Today, Michael and Patrick are discussing Hal Jordan and the Green Lantern Corps 18, originally released March 8th, 2017. As always, this article contains SPOILERS.
Michael:Hal Jordan and the Green Lantern Corps has been surprisingly superb title from the beginning of Rebirth. The one thing that it has working against itself? Its title. Why the need to put Hal Jordan at the center of everything? Sure, Hal has been the focus of some of the issues but overall this is a team book focusing on the Corps. Hal Jordan and the Green Lantern Corps 16 focuses that spotlight on everyone’s favorite vest-sportin’ loudmouth, Guy Gardner. Continue reading →
Today, Drew and Spencer are discussing Green Lantern 29, originally released March 5th, 2014.
Drew: We often talk about “close readings” in our discussions, but the most rewarding works of art are interesting from far away, too. When zoomed out, you can appreciate the broader form and plotting, while when zoomed in, you can appreciate the moment-to-moment mechanics that make those larger parts work. Indeed, it’s this scalability that allows stories to remain interesting in spite of our familiarity with Joseph Campbell’s monomyth — at some scales, the non-essential details don’t matter at all, but at other scales, they’re the only thing that matters. Any halfway decent discussion of a work of art needs to focus on multiple scales, but certain works of art strongly suggest one scale over the other. More formulaic stories — an episode of Law & Order, for example — tend to offer more rewards for those looking at the details (and certain boredom for anyone looking at form). I’d argue that the controversy of LOST‘s finale stems largely from confusion over the suggested scale — is this a show about a weird island, or about the people who encounter it? — which may have changed from episode to episode. I’d argue that that ever-shifting scale is part of what made that show so great, but there’s no denying that abruptly changing gears can bring discomfort, even if it reaps the kinds of rewards we see in Green Lantern 29. Continue reading →
Today, Patrick and Drew are discussing Green Lantern / Red Lanterns 28, originally released February 5, 2014.
Inigo: I do not think you will accept my help, because I’m only waiting around to kill you. Wesley: That does put a damper on our relationship. Inigo: But, I promise I will not kill you until you reach the top. Wesley: That’s very comforting, but I’m afraid you’ll just have to wait. Inigo: Is there any way you’ll trust me? Wesley: Nothing comes to mind. Inigo: I swear on the soul of my father: you will reach the top alive. Wesley: Throw me the rope.
-The Princess Bride
Patrick: Trust is a tricky intangible quality — often you don’t know it until you see it. There’s no magic switch you can throw to make someone trust you, and — more tragically — no switch you can throw to trust yourself. It’s both hard-won and easily lost. Robert Venditti and Charles Soule use the newly minted Red Lantern Supergirl to explore how issues of trust are slowly eroding the Greens, the Red and both of their leaders. Turns out all the Rage, Will and Hope in the universe don’t mean shit without Trust. Continue reading →
Today, Drew and Spencer are discussing Green Lantern: New Guardians 23, originally released August 21st, 2013.
Drew: There’s an old joke about a man who goes to the doctor, and after running several tests, the doctor returns with his diagnosis written on a piece of paper. He gives the man the paper, but instructs him never to read it, and is then rudely kicked out of the office. The man is similarly shunned when he shows the paper to his boss, his friends, and his family, but each time, they tell him not to read it himself. The joke can build for however long the teller likes, but eventually, the man shows the paper to the pilot of a plane in mid-air, and the pilot insists that the man exit the plane immediately. The man opens the door, and facing certain death, finally decides to read the diagnosis. He pulls it out of the pocket, and it is promptly blown out of his hands and out the door. When done right, we’re lead to believe that there’s an actual punchline, but ultimately, the “joke” is on us — it only exists to fuel our frustrations. I doubt that is what Justin Jordan set out to do in Green Lantern: New Guardians 23, but as Relic begins showing his own piece of paper around, there’s a similar feeling that the story is shutting us (and only us) out of the information that ultimately drives the narrative. Continue reading →
Today, Patrick and Drew are discussing Green Lantern 23, originally released August 7th, 2013.
