Skip to main content

Detective Comics #934


(SPOILERS ahead, and I don't just mean the character)

The reason DC Rebirth has worked is because they have started focusing on stories. It's a simple rule that I wish more superhero comics stuck to in general. See, here's the thing: unless you have an unhealthy obsession with these characters, which means keeping up with every branching storyline and subplot and spinoff regardless of whether you're actually enjoying them or not, all anyone has ever cared for when reading superhero comics have been colorful characters fighting crime in larger than life scenarios and emotionally stirring milieus. Granted, over time, they've become more psychologically refined, which makes their antics feel charmingly out of place. But that's all anyone needs: good art, good writing, and above all, a good story. And this is what DC is doing so well now. Take Detective Comics. I just read the first issue (and I know it's been a while since it was released), but here we have a threat (someone's manufacturing highly advanced drones to take down vigilantes in Gotham City), a plan (Batman recruits Katherine Kane to train a ragtag group of do-gooders), a surprise (Clayface?! I've always been a fan of the character ever since the days of Batman: The Animated Series, so it's good to see him back in the spotlight, as a good guy, no less!), and optimism in the face of imminent doom (which has always kept me coming back to Gotham, which otherwise in its modern incarnation is bleak as all hell, to the point of being depressing). Then there's the good old cliffhanger splash page:


Turns out our heroes have bitten off more than they can chew! However can they triumph over such eeevillll?

See, DC? That wasn't so hard, was it? Now all you need to do is bring back Martian Manhunter...and we'll call it a day.

Comments

Popular posts from this blog

Crash

Around ten years ago I encountered J. G. Ballard's Crash for the first time. And I was disgusted within a matter of a few pages. The incessant and grating descriptions of car crashes and sexual climaxes seemed pointless, not to mention repulsive. I was also disappointed to find the author of such visionary fictions such as The Drowned World, amount to nothing but a cheap, sensationalist pornographer. Fast forward to today, when in a caffeine haze I galloped through the first 50 pages again. The book seems completely changed now. It is, if anything, honest in it's decision to stick to it's theme of marrying technology with sexuality. There is no cheap moralizing, nothing but a razor sharp introspection into the twisted psychology behind explosions and car crashes. In the aftermath of the Vegas shooting, Ballard is more relevant than ever before. The context may be gun violence, but the appeal remains the same. Incidents come and go, but our acceptance of them betrays a perv

Hob

Hob is an anomaly. It has a very inspired art style, its animations are beautiful, and overall it's a very responsive game. But it's stuck in the past in a very fundamental way. Usually, however, this would be disappointing, but somehow here it isn't. Hob 's brand of adventuring is something that's taking place across the indie scene right now: not quite minimalism, but more of a cryptic-realism, if you will: a philosophy that the days of saturating you with information are long gone. What this entails is of course a certain amount of trust that you have to bring with you to the game. Does Hob earn this trust? In spite of not really doing anything radically new, it actually does. Hob is adventuring at its purest, because even when you have no idea why you're doing what you're doing (pulling that lever, hitting that switch, watching a giant contraption come alive and literally change the landscape in front of you), you still want to go ahead and try, for