This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
Every story is a mystery at its start. Themes, settings, characters, and their motivations are all unknown to us at the outset, so the opening chapters of stories are often defined by which of these questions they answer, and which they leave open. In that way, a story ultimately defines what its hanging questions are by where it begins. Does it open generations before the protagonist is born or on the day of the inciting incident? Does its scope start wide and zoom in, or does it start in tight and zoom out? Or, more to the point in many mainstream comics, do we meet the protagonist before or after their loved one is murdered, propelling them on some kind of quest for justice/vengeance? With Crude 1, Steve Orlando and Garry Brown’s choices on where and when to start their narrative reveal a great deal about what they think is interesting about their narrative, but in doing so, may have buried the lede. Continue reading →
Today, Greg and Spencer are discussing Secret Avengers 10, originally released November 26th, 2014. Greg: I studied a lot of television history in college, and there are many similarities between that medium and comic books. Particularly, there’s a notable trend in both mediums from self-contained, episodic units that could be watched and appreciated with no greater context, to highly serialized, novelistic longform works that have identifiable cause-and-effect and require consumers to know their stuff. TV content creators seem to understand this is a primary method of creating and consuming TV now, with binge-watching services like Netflix and Hulu taking storm, and even half-hour sitcoms serializing like crazy (I would not recommend jumping into New Girl halfway through, for example). Comic book creators, however, still seem to try and cater to both extremes of readership; in the case of Secret Avengers 10, they manage to succeed, but just barely. Continue reading →