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davidmann95 · 4 years ago

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Comics this week (3/17/2021)?

Justice League #59: This issue feels like the biggest testament to the word that Infinite Frontier is just the interim before the real relaunch that’s coming, because there is zero pomp or circumstance here of the kind you’d expect even if you think Bendis sucks. Young Justice of all things felt weightier than this in its debut; this is perfectly passable mind you, but if it was anything less than Justice League I’d go “ok, this is one of those Bendis books I don’t care about” and pass it by. I’m pretty sure his more substantial plans for the title are being kept for a proper new #1 waiting in the wings, but in the meantime it’s a perfectly slick team book with a couple decent bits, a bunch of my favorite characters, and pretty Marquez/Bonvillain art so I’m fine with it. Obviously the V/Xermanico Justice League Dark backup was the highlight.

Superman: Red and Blue #1: Apparently a lot of Superman fans didn’t like this, which doesn’t surprise me - a lot of it is Clark beaten down, needing help, or otherwise on the back foot one way or another, and that triggers a lot of alarm bells for a certain type of stan at this point. For my money though these were almost all great, and I was even able to get the cover by the Final Fantasy logo artist Yoshitaka Amano.

* Ridley/Henry/Bellaire/Sharp: The big advertised presentation, I’ve been really curious in the wake of Other History what Ridley would do with a Superman solo story and this absolutely didn’t disappoint. A harrowing take on Clark as truly vulnerable and how his mindset shifts or doesn’t in response I’m kind of astonished DC let the team get away with, this came together wonderfully.

* Easton/Lieber/Chan/Cowles: The weakest of the bunch, a severe but moving tale contrasting Superman’s splashy adventures with his potential impact on those around him bookended by some much weaker stock “are you sure you’re doing enough?” material, though it’s absolutely beautiful under Lieber and Chan, especially the final page.

* Craig/Bennett: A fantastic little tale of parallels on the human scale existing in Superman’s wake, and while that material’s only front-and-center for a couple panels here I would kill to see Craig draw a big cosmic epic.

* Watters/Dani/Sharpe: The big standout aside from Ridley’s story, there’s kind of no excuse for this not having been the first feature of the issue given it’s about the gimmick of the format in a way that leads directly out of its inspiration in Batman: Black and White. I do wonder what colorblind readers would make of the message of this one though, even if I read it the point of what happened as extending beyond the literal physical. In any case, I desperately hope this and Future State: Superman/Wonder Woman won’t be the extent of Watters’ work in this territory.

* Bennett/Thompson/Peteri: A simple but sweet little story of a young Clark learning a formative lesson - don’t see the gimmick that often of having both caption boxes and thought balloons around for different purposes, and it’s one I’m always happy to see.

Nightwing #78: As a Taylor fan, gotta say, this sucks. Flat, twee, totally without narrative momentum or weight except for a single completely bonkers new element in Dick’s world I’ll discuss in another ask, and of all things for some reason a bizarrely shameless Fraction/Aja Hawkeye ripoff alongside its rote regurgitation of Dixon and Snyder. This is everything people who hate the guy’s (non-Injustice, non-DCeased) work think of it as, and Redondo, Lucas, and Abbott’s next level, jaw-droppingly gorgeous work here is crushingly wasted. I’m not sure I can judge this as a ‘failure’ when it’s absolutely going to succeed at its actual goals - not as a story even if I understand even more people are pulling it than the new JL, but as contextless panels to circulate around comics Twitter/Tumblr in perpetuity - but as someone who thought a lot of Taylor’s strengths have been often overlooked and was hoping he’d pull out of some of his worst habits, it’s such a downer to watch him dive in face-first. An instant drop.

Catwoman #29: Fully out of the Brubaker shadow for me at this point and into its own oddball take on crime in Gotham, it doesn’t seem to be attracting much heat but I hope the team gets the space to see its story through and I suspect this run will be looked back on very fondly as a hidden gem in years to come.

Batman vs. Ra’s Al Ghul #5: IT’S BACK BABY, AND LESS EXPLICABLE THAN EVER. So happy.

Captain America Anniversary Tribute #1: Actually picked this up for a friend of the family who was interested and it’ll be shipped to him later, but read it while we have it and it’s exactly what it says on the tin, so if a bunch of artists doing their spins on these pages appeals it’s perfectly worth your time.

Iron Man #7: I continue to be unable to believe in the best way that this is what the ongoing Iron Man comic is about now.

