Today, Taylor and Spencer are discussing The Superior Foes of Spider-Man 12, originally released June 4th, 2014.
Taylor: The excellent blog kottke.org recently brought to my attention a video on visual comedy. In this short feature, Tony Zhou makes a strong case for the lack of visual comedy in your typical comedic film. He also highlights a lot of movies, like Hot Fuzz, which make excellent use of visual comedy. It got me to thinking about how difficult it is to pull off visual comedy in film, much less in comics. Like in writing, something about pulling off a comedic still frame is surprisingly difficult. As with movies, I think we often aren’t treated to great visual comedy. However, Superior Foes of Spider-Man 12 bucks this trend and shows just how funny a comic can be based almost entirely on its visual elements alone.
Today, Taylor and Greg are discussing The Superior Foes of Spider-Man 8, originally released February 5th, 2014.
Taylor: Since the dawn of pop-culture, antiheroes have been those ill behaving scallywags we love despite their flaws. They may not act right all the time, but we love them despite, if not explicitly for, their flaws. In the annals of American culture, the antihero has frequently eclipsed their more traditionally heroic counterparts — just look at Han Solo or Walter White. This trend has naturally extended to comic books and while many protagonists of comics are antiheroes, few are outright villains. In case you couldn’t tell by its title, The Superior Foes of Spider Man focuses on a villain, who by virtue of his narrative is an antihero. And while we all enjoy a good antihero, it is a perilous line they walk, and issue eight displays how precarious their position is. It begs the question, just how shitty can a protagonist be before we’ve had enough?
Today, Taylor and Patrick are discussing The Superior Foes of Spider-Man 3, originally released September 4th, 2013.
Taylor: We all know the origin story of Spider-Man. Peter Parker gets bitten by a radioactive spider and gains the sensational powers of a spider. At first, he doesn’t use his powers for good, instead choosing to indulge himself in a world of personal gain and selfishness. An indirect consequence of the path he chooses is that his Uncle Ben is murdered by a thug he previously had failed to apprehend. Because of this, Peter comes to fully understand his uncle’s saying: “with great power comes great responsibility,” which leads him on the path to superherodom. But what if your path is different from Peter’s? What if instead of choosing to be a hero, you choose to be a villain? What creed or mantra would you follow then? What expectations would you have of yourself and those you call your allies? In a surprising change of tone, Superior Foes of Spider-Man 3 explores this question and the result is a deepening of Boomerang’s character that, while unexpected, is a welcome addition to the series.