Patrick: I moved out to Los Angeles because I wanted to be a television writer. If you want to be a lumberjack, you move to the forest, right? I don’t have much in the way of family on the West Coast, and I knew that distance from those that I loved was just going to be part of this bargain I was striking. The idea of giving up family for my art was romantic — I could live an idealized life of creativity and yeah I’d suffer for it, but I’d be suffering for a reason. When my older sister had her second kid, however, I was on a plane to Atlanta: I wasn’t going to miss out on meeting my nephew. It’s love, and it’s a primal motivator. No matter how much you will it away, love can dictate your actions. It’s the sort of thing that will make Hal Jordan drop the fight that he’s right in the middle of to check on the girlfriend he swore off to defend the corps. Continue reading →
Today, Shelby and guest Mike are discussing Green Lantern 22, originally released July 3rd, 2013.
Shelby: There’s a lot of baggage to be had with the way women are depicted in most forms of media. Comic books get it especially hard, as they existed for so long as a form of entertainment drawn by men for a male audience. Robert Venditti is only on his second issue as writer of Green Lantern, but already I find myself slightly uncomfortable with his depictions of the women in the book. I have a sneaking suspicion it is more a result of the pervasive attitude towards women in comics and their role in the Green Lantern universe as a whole, and less a reflection of the creative team’s own attitudes, but that doesn’t make me have any more fun reading this title. Continue reading →
Patrick: Geoff Johns’ final issue of Green Lantern is framed with a narrative device I was first introduced to in the movie The Princess Bride: the old man reading the story to a young man. The flick is an adaptation of novel, and the novel proports to be a rediscovered classic, heavily annotated by the “editor,” William Goldman (who actually just wrote the whole thing). All three of these example serve to elevate the story itself – you don’t need to look to the real world to find a captive audience, there’s one right there in front of you. This issue takes the entirety of Johns’ run and gives it a reverent audience, promoting the nine years since Green Lantern: Rebirth to mythic stature. I’ve been following the entirety of that run, so I’m part of that audience, and I’m moved and affected in very real ways reading this issue. But the bright lights and decades-old mythology groan under the weight of so much self-congratulation. This is a victory lap – mileage will vary.
Today, Spencer and Drew are discussing Green Lantern: New Guardians 20, originally released May 22nd, 2013. This issue is part of the Wrath of the First Lantern crossover event. Click here for our First Lantern coverage.
Spencer: My first experience with a major creative team shake-up was back in 2007 when Geoff Johns ended his run on Teen Titans. It was the first book I had ever followed monthly, and I walked around for weeks with an empty feeling in my stomach after I heard the news. Nowadays it feels like creative teams change almost daily, and I’ve developed a thick skin out of necessity, but every once in a while a change will hit me like it’s 2007 all over again. Tony Bedard’s departure from Green Lantern: New Guardians is one of those changes, and this final issue epilogue is such an effective goodbye that I feel completely justified about how much I hate to see it end.
It can be hard to keep up with all the comics you love. But it’s damn near impossible to keep up with all the comics you’re interested in.
Retcon Punch got you covered.
Jonathan Hickmanhas been ramping up to some world-altering shit. We’ll be digging into Infinity with zeal, but it means catching up with both Avengers and New Avengers. We started our coverage of the bi-weekly Avengers with issue 11, and if you want to join us there – here’s a video recap to get you all situated.
Today, Patrick and Mikyzptlk are discussing Green Lantern Corps 20, originally released May 8th, 2013. This issue is part of the Wrath of the First Lantern crossover event. Click here for our First Lantern coverage.
Patrick: It might be pure, dumb circumstance that this issue of Green Lantern Corps came out a full two weeks before this epic run of Green Lantern stories comes to a close. The cover of this issue brashly proclaims that the story within is an “epilogue.” And it is – in the strictest sense, everything that happens in this issue takes place immediately after the crossover has been resolved. Peter Tomasi and Fernando Pasarin’s preemptive coda challenges the very idea that a Green Lantern story could end and explores a deeper truth about what we want, what we need and what we expect from serialized storytelling. Continue reading →