#325 Alan Moore’s “Swamp Thing”

Swamp ThingDue perhaps to the passage of time, poorly handled reprinting by DC, or some other reason, Alan Moore’s writing stint on Swamp Thing in the 1980s does not seem to get mentioned much today. Which is a shame, because it ranks with Moore’s best work. And the art by Stephen Bissette and John Totleben (and able fill-in artists) is worth the price of admission by itself, not to mention Tatjana Wood’s colors.

Tim and Kumar had a blast reading the early issues of the run (#21-37) and are here to share the experience with you.

REVIEW: Supergods – What Masked Vigilantes, Miraculous Mutants, and a Sun God from Smallville Can Teach Us About Being Human

By Grant Morrison

Spiegel & Grau 2011

Grant Morrison is a decisive subject in comics. Many love his work. Many love to hate his work. Many just don’t know what to think of him.

What Morrison delivers with Supergods is a unique text about comics. It is part history, part deconstructionist analysis, part personal memoir, part reflexive view of his own work. It is a varied and interesting book that provides some fascinating insight into his ideas about the superhero.

The book follows a basic chronological structure that is divided along 4 ages: Golden Age, Silver Age, Modern Age, and Renaissance (starting the late 1990s). He deconstructs covers of famous comics such as Action #1, Detective #27, and The Dark Knight Returns #1. Certain key characters and stories are reflected on. It is not really any unique ground that is tread as far as the history of comics is concerned, were it not for Morrison’s uncanny intellectualizing of the materials in a way that augments their historicism with a psychological attention reflection on the material. Continue reading REVIEW: Supergods – What Masked Vigilantes, Miraculous Mutants, and a Sun God from Smallville Can Teach Us About Being Human

Arkham City: New Takes of the Batman Characters from the Comics and Movies

I recently bought the video game Batman: Arkham City and was amazed by the content. Batman: Arkham City involves Gotham City being taken over by the villains that Batman has sent to Arkham Asylum throughout the years.  The Batman villains have taken some of the residents of Gotham City hostage and some of the Gotham City Police officers hostage.

Batman: Arkham City begins with a segment where Bruce Wayne is making a speech.  While he is speaking, Vikki Vale is shown reporting on the speech.  In the middle of Bruce Wayne’s speech, he is kidnapped by Hugo Strange’s henchmen.  Bruce Wayne is then taken to a room and tied up in a chair.  Then Hugo Strange begins to talk smack to Bruce Wayne.  From there the game starts.  When the game starts, you have to use your XBOX controller to get Bruce Wayne to escape from captivity in the chair.  The screen will give you hints on what buttons to push in order get Bruce to rock back and forth in the chair.  Rocking back and forth will get Bruce to fall and break the chair, thus escaping from captivity.  Once you get him to break out of the chair, Hugo Strange’s henchmen will start running in the room to give Bruce Wayne the beatdown.  It will be your job to fight off the henchmen.  Once you defeat the henchmen, you will have to find the rocket that Alfred will send to Bruce.  This rocket will have the Batman suit in it for Bruce to change into.  From there, you will be able to put Batman into some serious action.

What makes Batman: Arkham City so great is the fact that players of the game can choose to go anywhere they want.  Players can choose the outcome of the game by going anywhere in Arkham City.  Wherever you go in Arkham City will depend on what happens.

Each villain has their own section in Arkham City that that villain owns.  Each villain’s territory is guarded by their henchmen.  When you are far away from a villain, you will encounter thugs that have bats.  The thugs with baseball bats are easier to defeat.  However, if you get close to a villain, you will encounter henchmen with guns.  The thugs with guns are a lot more difficult to defeat.  You will have to use more of a strategy to take down thugs with guns by using smoke pellets.  Once you get Batman to use the smoke pellets, you can get Batman to hide in the smoke and capture the thugs one by one.  Doing this takes a long time to do because Batman will have to use his harpoon to hang from the top of buildings and swoop down on the gun armed thugs.  You have to wait until the right time to get each thug.

The thing that really makes Batman: Arkham City stand out is the fresh new takes on the Batman characters.  Batman: Arkham City does a good job at mixing elements from the Batman comics and all of the Batman movies.

In Batman: Arkham City, The Joker is supposed to be dying from a fatal illness.  As Batman runs through Gotham City, you will overhear people talking about The Joker dying.  There are also parts in the game where you can see the Joker’s sickly looking face.  Just like in the cartoon Batman: The Animated Series, The Joker is voiced by Mark Hamil from Star Wars.  Also, Kevin Conroy, who voiced Batman in Batman: The Animated Series, also voices Batman in the Batman: Arkham City video game.

The interesting thing about The Riddler’s voice is that it sounds just like Jim Carrey in the movie Batman Forever.  However, The Riddler is voiced by Wally Wingert, who did work on the cartoons Family Guy and The Avengers: Earth’s Mightiest Heroes.

The Penguin is a villain that had a very good makeover in this video game.  In this game, the Penguin has an English accent.  This works considering The Penguin’s proper look.  Another makeover for The Penguin a change in his monocle.  Instead of a monocle on The Penguin’s eye, he has a piece of a broken beer bottle lodged in his eye.  Other characters featured in Batman: Arkham City are Barbara Gordon, Harley Quinn, and Bane.

If you lose at a certain level, you will hear some very harsh words from the villain who owns the territory you where in when you lost.  This will definitely motivate you to play the game over again.