S.W.O.R.D. #4: Alright, alright, alright - probably the weakest issue so far (which is to say it’s still a lot of fun by most any other books’ standard), but we’re past the King In Black of it all and ready to get into the promise of that debut.

Radiant Black #2: I was really concerned whether this would live up to the promise of the first issue or immediately begin to decline, but I’m happy to report that so far this seems like it’s leaning into its better aspects even if the superheroism remains the weaker half, and I’m still curious to see where this goes.

Abbott 1973 #3: Picked up some after the last issue was losing me, I’m back in the tank for the remaining couple.

Orphan and the Five Beasts #1: Stokoe doing kung-fu horror, madness, and righteous vengeance, an easy win.

Ultramega #1: I was skeptical about this one - I’d barely heard of James Harren even as folks were suddenly talking as if him doing work was long understood as a must-see, the preview didn’t especially grab me, and this didn’t seem to much stand out to me among the increasing surge of toku-inspired material. I was ready for the hype to betray me, but while I’ve seen a critique of this as a sausage-fest unwittingly or otherwise building a lot of its narrative on the pain and death of mothers I’d like to see femme or nonbinary critics unpack further, as a reading experience (prior to seeing said critique) this absolutely blew me away. Incredibly dense even at 60 pages - where a lot of those are splash pages no less - beautifully disgusting, gut-wrenching even aside from the pages with guts being wrenched, monumental, and mysterious, a tale of what happens when we’re let down by the men forced into the role of godling-saviors and what happens next. That Harren mentions in the afterward that this is the first comic he’s written is as remarkable as its is infuriating.

#Week's Comics #Opinion

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collectorscorner · 4 years ago

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erikahenningsen · 5 years ago

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My 15 favorite theater experiences of 2019

In no particular order:

1. Choir Boy (Samuel Friedman Theatre, New York, NY): I say in no particular order, but if you know anything about me, you know that Choir Boy is my number-one show of the year. I saw it four times on Broadway and twice in Boston. Tarell Alvin McCraney’s writing is so beautiful, human, and fearless. He puts works of art on stages, television, and film that nobody else does. Jeremy Pope’s performance as Pharus is easily in the top three greatest performances I’ve seen on a Broadway stage. If your local regional theater is doing this show, I cannot encourage you enough to go and see it.

2. What the Constitution Means to Me (Helen Hayes Theater, New York, NY): This show was unlike any other play I’ve seen before. Heidi Schreck, who wrote and starred in WTCMTM, wrote a deeply human, poignant, and timely play about a document written by a bunch of rich, white men a few centuries ago and made it gripping, engaging, and relevant. It’s a show I believe every American should see. As an added bonus, Heidi is genuinely one of the kindest people I’ve met.

3. The Wrong Man (MCC Theater, New York, NY): I saw The Wrong Man for the first time three weeks before it closed, and I immediately fell in love with it and went back several more times in those three weeks. The Wrong Man is only ninety minutes long and has only three main characters, but it presents an engaging story about forgiveness, mercy, justice, guilt, and innocence. Ross Golan, the composer/lyricist, began performing The Wrong Man as a concept album thirteen years ago and turned it into a full musical. The score is beautiful and has some really great bops, and the choreography is probably the best I’ve ever seen.

4. Waitress with Sara Bareilles and Gavin Creel (Brooks Atkinson Theatre, New York, NY): I’m personally not the biggest fan of Waitress, but this was one of the most fun nights I had in a theater this year. Sara and Gavin had amazing chemistry, and I have never laughed so much at Waitress before.

5. A Strange Loop (Playwrights Horizons, New York, NY): A Strange Loop is unlike any show I’ve ever seen before. It’s unlike anything anyone has seen before. How many shows center around a fat, black, queer character? I can’t think of any. Michael R. Jackson, the book writer/composer/lyricist, has an incredible ability to write satire that has you laughing at the same time you’re being punched in the face emotionally. A Strange Loop grapples with the intersections of racism, homophobia, and fatphobia. It’s meta at the same time it’s grounded, and gets more and more intense as the show progresses. I walked out of the theater in a daze after I saw it. My fingers are crossed it comes to Broadway.

5. Mean Girls, Taylor Louderman’s last show (August Wilson Theatre, New York, NY): Going to Mean Girls is a routine thing for me, and I’ve seen the show dozens of times, but every once in awhile something special happens that reignites my love for this show. Taylor’s last show was obviously incredibly sad for me, the cast, and everyone who loves this show, but I also laughed more and harder on this evening than I have in a very long time at Mean Girls. Everyone, especially Taylor, was giving this performance their all, and I’ll never forget it.

