Harley Quinn's Greatest Moments from "Batman: The Animated Series"
TV, Comic Books
Realism in superhero comics is an interesting struggle. Because there is an inherently fantastical element to any story involving people with impossible powers, finding a way to keep them grounded is not always an easy or obvious task. Typically, these are narratives about grown men and women who make up secret names for themselves and throw on outlandish, bright, skintight costumes every time there’s someone evil to punch. This is not exactly a genre that lends itself to a believable narrative. And it’s not that every superhero story needs realism, but those that do strive for it often go the “grim and gritty” route, seeing brutality and depression as the only means of bringing their demigod-like characters back down to Earth. To keep things exciting and intense without always relying on larger-than-life, city-block-devastating action, creators will turn to the ugliest, darkest aspects of human nature and heighten them to superheroic levels. And certainly many great things have come from this strategy, but more and more often it feels like current creators are piling on the darkness without any rhyme or reason, and the results are just as unrealistic as anything, only bleaker and more violent. D.P. 7 offers a different approach, realistic not because of any darkness in tone but because of its pacing, telling its story in as close to real time as it can. At its best, this tactic makes the series better and smarter than your average comic book by far. But at its worst, it’s incredibly boring. As boring as real life. Continue Reading »
1987 And All That: Star Brand #4-10 (Marvel) by Jim Shooter (#4-7), Roy Thomas (#7), Cary Bates (#8-9), George Caragonne (#10), John Romita, Jr. (#4-7), Arvell Jones (#8), Keith Giffen (#9), Mark Bagley (#10), Al Williamson (#4-6), Rick Bryant (#6), Al Milgrom (#6), Art Nichols (#7), Danny Bulanadi (#8), Bob Wiacek (#9), Pablo Marcos (#10), Christie Scheele (#4), Janet Jackson (#5-7), Petra Scotese (#8), Andy Yanchus (#9-10), Joe Rosen (#4-5, 7-8), Rick Parker (#6, 10), Ken Lopez (#9), Jack Morelli (#10), Michael Higgins (#4-9), Howard Mackie (#10)
There is no single, unifying narrative or theme that bonds all of these issues together, and often when that happens, I will review only one arc of the title rather than the entire year’s worth of material. In the case of Star Brand, though, the most interesting element of this particular run of issues is just how different they are from each other, and in particular the stark change that occurs when Jim Shooter and John Romita, Jr. leave the book. Continue Reading »
Every day this year, I will be examining the artwork on a single comic book story. Today’s artist is Joe Madureira, and the issues are Marvel Comics Presents #89 and #92, which were published by Marvel and are cover dated November and December 1991. Enjoy!
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Blue Beetle #8-19 (DC) by Len Wein, Joey Cavalieri (#12), R.J.M. Lofficer (#14-15, 17-19), Paris Cullins (#8-9, 11-14, 17-18), Chuck Patton (#10), Ross Andru (#15-16, 19), Dell Barras (#8-15), Danny Bulanadi (#16-17, 19), Carl Gafford (#8), Gene D’Angelo (#9-19), John Costanza, Karen Berger (#8-13), Denny O’Neil (#14-19)
To be a superhero requires a certain amount of optimism. It’s not just about having power, but also about believing that you can use that power to make an actual difference. It’s about picking the good side in the never-ending good-vs.-evil conflict that rages within and around us all, and convincing yourself and the world that you’re contributing something, that you’re genuinely helping your side win in the short- and/or long-term. I suppose this requires some level of ego/arrogance, too, and probably more than a little delusion. The titular star of Blue Beetle certainly possesses both of those traits, but it is the aforementioned optimism that shines through most brightly with that character and the series as a whole. Ted Kord earnestly, enthusiastically does good for it’s own sake, and seems to find that it is it’s own reward, too. His life is full of other rewards— money, status, romance, an entire corporation to run—but his superheroics are what take precedence and usurp most of his time, because that’s what most interests and satisfies him. It even, at times, gets in the way of his other obligations, but ultimately Kord chooses over and over to put his Blue Beetle activities first since he thinks of them as the most important, valuable work he does. Continue Reading »
Infinity Inc. #34-44 (DC) by Roy Thomas, Dann Thomas, Todd McFarlane (#34-37), Martin King (#38), Michael Bair (#39), Vince Argondezzi (#40-44), Tony DeZuniga (#34-42, 44), Pablo Marcos (#39), Danny Bulanadi (#40), Al Vey (#42), Rodin Rodriguez (#43), Alfredo Alcala (#43) Liz Bérubé (#34, 38, 41, 43-44), Carl Gafford (#35-37, 40), Anthony Tollin (#39), Shelley Eiber (#42), David C. Weiss (#34-39), Agustin Mas (#39-40), Jean Simek (#41-44)
It’s a little hard to sum up my opinion on the 1987 issues of Infinity Inc., because it was an unsteady series at that time, varying in quality not only from issue to issue but often from scene to scene. It was more interested in the personal dramas of its cast than the flash and flair of superpowered action, yet the action sequences were more reliably entertaining than the more grounded character work. Then again, all the strongest moments center on the characters’ emotional lives, but so do the weakest ones, with the fight scenes falling somewhere in between. This gives the comic a strange lack of identity; is it compelling teenage drama or lame teenage melodrama, a fun superhero adventure or a dull superhero business meeting? With 27 story pages per issue (on average…sometimes 26 or 28) Infinity Inc. has room to be all of those things and more, but it’s never any one thing for long enough to get the reader fully, unwaveringly invested. This is frustrating to a degree, but also appropriate, because as a team Infinity, Inc. is a fairly disjointed, non-unified group. They have wildly different priorities and opinions on how to operate, and they pretty much never do anything as a full team, splintering instead into smaller units for each new mission/threat. So the book’s somewhat chaotic voice fits nicely with the team’s mismatched energy, and may even be an intentional aspect of the storytelling for that reason. Which is all well and good, but doesn’t make it any easier to know precisely how I feel about these issues as a group. Continue Reading »
Every day this year, I will be examining the artwork on a single comic book story. Today’s artist is Kelley Jones, and the issue is The Micronauts: The New Voyages #14, which was published by Marvel and is cover dated November 1985. Enjoy!
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Every week, I will be sharing with you three comic book “easter eggs.” An easter egg is a joke/visual gag/in-joke that a comic book creator (typically the artist) has hidden in the pages of the comic for readers to find (just like an easter egg). They range from the not-so-obscure to the really obscure. So come check ‘em all out and enjoy! Also, click here for an archive of all the easter eggs featured so far! If you want to suggest an easter egg for a future column, e-mail me at email@example.com (do not post your suggestion in the comments section!).
Today we look at an issue of Captain America by Mark Gruenwald, Rik Levins and Danny Bulanadi where Captain America, Hawkeye and Iron Man visit a bar that is packed to the gills with easter egg cameos.
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