All of the different elements taken from everything related to Batman makes Batman: Arkham City a great buy.  The game will have you playing for hours with riddles that you will not want to stop trying to figure out.

REVIEW: Joe The Barbarian

Written by Grant Morrison.

Art by Sean Murphy.

DC Comics/Vertigo, 2011.

Grant Morrison is a decisive writer in the comics form.  Many people do not like his more experimental works, especially when the narratives get characteristically dense or abstract. Final Crisis anyone? Many people don’t enjoy when he incorporates more esoteric ideas like chaos magic, ceremonial magic, occult philosophy, media theory, surrealism, dadaism, William S. Burroughs, psychedelics, alien abductions, etc. Invisibles reads like an incredible mess if you are not familiar with some of those topics. The same could be said of Doom Patrol. Some of his work doesn’t traffic with these outre ideas or experiments in the form though, and Joe The Barbarian is an example of such a work.

I hate to say that this book is an example of a “restrained” Morrison. What Morrison did was write something that appeals more to the Neil Gaiman fan than the Robert Anton Wilson or William Gibson fan. The pitch mashup I would use is The Goonies meets The Never-Ending Story. It’s a self contained eight issue miniseries that has been published in a nice hardcover. Continue reading REVIEW: Joe The Barbarian

#311 Hold your comic for ransom! Will readers pay?

Evil DivaIn the course of doing this podcast, we often find comics that we’d like to read more of, but seldom can because we have to move on to the next podcast topic, and there are only so many hours in a day. This week, Mulele & Tim thought they would revisit some previously reviewed Web comics and see how their creators had progressed. But, wait, hold the phone — what’s going on with Evil Diva? (original 2009 critique was rerun November 5, 2011) The work-for-hire Web comic abruptly changed its business model last summer. Are the site’s handlers killing the comic while trying to save it?

Also, Mulele revisits Dustin Harbin‘s site, with asides about Matthew Forsythe and boycotts of Marvel & DC.

#309 Understanding Israel through a Memoir

Sarah GliddenThe Israeli/Palestinian situation has been in the news for as long as any of us can remember, but how much do we really understand about it? Sarah Glidden, a secular Jew, went on a “Birthright Tour” expecting confirmation of all the negative things she believed about Israel, only to find that the reality was much more complex. Sarah talks to Tim about the experience and her next career steps, and Tim and Brandon review “How to Understand Israel in 60 Days or Less”, Sarah’s graphic novel/memoir of her Israel visit.

Sarah Glidden’s site

Festival International de la Bande Dessinée d’Angoulême

#308 Not a Croc!

FrazettaWhat do writing cool Heavy Metal songs and writing comics have in common? Nothing! Absolutely nothing! Put down that pen, and go back to your guitar where you belong, headbanger! Rob Zombie, Scott Ian, and Glenn Danzig all share a mutual passion for comics, and had brilliant artists at their disposal, so what went wrong? Blind love of 70s creature features?  Sycophantic DC editors? An obsession with “croc-like creatures”?! Kumar and Dana attempt to wade through the muck…

REVIEW: Action Comics #775

Joe Kelly, writer. Doug Mahnke and Lee Bermejo, pencillers.

DC Comics, 2001.

“Masks are for hiding. Capes are for play. ‘Villains’ don’t share their plans before they smoke you — ‘cept in campaign speeches. Or the pulpit or in front of the classroom. Reality is a mite bloodier than sitcoms or comics. The greys stretch out farther… Evil scientists. Bogey-men. Gimps in tights who want to ‘rule the world.’ From now on they’re yours — and the rest are ours to do with as we see fit.”

— Manchester Black (leader of The Elite) speaking to Superman

Despite some things you might have heard me say, or what you might have read in my diary that I keep under my pillow, I don’t really care about Superman in the greater context of things. I don’t spend a lot of time thinking about the Clark / Superman dichotomy, or what principles Superman embodies. If anything, I agree with Gary Groth’s 1988 essay that really Superman is a symbol of commercialism, exploitation, and the gangster morality of the comics industry. I love the first Christopher Reeve movie. And I like the character to the extent that he opens the door to stories in which, say, Jimmy Olsen uses a “Helmet of Hate” to turn Superman into a red devil with horns and then the horns crack open and tiny Supermen fly out, all drawn in an almost inappropriately naturalistic way by Curt Swan.

Continue reading REVIEW: Action Comics #775

#307 Getting some Action (Comics)

Action ComicsIf you’ve paid two seconds of attention to American comics recently, you probably know that DC “soft rebooted” its entire line, shipping fifty-two #1 issues last September. Since hyping the latest DC/Marvel news is not really our thing, we’ve been leaving that to other podcasts. But since Marvel zombie Tim, of his own free will, decided to pick up Grant Morrison’s Action Comics, and Kumar is a sometime Superman reader, we decided to present here our take on the first four issues.

Also, why reading comics on an iPhone is still a less-than-satisfactory experience; and, you too can be a DeconstructingComics.com columnist!

#306 Fear Itself and other events that… happened

Fear ItselfCrossover events have become ubiquitous fare from Marvel and DC, with smaller publishers recently jumping on the bandwagon. Lots of us complain about them, and yet, buying ironically is still buying. Tim is joined by John Roberson to discuss why the past year’s main events, Fear Itself and Flashpoint, were particularly unsatisfying, what makes a (relatively) good event series, and why we read these books in spite of “event fatigue”.

John’s Comic Art Commissions page