Today, Michael and Spencer are discussing All-Star Batman 7, originally released February 8th, 2017. As always, this article contains SPOILERS.
Michael: A sympathetic villain is one whose immoral actions are motivated by noble intentions. Rather than being an outright force of evil, the sympathetic villain tends to have an ultimate goal — the ends of which justify the means. As a mass audience we tend to like our villains to be at least somewhat sympathetic — allowing us to latch on to some human emotion and understand them. You know who also likes to sympathize with his villains? Batman. Continue reading →
Today, Drew and Patrick are discussing Zero 18, originally released July 1st, 2015.
Drew: I don’t love fetishizing endings. I resent the idea that the final moments of a work of art are somehow more important than all of the other moments that came before. I do, however, appreciate that it’s not until the end of a work that we can properly understand what it is. It’s not that the last piece of the narrative puzzle is necessarily more important than the rest, it just happens to be the last one added, which makes it the one that completes the image. True to that analogy, most endings are increasingly predictable as they approach — by that late in a narrative, we have a sense of likely conclusions. But then there are those narratives that aren’t so easily tied down. Zero started as a relatively straightforward spy series, but became increasingly postmodern, turning itself into a pointed commentary on the artificial division between “life” and “art.” Even with that trajectory in mind, issue 18 offers a conclusion of such bizarre beauty that nobody could have ever predicted. Continue reading →