comics, comics criticism, writing

Image Comics’ Ordinary Gods Questions Heroism and Mythmaking

Comics are often synonymous with superheroes; they dominate the industry whether you like it or not. Their myths and their tropes and their cycles of stagnation, reinvention, and their inevitable return to the way things Always Are. Heroes win, and more important than that: they are heroes. There is comfort in them; I am a fan of them. I don’t begrudge the status quo in and of itself. But often these demands and these cycles hide the hard truths of the industry that creates these stories, the way the corporate sponsors of these lucrative properties exploit and stifle the creators they rely on for their tentpole films and licensing initiatives. The heroes and gods are the myth, but the reality is as ordinary and petty and deflating as any other industry, with its dark secrets and interpersonal frustrations. While Ordinary Gods is not a superhero story, their dominance of the medium and the expectations readers bring to the comics reading experience are inescapable.

Ordinary Gods is a new creator owned series by the red-hot writer Kyle Higgins and artist Felipe Watanabe. Higgins looks to explore and unmask these ideals of heroism and take a harder look at the truth. It serves as a commentary not only on our human tendency for myth-making and hero-worship more broadly but also a metatextual commentary about the comics industry itself that channels his professional frustration of the work for hire system into a cosmic, eternal cycle of death and rebirth.

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comics, comics criticism, dc comics, Perspectives, writing

The Final Night and the Forgotten Legacy of the DC Universe

One thing my recent Nightwing project accomplished was reigniting my love for DC Comics–particularly the stories and universe of the 90s, which, ironically, I have ready very little of. While I initially planned to cancel my DCU Infinite subscription once I finished that Nightwing read, I instead decided to dive into the stories I was always intrigued by but never had the opportunity to read.

As a kid I spent countless hours online following the stories of DC characters I had never heard of before, written by fans who chronicled the various adventures in compelling narratives. The DC Universe was boundless; there were always new characters and new stories to discover. In particular the fall of Hal Jordan seemed especially captivating. Reading about his sacrifice in The Final Night was such a moving memory even in the form of synopsis that when I found the story on DC Infinite those heady days of research came flooding back. Imagine my surprise to find that an event series from the mid 90s, an era that has a reputation for excess and convoluted plots, was in fact one of the most compelling, reserved, and moving superhero stories I’ve ever read.

The Final Night was a 4-issue, weekly event series written by Karl Kesel with art by Stuart Immonen, inks by Jose Marzan Jr. and colors by Patricia Mulvihill. It begins with the death of a world, as a mysterious power extinguishes the planet Tamaran’s sun. The alien Dusk, a messenger from another world, races from the dying Tamaran to warn the next planet of the coming of the Sun Eater, as she has done countless times before. The Sun Eater is coming to Earth, and there is no hope. Her goal is not that the next planet will defeat the Sun Eater but that they somehow save a few from certain death.

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comics criticism, dc comics, Perspectives, Uncategorized, writing

Who is Dick Grayson? A Critical Retrospective of Nightwing

I read every issue of Nightwing, every Dick Grayson solo series (including his time as Batman and a super spy) and 100+ issues of Titans and Justice League over the last two months, in search of the answer to one question.

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comics, comics criticism, dc comics, writing

Strange Adventures: Artifice, Narrative and the Nature of Truth

Art by Evan Shaner

Reading Strange Adventures, the latest Tom King maxiseries with collaborators Mitch Gerads and Evan “Doc” Shaner, along with letterer Clayton Cowles, is an act of engaging with an artifice. The very structure of the work directs the reader to recognize its fabrication and question the truths it presents.

According to King, the series “is trying to speak to the nature of truth and how our assumptions about that nature can tear us apart.” 1 The story is set amid the backdrop of war, but it is not about the trauma of a single event on a broken man trying to put the pieces back together. It is an exploration of the American moment under Trumpism, where “Truth” as an abstract concept seems increasingly meaningless.

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comics, comics criticism, marvel, spider-man, writing

Exploring Steve Ditko’s Nine-Panel Mastery in Amazing Spider-Man #32

Recently, I was inspired to dive into Amazing Spider-Man from the start.

In doing so, it becomes hard to make much of a case against the original Steve Ditko run with Stan Lee as a practically perfect execution of superhero comics. In many ways, Ditko’s contribution to the medium are less heralded as others in the field, including his contemporaries like Lee and Jack Kirby. But far beyond simply creating interesting characters and being an “ideas man,” Ditko was a master of visual storytelling.

Over the decades, the Nine Panel Grid has become something of a tool of nostalgia, or a throwback to a different era in storytelling. But even those who rail against the boundaries of the nine panel owe a debt to the formulators of the medium, who cemented this layout as the building blocks of coherent narrative.

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comics, comics criticism, marvel, writing

The House of Xavier…And The Way We Treat Our Children

This piece was originally written and posted on my tumblr writing blog, timlikescomics.tumblr.com

House of X 4 is a visceral, action packed issue that ends in tragedy as the full strike force of mutants discharged to stop the oncoming artificial intelligence apocalypse are murdered by a group of human zealots intent on wiping out all mutants.

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