This article containsSPOILERS. If you haven’t read the issue yet, proceed at your own risk!
Since the very first issue of Exiles the Tallus, an interdimensional, time-traveling gauntlet, has been calling the shots, pulling our heroes from reality to reality with its own agenda in mind. In many ways, it’s the true mastermind behind the defeat of the Time Eater, having charted a path towards victory and collecting heroes and allies all with vital and specific roles to play in its plan. Early on in the series this sometimes felt like it robbed the characters of their agency, but as we reach the finale of Saladin Ahmed and Javier Rodriguez’s story in Exiles 5 that couldn’t be further from the truth. It’s interesting to see the role each Exile has to play, but far more interesting to see them all embrace their roles enthusiastically and of their own volition. Continue reading →
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
I think the best writers at DC or Marvel are those that incorporate the past — warts and all — while paving the way for the future. With secret origins, even secreter origins, clones, children and magical swords, Wolverine has a complicated and silly comic book history. Leave it to Tom Taylor to take on some of that silly and make it a strength. Continue reading →
Today, Patrick and Taylor are discussing Deadpool 8, originally released March 2, 2016
Patrick: Every couple years, Drew and I end up having a conversation about the “death of irony” or the “death of sincerity” and every time we have it, we’re basically blowing smoke out our asses. Concepts like “irony” and “sincerity” need not be mutually exclusive – in fact that’s where most genre fiction rest: comfortably in both camps. A superhero comic in 2016 wears the trappings of a superhero comic because its creators and its audience simultaneously love and are bored by those trappings. That puts a character like Deadpool in a tricky spot, when it seems like his mission statement is to subvert what is gradually becoming the insubvertible. Deadpool’s popularity almost works against him in this regard – how can you continue to classify him as a misfit underdog if everyone loves him? And then there’s the wildly successful Deadpool film, catapulting audiences acceptance of the Merc with the Mouth to meteoric heights. Writer Gerry Duggan and editor Jordan D. White act as Deadpool’s tonal shepherds in this series, keeping the character’s aims purely subversive, the key difference is that the subject they’re subverting is no longer as broad as “comics” or “superheroes” or “the 90s” – the subject is Deadpool.
Today, Taylor and Ethan are discussing All-New X-Men 21 and Uncanny X-Men 16, originally released January 15th, 2014.
Taylor: Ah, the father/son relationship. Daddy issues have basically been around since the birth of man, both literally and figuratively so it’s no wonder they often pop up in the stories we tell one another. After all, who hasn’t inherited some odious trait from their father or wished they had a better relationship with the man? So rich is the vein of paternal relationships that it can told time and time again and still be entertaining. Throw in a dash of mutants and a pinch of augmented super powers and you got yourself the makings of an interesting story. Given these ingredients, you think it would hard to cook up a story that resound with its fan base. However, in All-New X-Men 21 this proves to be the case. The story is a bit bland and one you slog through just for its narrative nutrients.