Paul Bettany Talks "Age of Ultron," Working with James Spader & More
Booster Gold #13-22 (DC) by Dan Jurgens, Gary Martin (#13), Mike DeCarlo (#14, 18), Bruce D. Patterson (#15), Bob Lewis (#16), Arne Starr (#17, 20), Al Vey (#19), Ty Templeton (#21-22), Gene D’Angelo (#13-15, 17-22), Bob Lappan (#13, 17), John Costanza (#14, 18), Agustin Mas (#15), Albert de Guzman (#16), Duncan Andrews (#19), Steve Haynie (#20-22), Barbara Randall
Booster Gold is kind of a jackass. My previous exposure to the character had always been in the context of the Justice League, so I knew he was cocky, but the true depths of his self-importance surprised me when reading his solo title. Yes, I was aware of his origins as a former star athlete from the future who stole technology from his own time, brought it to our own, and used it to make himself into a superhero. None of that screams altruism, so I suppose I could’ve expected the brash, reckless, in-love-with-himself hero I got, but for whatever reason it caught me off-guard at first. I guess I had always assumed that since he was a professional superhero, he must have a strong core goodness that would trump his immaturity and arrogance when it mattered. In reality, his self-interest is his core, and any genuine goodness that results does so almost in spite of his personality. He likes the superhero lifestyle, but his enjoyment comes first from the thrill and then from the fame, with any satisfaction he gets from actually helping someone or fighting evil being largely incidental. He’s not a bad person; he has loose morals that guide him and the hint of a sincere desire to be better and do more. Yet all of that keeps getting overshadowed by his continued focus on maintaining his public image, getting rich, womanizing, and having fun. Continue Reading »
A column in which Matt Derman (Comics Matter) reads & reviews comics from 1987, because that’s the year he was born.
The concept of Suicide Squad is elegantly simple, and maybe inevitable in the world of superheroes and villains. The difficulty of effectively imprisoning superpowered baddies has been explored in many ways in all kinds of comicbooks, and this series offers one more approach: a work release program for supervillains. And why not? There are all different levels of supervillainy, and as many different motivations for it as people participating in it, so anyone who wants to prove themselves less insane or untrustworthy than their peers might as well get a chance. Besides, giving them another venue/outlet for their abilities could potentially place them on a better path, even make them better people. Right?
Wrong, says Suicide Squad, which seems to believe that people, good or bad, pretty much are who they are no matter what. The book hinges on this philosophy, its drama fueled by the clashing and immovable personalities of its cast. In the world of Suicide Squad, the whole Suicide Squad project is a futile endeavor, an attempt to convince villains to act against their natures through an odd combination of bargains, threats, and field assignments. Trouble is, nobody can ever act against their nature in this book, so the Squad fails or at least half-fails on every outing, refusing to gel as a group and generally causing more harm than good to its members and the rest of the world.
Every day this year, I will be examining the artwork on a single comic book story. Today’s artist is Rob Liefeld, and the first story is “A Princess’ Story” in Secret Origins #28 and the issue is Hawk and Dove #1, both of which were published by DC, the first cover dated July 1988 and the second cover dated October 1988. Enjoy!
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Every day this year, I will be examining the first pages of random comics. This month (for a while) I will be showing pages chosen by you, the readers. Today’s page is from Secret Origins #48, which was published by DC and is cover dated April 1990. This page was suggested by commenter The Crazed Spruce, but I couldn’t run it on the day he wanted me to. Sorry, sir! Enjoy!
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