This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
I’ve spent plentyofwrite-ups of The Wild Storm praising Jon Davis-Hunt’s diagrammatic approach to action AND connecting that aesthetic to the interconnected world Warren Ellis is crafting. It’s a remarkably unified vision that has the power to keep even the wordiest talking-head pages engaging (though admittedly, I tend to use big action sequences to illustrate its efficacy). And to be sure, there are definitely some talking-head sequences in this issue, but as the central conflict between Skywatch and IO heats up, the slow simmer that defined the first year of this series is quickly becoming a rolling boil, meaning pretty much every scene is going to feature some action, too. Continue reading →
Today, Ryan and Michael are discussing The Wild Storm 1, originally released February 15th, 2017.
When she transformed into a butterfly, the caterpillars spoke not of her beauty, but of her weirdness. They wanted her to change back into what she always had been. But she had wings.
Ryan D:Transformation stands as a long-enduring fascination for us, as humans. Sometimes, this includes our history with shapeshifting, which goes back to the oldest discovered forms of shamanism, or enduring texts like The Epic of Gilgamesh or The Iliad. The lore of werewolves alone originated way back to 22 A.D. Transformation seems to be ingrained in our collective unconscious, with the superhero genre and comic books to be a very receptive medium for the trope. What surprises me, however, is when the transformation hurts. I remember playing The Legend of Zelda: Majora’s Mask and seeing Link put on a transformative mask for the first time, and then being aghast as the little hero screamed in pain as he changed into a Deku Scrub. Another example: the scene in An American Werewolf in London when the protagonist howls in agony as he becomes lupine. The Wild Storm 1 brings to the pages many transformations for its characters, but is also a transformation unto itself — of an imprint and universe left in chrysalis form for six years and being born again. How well, then, have Warren Ellis and Jon Davis-Hunt coped with the growing pains with this first issue? Continue reading →
Today, Patrick and Drew are discussing Deathstroke 10, originally released June 13th, 2012.
Patrick: Writer and artist Rob Liefeld is an interesting dude. He’s been a huge figure in american comic books since the 1990s, was one of the founding members of Image Comics, and currently writes and/or draws more comic series than the average person is reading. He’s a prodigious talent, and even when he’s mired by controversies about misogyny, late work or even plagiarism, the man sells a ton of comic books. There’s a legion of critics that absolutely loathe his contributions to the medium, but the legion of fans that support his efforts far outweigh the nay-sayers. For all the content the guy produces, he somehow manages to keep up a very active, incredibly aggressive public persona (the man’s twitter appetite is insatiable). He’s boastful, and likes to remind critics that no matter what they say, he’s always going to be successful. Besides, Liefeld frequently asserts, he’s not writing for the critics he’s writing for the fans. So if the artist is so interesting, why is his art so boring?
Today, Peter and Shelby are discussing Deathstroke 9, originally released May 9th, 2012.
Peter: With the release of issue 9, Deathstroke gets both a new writer and artist, who turns out, is the same person. Rob Liefeld takes the reins of the Terminator and sends him on a new adventure. However, I feel that DC should have gone ahead and called this issue #1, since, well, that’s pretty much exactly what it is.