Patrick: Comic books have an unhealthy relationship with death. For superheroes and their enemies and friends and families, death is a temporary setback. It’s such a common assumption that heroes will come back from the dead, and that assumption affects our language as we talk about these characters. Here’s a good example — in the blurb introducing the new Marvel series Superior Foes of Spider-Man, the editor explains the conceit of the series by saying:
…One thing they have in common is their shared hatred for their nemesis, the Superior Spider-Man — even if he’s possessed by their old boss Otto Octavius at the moment.
“At the moment?” Dude, come on, let’s commit to the idea that Peter Parker is dead. Otherwise, he’s not dead — he’s on vacation. So, it’s nice a character so integral to DC’s mythology journey all the way to heaven only to discover that he can’t just pluck the souls of his family from the afterlife.
Today, Patrick and Drew are discussing All-Star Western 20, originally released May 22nd, 2013.
Patrick: If you go back and watch old Flintstones cartoons, you realize that there’s not much to them beyond their prehistoric trappings. The setting is to unique and weird that it totally trumps character or story or even the jokes. The same can be said of the Jetsons — neither of these shows had characters or relationships that would hold any water if they were to be set in a modern day context. So the 1987 animated feature The Jetsons Meet the Flintstones was little more than the characters pointing out how strange the lives of their counterparts were… that and a convoluted time travel plot. The raw charisma of Jonah Hex and Booster Gold save All-Star Western 20 from a similar fate, but not by much. Continue reading →
Today, Patrick and Taylor are discussing All-Star Western 18, originally released March 27th, 2013.
Patrick: You could make the argument that All-Star Western is anti-intellectual. All of the more affluent and educated residents of 1890s Gotham City are ineffectual or massively corrupt. The possible sole exception to this rule is Amadeus Arkham, but he is routinely upstaged by his savage brute of a partner. Even when you think “oh, now it’s time for Arkham to use science or some detective work,” it’s Hex’ anecdotal crime solvery that saves the day. And if we apply a little bit of outside information, we know that Arkham will eventually turn his focus back to his true passion — the real focus of his lifetime of study — and found a hospital for the criminally insane. Arkham Asylum is a failure, a permanent stain on his family name. This is the turn of the century we’re talking about here, so why is every progressive thinker made out to be evil, a dandy, or both? Continue reading →