Spencer: It can be incredibly dangerous to put too much faith in one person, especially if it means neglecting other connections and relationships. While this can be true on a personal level, it’s far more important to remember on a political level, where not even the most well-meaning politician can be trusted with too much power — not even Captain America himself. Continue reading
Today, Spencer and Patrick are discussing The Amazing Spider-Man 25, originally released March 15th, 2017. As always, this article containers SPOILERS.
Spencer: As Aunt May herself points out this week, Peter Parker’s always been a busy guy. Add running a major international company to his already impressive pile of responsibilities and it’s almost guaranteed that something will start to give. The massive Amazing Spider-Man 25 digs into that dilemma from all angles, reminding readers of every task Peter’s got on his plate and what’s at risk if he fails at any one of them. It’s an almost overwhelming issue, a trait that effectively puts readers in Peter’s overstressed shoes. Continue reading
Spencer: Why is Steve Rogers being transformed into a Nazi such a terrifying idea? It’s because we all trust Steve Rogers, both in universe and out. Not only can he use that to gain influence that should never, under any circumstances, be given a Nazi, but that trust means that we’re probably inclined to think the best of him — out of sheer habit, if nothing else — even though he’s never deserved it less. Well, no more. Civil War II: The Oath drives home that this altered Steve’s heart is as black as they come. If only the rest of the Marvel universe was privy to that fact as well. Continue reading
Spencer: The point of most blockbuster summer event crossovers is to throw as many characters together as a publisher can and coast off the spectacle, using tie-ins to boost sales and often refocusing their line of books in the aftermath. When these events are done right they can be loads of fun, but it’s hard to deny that there’s something kinda mercenary about the whole process. Is it possible for an event comic to have a soul? I’d certainly say so, and I’d imagine Brian Michael Bendis would agree with me. The problem with Civil War II, then, is that Bendis’ attempts to split the book evenly between spectacle and deeper themes results in both elements playing out unsatisfactorily. Continue reading
Spencer: Civil War II has killed the momentum of a lot of books, but its Steve Rogers Captain America tie-ins are an especially interesting case of this because the title never really had a chance to establish its momentum in the first place — writer Nick Spencer was still in expository mode, exploring how Steve’s new Hydra backstory changed him, when the title was dragged into a major event. Thankfully, Spencer and artist Javier Pina have been able to continue that exploration even throughout these event issues, but the moments tying directly into Civil War II feel unmoored in comparison. Continue reading
Today, Spencer and Taylor are discussing Howard the Duck 11, originally released October 12th, 2016. As always, this article contains SPOILERS.
Spencer: On her twitter, Gail Simone recently discussed something she calls the “Batmobile Effect.” In short, it’s the exhilarating feeling a creator gets when they realize they’re working on a comic icon, on a character they grew up adoring and now, all of a sudden, are in charge of. That feeling right there describes much of the appeal of writing for Marvel or DC — the downside, of course, is that you never truly “own” a character. At the Big Two there’s only so much a writer can change a character because, when their run is over, it has to go right back into the “toy box” for another creator to use.
Howard the Duck 11 brings Chip Zdarsky and Joe Quinones’ run to an end, and the two show an exquisite understanding of how to handle a work-for-hire ending. Zdarsky and Quinones have truly made Howard their own, yet leave the character in better condition than when they found him, leaving the door open for future creators to try their hand at Howard as well. It’s a skill their in-story counterparts, Chipp and Jho, never quite grasp. Continue reading
Today, Drew and Spencer are discussing Clone Conspiracy 1, originally released October 12th, 2016. As always, this article containers SPOILERS.
The ship wherein Theseus and the youth of Athens returned had thirty oars, and was preserved by the Athenians down even to the time of Demetrius Phalereus, for they took away the old planks as they decayed, putting in new and stronger timber in their place, insomuch that this ship became a standing example among the philosophers, for the logical question of things that grow; one side holding that the ship remained the same, and the other contending that it was not the same.
Drew: The Ship of Theseus, as this thought experiment is commonly known, is often used in science fiction to address the notion of personal identity — that is, how much of you has to be, say, cybernetic before you are no longer yourself — but I actually think the key to the problem Plutarch laid out is that the ship isn’t a person. The question of whether or not a partially-replaced thing could be called the same thing is an interesting question, but I’m less inclined to think that a person’s identity is tied up in the provenance of their body parts. Moreover, I doubt anyone would assert that someone who receives a liver transplant is even a little bit a different person (especially since our livers are constantly replacing old cells, and best estimates suggest a full turnover of liver cells happens every 1-2 years). I’d suggest that the inverse is also true: that someone’s identity can change without changing their bodies at all (besides their liver, obviously). Point is, identity is much more complex than the simple summation of our body parts. For colloquial evidence, we need look no further than Dan Slott’s work with Spider-Man, where characters’ identities might inhabit other characters’ bodies (or octo-bots) without any real questions about who is who. That’s not to say issues of bodies and identity can’t get messy, just that it takes something a little extra to take us there — something like Clone Conspiracy. Continue reading
Today, Spencer and Ryan M. are discussing Jessica Jones 1, originally released October 5th, 2016. As always, this article contains SPOILERS.
Spencer: Befitting her job as a private investigator, mystery is a vital element of the Jessica Jones mythos. It’s probably why my favorite episode of the Netflix series is the one that put the ongoing Kilgrave story on hold to solve an unrelated case of the week, and it’s also why the first issue of the new Jessica Jones relaunch works so well — Brian Michael Bendis and Michael Gaydos don’t just build a mystery around Jessica’s newest case, they turn her very life into a mystery that the audience, and perhaps even Jessica herself, need to solve. Continue reading
Today, Taylor and Drew are discussing Deadpool Annual 1, originally released September 28th, 2016. As always, this article contains SPOILERS.
Taylor: As a kid, I was a cartoon addict. I would wake up at 6:00 am every day for the sole purpose of watching cartoons for an hour before school. Needless to say, Saturday morning cartoons were like manna from heaven for me. Being young, I watched these cartoon shows for hours on end indiscriminately. In retrospect, much of the shows I watched were truly awful, sporting low production values and shoddy writing at the best of times. Still, I fondly remember these cartoons, and I’m willing to bet most children of the ’80s look back on these cartoons through a rosy lens like myself. In the Deadpool Annual, writers Gerry Duggan and Brian Posehn take a look back at these shows and wonder what would happen if the Merc with the Mouth had gotten his own crack at Saturday morning.
Today, Ryan and Patrick are discussing Spider-Man/Deadpool 6, originally released June 29, 2016
Ryan: Meta-narratives come in varying levels of sophistication. On one end of the spectrum is the simple cultural reference. With the tact of a name-drop, a creator can acknowledge that she is aware of and potentially influenced by other pieces of art. The next step up in complexity involves a character being aware of art and having opinions that directly reflect back upon the source work. This character can directly address the form of his own story or invite the audience to have a relationship with the work that mirrors a character’s. When the fourth wall has begun to break down, a creator can be even more explicit with commentary. A character like Deadpool can act as a mouthpiece because his self-awareness lends itself toward dark humor at the expense of the tropes of his world. In Spider-Man Deadpool 6, Scott Aukerman exploits Deadpool’s meta tendencies and ends up with more meta than narrative.