6. The Secret Life of Bees (Atlantic Theater Company, New York, NY): I had suspicions I was really going to love this show before I saw it, but I absolutely fell in love with it. The music is gorgeous (thank you, Duncan Sheik), the performances are stellar, and the story, though set decades ago, is as timely and relevant as ever. I do cry at shows pretty often, but rarely do I tear up because of how overwhelmingly beautiful a show is—but I did that at Secret Life of Bees. I’m still impatiently waiting on that Broadway transfer announcement.

7. Beetlejuice (Winter Garden Theatre, New York, NY): Despite all its flaws, I love this crazy, loud, obnoxious, wild show so much. I had seen it in DC and counted down the days until first preview on Broadway. I rushed first preview and ended up with front-row tickets, and I had one of the most fun nights in a theater I’ve ever had. The performances really make the show, and I’ve been very vocal about how I strongly believe Leslie Kritzer was snubbed by the Tonys. Beetlejuice also has my favorite scenic design for any show. I also have a uniquely personal connection to this showL Beetlejuice used to have a joke in the show I felt was offensive, so I reached out to Eddie Perfect and Alex Timbers and explained to them why I was hurt by it, and they actually listened to my feedback and removed the joke. I’m hoping Beetlejuice can find another home after June, because I’m not ready to say goodbye yet.

8. Next to Normal (Ground Floor Theatre/Deaf Austin Theatre, Austin, TX): For years I had been wanting an ASL production of Next to Normal with Sandra Mae Frank as Natalie, so when it actually happened I knew I had to fly to Texas to see it. I don’t think I’ve ever cried more at a show. Sandy made me look at Natalie in a whole new way, and the ASL interpretations of the lyrics added so many new layers to the show. Megg Rose, the Deaf actor who played Diana, gave one of the best performances I’ve seen, and I want her to be on Broadway immediately. This production really was a dream come true for me.

9. Six (Chicago Shakespeare Theater, Chicago, IL): We drove to Chicago from NYC to see Six, and it was definitely worth it. I was in the front row for the first time I saw it, which was a terrifying but incredibly fun experience. This cast is so incredibly talented, and the show is so much fun, and being there with almost all of my closest friends was such a memorable experience. I’m so excited to see it again when it comes to Broadway.

10. Little Shop of Horrors (Westside Theatre, New York, NY): This was my first experience seeing LSOH, and I had an absolute blast. The performances were incredible, with Christian Borle being just off-the-wall crazy. I haven’t laughed that much at a show in awhile. The Audrey II puppets are fantastic, and what they’ve done with the scenic design in such a small space is amazing. I’m excited to see it again with Gideon Glick.

11. Indecent (Huntington Theatre Company, Boston, MA): Indecent is and always will be my favorite play, and I’m so incredibly grateful I got to see it again in Boston. Huntington recreated the Broadway production with many of the original cast members, and it was such a special show. I never thought I’d see that production again live, and Huntington gave me such an incredible gift with this play.

12. Freestyle Love Supreme (Booth Theatre, New York, NY): FLS is just fun from start to finish. It’s completely improvised with special unannounced guests every night, so it’s different every time you see it. I loved seeing how they made the show more inclusive between Off-Broadway and Broadway (by asking people their pronouns, for example), and I have a blast every time.

13. Ain’t Too Proud - The Life and Times of the Temptations (Imperial Theatre, New York, NY): I saw Ain’t Too Proud mostly for Jeremy Pope, and I was so pleasantly surprised by how much I genuinely loved the show. Derrick Baskin is one of the most hardworking performers on Broadway—he literally does not leave the stage. The choreography is so much fun, and each person in the cast is so incredibly talented. It’s also one of the most pleasant stage doors I’ve ever experienced; everyone at the stage door just really genuinely wants to congratulate and thank the performers, and the actors are so kind.

14. Teeth (National Alliance for Musical Theatre Festival, New York, NY): It’s wild even to me that I’m putting a staged partial reading on this list, but that’s how good Teeth was. I spent the entire time laughing, and the songs are constantly stuck in my head. Everyone at the festival was talking about how much they loved the show, so I’m hopeful there will be a full production of it sometime soon.

15. Slave Play (John Golden Theatre, New York, NY): It’s hard to talk about Slave Play because it transcends descriptors like “good” or “bad.” Slave Play is important. It’s complex. It’s necessarily provocative. And it’s shaken up Broadway like no show has in recent memory. It’s a show I think every American adult should see. I haven’t stopped thinking about it since I saw it. It only runs for a couple more weeks, and if you haven’t seen it, you need to.

