnut job, and he gets Harry. Moody understands the severity of the whole Voldemort situation, and he gleefully ushers the narrative into the series end game with a confidence that’s unmatched by anyone else in the book – even Harry. When — spoilers, I guess — Moody reveals himself to really be Barty Crouch Jr., there’s an enormous audience-ally-vacuum. I know I spent the rest of the series desperately looking for someone I could trust as implicitly as I (wrongly) trusted Moody. It’s sort of a genius stroke on Rowling’s part: just like Harry, we will no longer feel even remotely safe in this world. Steve Orlando and Aco have always done a great job of gifting the reader Midnighter’s perspective on the world, through neat little insert panels giving a peek into the inner workings of his fight computer, but they do one better with issue six. While they continue to imbue us with Midnighter’s advantages, it’s in inflicting his weaknesses upon us that their storytelling proves most effective. Continue reading →
Today, Drew and Patrick are discussing Nameless 3, originally released April 8th, 2015.
It’s like the goddamn “Exorcist” meets “Apollo 13”!
Grant Morrison, Nameless
Drew: One day, I’d like to write an essay defending allusions as the defining artistic device of our time. That’s not to say allusions haven’t been used well throughout history, or that allusions are ubiquitous in all contemporary art, but it’s hard to deny the prevalence of allusions in modern pop-culture, from sampling in hip-hop to the naked homages of Quentin Tarantino. It makes sense; allusions are the natural, artistic extension of the hyperlinks we’ve come to expect throughout our daily reading. In that way, remixes and pastiches are the distillation of our time, simulating the experience of living in an overstimulating world, combining countless inputs into one meta-narrative we might call our lives. Nobody does this kind of remix better than Grant Morrison, whose career is as much defined by his ability to reconcile unwieldy continuity as it is by his affinity for impenetrable density. Nameless 3 showcases both of those sides, meditating on a whole host of sci-fi inspirations before spinning into a wickedly self-aware web of confusion. Continue reading →