This article contains SPOILERS. If you haven’t read the issue yet, read on at your own risk!
Let the record show: I really liked Solo: A Star Wars Story. It’s a fun, well-shot flick with some charming performances and cool character designs. Plus, I absolutely love that the revolutionary L7 becomes the brain of the Millennium Falcon – that’s a bit of mythology that feels genuinely additive to every other move that the Falcon has appeared in. But there is one place where the movie gets rightfully slagged, and that’s in the prequel’s need to label every thing. It answers questions no one would ever need to ask, like “Why is Han Solo’s last name Solo?” or “Why does Han call Chewbacca ‘Chewie?”” or “Why doesn’t Lando pronounce Han’s name incorrectly?” I actually find that last one kind of charming, but it is weird how much that flick seems focused on explaining why people use the names they use. Robbie Thompson and Leonard Kirk’s Star Wars Han Solo Imperial Cadet 1 revisits some of these naming moments and ultimately convinces the reader that what we call him doesn’t matter: Han Solo is always gonna Han Solo. Continue reading →
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
Long before Betty was in a coma, Archie one page gags filled my favorite digests. The form is simple: a few panels establishing the premise, a few panels executing the idea and then a twist usually capped with a pun. While Spider-Man: Master Plan 1 is certainly more fluid than a series of one pagers, it has the same rhythm throughout. Continue reading →
Today, Taylor and Spencer are discussing Silk 19, originally released April 19th, 2017. As always, this article contains SPOILERS.
Taylor: Often, when we talk about the qualities of a hero, the conversation revolves around their bravery in the face of danger. Silk has taken the opposite road, however. Rather than an exploration of what makes Cindy Moon brave, the series has focused on what makes her afraid. In doing so, the series has tended to focus more on Cindy’s mental state instead of her heroics. Now, at the end of its run, it is apparent Silk stands unique among superhero comics because it has dared to focus on Cindy’s fear rather than her bravery. That choice matters in the final issue, and serves to remind us that good story telling, more than anything else, needs great character development. Continue reading →
We try to stay up on what’s going on at Marvel, but we can’t always dig deep into every issue. The solution? Our weekly round-up of titles coming out of Marvel Comics. Today, we’re discussing All-Star Wolverine 16, Captain America: Steve Rogers 9, IvX 2, Mighty Thor 15, Ms. Marvel 14, Power Man and Iron Fist 12 and Silk 16. Also, we discussedUnbeatable Squirrel Girl 16 on Thursday andDeadpool 24today, and will be discussing Daredevil 15 on Wednesday, so come back for those! As always, this article contains SPOILERS.
Today, Taylor and Spencer are discussing Silk 14, originally released November 16th, 2016. As always, this article contains SPOILERS.
Taylor: As if it weren’t apparent already, humans are walking studies in contradictions. One minute we may say or feel one thing and the next end up saying the exact opposite. Often this isn’t the result of bad intentions – few people want to be so wishy-washy – but it’s hard for people to predict how they will feel about something in the future compared to how they are thinking about it in the present. If there is anything that defines Cindy Moon from other flawed superheroes, this is the feature. Despite her best efforts, Cindy is constantly in a state of flux, desiring something one minute and dismissing it the next. While this could make her unlikable as a character, I find it makes her all the more interesting because it is something that makes her truly human.
Today, Spencer and Patrick are discussing Spider-Women Omega 1, originally released June 1st, 2016.
Spencer: In the letters at the end of Spider-Women Omega, writers Dennis Hopeless, Jason Latour, and Robbie Thompson all touch upon one of the primary elements that has made this crossover so strong: its focus on character-driven storytelling, not spectacle for spectacle’s sake. Spider-Women‘s grand finale sticks with this winning formula, leaving every character in a far different state emotionally than they were at the story’s beginning. Continue reading →
Today, Drew and Spencer are discussing Silk 8, originally released May 11th, 2016.
Drew: I had a bit of an identity crisis when I got to college. Well, “crisis” is an overstatement, but I certainly had to reevaluate how I defined myself. Some of that came down to being in a new place with new people, but the bigger part was that the things that distinguished me in high school, say, my passion and talent for music, were no longer remarkable in a conservatory full of musicians. I suspect this is a common experience for a lot of teens, even if the details change a bit (maybe it’s not college, but a music scene, or space camp, or whatever), which is why identity is such an important subject for them. Of course, for all of our struggles to further define ourselves, our identities are much more stable than those of comic book superheroes, whose identities are managed by numerous writers, artists, and editors, but are often split between costumed and civilian personas, and might even run into alternate versions of themselves. Suffice it to say, Cindy Moon was not in a great place to define (or defend) her personality even before she ran into her evil doppelgänger, which lends every decision she makes in Silk 8 an almost visceral tension. Continue reading →
Today, Taylor and Spencer are discussing Silk 6, originally released March 16th, 2015.
Taylor: Many of the stories I’ve encountered in my time reading comics exist in a world that is split into two halves. There are those who are good and those who are bad. S.H.I.E.L.D. vs. Hydra. The Light Side vs. the Dark Side. While these worlds are the setting for compelling stories, they aren’t necessarily a reflection of our own world. It’s rare today that something or someone can be considered entirely good or evil. Silk 6 recognizes this, and in doing so, shows us that sometimes choosing between right and wrong isn’t as easy as most comics would have us believe.
We try to stay up on what’s going on at Marvel, but we can’t always dig deep into every issue. The solution? Our weekly round-up of titles coming out of Marvel Comics. Today, we’re discussing All-New Inhumans 4, Astonishing Ant-Man 5, Moon Girl and Devil Dinosaur 4, Patsy Walker A.K.A. Hellcat 3, and Silk 5.
Today, Drew and Taylor are discussing Silk 3, originally released January 13th, 2016.
Drew: Superhero comics are full of tropes, from character types to specific situations our heroes find themselves in. There are a number of ways that a savvy creative team can avoid those tropes, but over a long enough publishing history, even the most innovative series will come upon ideas that have been done a million times before. Without characters and situations to distinguish one series from another, tone ends up being the signature of most superhero comics. Batman is darker than Superman, Deadpool is sillier than Spider-Man, and while those tones can change with creative teams and time, they tend to stay in the ballpark precisely because its the tone that separates one book from another.
I might make the same argument for sitcoms — any number of shows might have similar storylines or characters, but Seinfeld will never get you invested in character relationships the way How I Met Your Mother might. The notable exception is the “very special episode” — particularly common in family sitcoms in the ’90s — where shows would often jettison their tone wholesale in order to address a “serious” subject. These tend to be few and far between, but M*A*S*H is famous for slowly turning into a “very special episode” factory, eschewing the silliness of the early seasons in favor of earnest (though often heavy-handed) anti-war messages. That change wasn’t necessarily seen as a negative — indeed, M*A*S*H‘s final episode is still the most watched finale of any television series — but it must have been an odd transition for those who tuned in for irreverent fun. I find myself in a similar situation with this volume of Silk, where the tone seems to be shifting rather deliberately from the whiz-bang fun of Silk’s earlier adventures. Continue reading →