#this was hard because i have no concept of time and can't remember anything that happened before may #long post #i'm gwen and i approve this message

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aion-rsa · 6 years ago

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The Secrets of the Evil Shazam in DC's The Infected

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The Infected: King Shazam deals with the ramifications of a Billy Batson turned evil.

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Sina Grace has horror in his blood. Or at least in his mental infrastructure. The comics writer, who burst into the big time with Self Obsessed, his refreshingly honest memoir comic, has spent most of the last five years writing fun, poppy, note-classic superhero books like Mighty Morphin’ Power Rangers and Iceman, or winning critical acclaim with his ghost romance book with Siobhan Keenan, Ghosted in L.A. But he’s getting his first shot at DC jumping into the middle of Batman/Superman’s Infected storyline. The Shazam one shot The Infected: King Shazam, the new book goes way harder at straight up horror than anything Grace has ever done as a writer, at least.

“I may not be known for horror, but I did spend years as Robert Kirkman’s Editorial Director at Skybound, so spending all that time around The Walking Dead certainly helped me with understanding how to build tension and dread in a comic book!” Grace tells us. “I’m also a big nerd for Junji Ito and Hitchcock.”

That’s useful background for a book like The Infected: King Shazam. Billy Batson is normally one of the nicest kids in all of comics, but Jokerized Billy, infected with Joker venom by the Batman who Laughs, turns Billy’s personality on his side. “To me, writing an infected Billy Batson was just trying to get back into that headspace of when you’re a teenager and you think all authority is an ***hole,” Grace says, “the knee-jerk reactions you have when being told what to do; the first instinct retorts that your learn to bite your tongues about.”

So Billy spends the issue going through the various pantheons of the DCU - some, like Thor, who aren't typically present in the DCU, and others, like Rao, who are just big deals. “The most fun I had was getting to go through all these gods in the DCU and have Billy look at them like they’re the ones with the problem,” he tells us. The one who took up a lot of Grace's attention was probably Atlas, one of the seven Gods who give Shazam his acronym of power. "Of all the gods I got to play with, I think the one I had the most questions about was Atlas. My poor editor Paul Kaminski kept getting some incredibly asinine emails from me about what that guy was up to, where his headspace was at, etc. I don’t think anyone would wanna read my comic about Atlas in solitude, but it could make for a fun back-up or something," Grace says incorrectly.

The story's other window into the world of the dark Big Red Cheese is Billy's sister, Mary. She's the subject of a pretty serious twist later in the issue, but for the rest of the story, she's a ray of Marvel family hope trying to find Billy and bring him back to decency. Grace tells us, "The biggest challenge for me was trying to figure out how far to go with Billy’s actions...so much of the issue is Mary trying to find him, hoping she can save her brother. I needed the reader to see what Billy’s capable of, but also believe that maybe, just maybe, Mary can stop him from going over the deep end."

Grace’s art partner on this book is Joe Bennett, who is currently making a leap to superstardom doing some intense body horror in the pages of Immortal Hulk. His art in King Shazam is every bit as impressive, adding so much mood and doom to the story. “Working with Joe Bennett was a “pinch me I’m dreaming” moment!” Grace tells us. “My editors Paul Kaminski and Harvey Richards were like, ‘’Joe is ultra talented. Give him some room to tell the story on his terms.’” And room he was given: there's a panel early on (included in the preview pages below) that is just towering tension, and a fight sequence that takes up most of the back half of the issue that lands every punch with added emotional oomph to make the issue take off. "Joe made it visceral," Grace says "He took what was already an intense and emotional scene, and dialed it up to 11."

Getting dropped into the middle of DC’s huge line-wide story arc has been a lot of fun for Grace, he tells us, and this isn’t it for him. “It would be a lot of fun to play around with the Shazam world after doing what I did in this one-shot,” he says. “I do know I have another story coming up with DC, but I’m pretty sure I can’t say what it is yet!” Hopefully he gets his wish - his transition into a horror story was seamless, and his Marvel family is as fun as it’s ever been.

The biggest challenge for me was trying to figure out how far to go with Billy’s actions...so much of the issue is Mary trying to find him, hoping she can save her brother. I needed the reader to see what Billy’s capable of, but also believe that maybe, just maybe, Mary can stop him from going over the deep end.

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Feature Jim Dandy

Nov 4, 2019

DC Entertainment

Shazam

from Books https://ift.tt/2WKbTNn

#aion-rsa #Books

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