Capturing the Tension of a Post-Trump America in Daredevil 595

by Spencer Irwin

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

The Kingpin, a literal supervillain, has just been elected the Mayor of Marvel’s New York City. If you can read that sentence and not immediately see parallels to the United States’ current political climate, then you’re clearly far blinder than Matt Murdock. In Daredevil 595, Charles Soule and Stefano Landini tap into the confusion, shock, fear, and paranoia that have come to define the last year for so many of us.  Continue reading

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It’s Hard to Take Peter Seriously in Peter Parker: The Spectacular Spider-Man 3

by Spencer Irwin

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

The fact that Chip Zdarsky would be writing his own ongoing Spider-Man series intrigued me from the moment it was announced. Zdarsky’s sad-sack take on Spider-Man was one of the most consistently funny gags in Howard the Duck, but seemed difficult to translate into the star of a monthly title. Even now that we’re three issues into Peter Parker: The Spectacular Spider-Man I’m honestly still not 100% sure how it’s worked out. Zdarsky and Adam Kubert ace the series’ humor and have come up with some interesting plots, but their Peter Parker is almost too stupid to function. Continue reading

Prioritizing Responsibilities in Peter Parker: The Spectacular Spider-Man 2

by Drew Baumgartner

Peter Parker The Spectacular Spider-Man 2

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

It’s always easy to score political points against the president by suggesting they’re spending too much time relaxing. Folks of every political persuasion have made this argument at some point or another, and it always sounds reasonable because the President obviously has more important things to be doing. With great power, as the saying goes, must also come great responsibility. But of course, even Presidents are people, and while we should certainly hold them to a high standard in terms of workload (that it’s a stressful job is part of the job description), expecting them to never take a vacation is inhumane. This is a point Peter Parker has always fluctuated on. He obviously respects the responsibilities that come with his powers, but he’d also like to be a human being with a fulfilling professional and personal life. Usually, that means he’s constantly running out on dates or jobs to save the day, but Chip Zdarksy and Adam Kubert find a decidedly different approach in Peter Parker: The Spectacular Spider-Man 2. Continue reading

History Deepens in Doctor Strange 23

by Taylor Anderson

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

The Marvel universe is as deep as the Mariana Trench, which is to say it’s practically bottomless. After more than fifty years of continuously pumping out serialized stories, it’s fair to say that no person knows everything about the Marvel universe no matter how much they’ve read. The breadth of its history gives writers a leg up when writing their stories: when you have deep pool to draw from it’s unlikely it will run dry any time soon. Even with the vastness of this narrative landscape, Doctor Strange stands out because it always hints at an even deeper world history beyond the Marvel pages. This is something Dennis Hopeless knows and uses to his great advantage in Doctor Strange 21.

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Understanding Golden Age Tropes is an Asset in Doctor Strange 22

by Taylor Anderson

Doctor Strange 22

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

No matter how much success comic book movies have in crossing over into the mainstream or how dark and gritty Christopher Nolan, Alan Moore, or anyone else can make their comic book universe, monthlies will never be able to escape the shadow of the goofiness of the Golden Age. In some ways, the silliness of Golden Age comics have been celebrated by serious comic book fans and writers. They knowingly acknowledge that comics of the past weren’t great, but also pay homage to the stories that gave birth to some of today’s most beloved heroes. Doctor Strange is a product of the Golden Age, and in issue 22 Dennis Hopeless both celebrates and takes a dig at these roots. Continue reading

Doctor Strange 21

Today, Taylor and Drew are discussing Doctor Strange 21, originally released May 31st, 2017. As always, this article containers SPOILERS.

Taylor: Here are Retcon-Punch, we read a lot of comics. This is great in so many ways, but primarily because at no other time in history has their been so many quality options for monthly reads. However, the deluge of great comics can take its toll. Given too much of something good, even great comics, a person quickly becomes numb to their pleasures. Reading so many wonderful series means that it becomes easy, on occasion, to overlook just how amazing and unique some issues really are. It’s for this reason that Doctor Strange 21 stands out to me. Not only is it an excellent issue on its own, but it reminds me why comics are some of the most innovative mediums going today. Continue reading

Daredevil 18

Alternating Currents: Daredevil 18, Drew and Spencer

Today, Drew and Spencer are discussing Daredevil 18, originally released September 2nd, 2015. 

Act three: The climax occurs as well as the dénouement, a brief period of calm at the end of a film where a state of equilibrium returns. In other words, it is simply the resolution.

Wikipedia, Act (drama)

Drew: It might be reductive to call the final act of a story the most important, but it certainly defines what kind of story it is; is it a tragic or optimistic? Is it about how people and things change or about how they stay the same? Is it about satisfying resolutions for the characters, or satisfying resolutions for the plot? I’ve presented some obviously false dichotomies there, but the point is, the exact nature of a story, from its ultimate message to its storytelling sensibilities, can’t be defined until that final act. That puts a lot of pressure on the final act — a pressure that is doubly true in comics, where the final issue may make up a tiny fraction of the series’ run. Of course, it’s under pressure that Mark Waid and Chris Samnee’s Daredevil has always had its highest moments, from moving Matt and company across the country to gracefully integrating into whatever crossovers Marvel cooked up to simply resolving the daring cliffhangers they came up with the month before. Daredevil 18, their final issue, is no different, which is exactly why it’s such a remarkable ending. Continue reading

Daredevil 16

daredevil 16Today, Patrick and Spencer are discussing Daredevil 16, originally released June 24th, 2015. 

Patrick: One of the base assumptions that I usually have to check when discussing a work of genre fiction is the assumption that the villain acts as an analogue to the creative forces behind the story. Heroes — be they superheroes or brave knights or swashbuckling adventurers — seldom get to trade in particularly complex or nuanced ideas. But villains! Villains get to have a much more human relationship to morality, often holding conflicting ideas in their heads. What’s more is that both the villains and the creators have the same job: make the hero suffer. This relationship gets even trickier when the characters are on-loan from elsewhere, as is so often the case with comic books. Mark Waid and Chris Samnee have made their mark on Daredevil, but the character does not belong to them in the strictest sense. Issue 16 sees the creators trying to reconcile their relationship to the titular hero, and in so doing, welcome a host of villains into their drama. Continue reading