But first, a few (relatively) spoiler-free thoughts:

I liked it, I think.

I didn't like what happened in it at all. But I think it's a promising first chapter...with a very high cost of admission. 

I liked that there weren't any death scenes. We're just presented with the deaths as something that's already happened, that we're learning about after the fact. Death scenes are a way to say goodbye, and King didn't want to give us that. He gave us sudden loss. 

In future issues we'll piece together what happened, the way survivors do. But for now, we just have the loss, and no explanation.

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I'm not reading that lack of emotion, Philip -- particularly on Superman's part. He couldn't even say Wally's name when he found him, and had to resort to their code-names just to keep it together. I see him also not remembering Hot Spot's catchphrase as an example of the shock he's feeling. 

I think notifications will happen, and happen quickly. But they have a crime scene to examine, and they don't need more people on the ground yet until they know what they're dealing with. In the Superman/Batman/Wonder Woman scenes, we're basically seeing the first 15 minutes or so after they learn about the murders. 

Philip Portelli said:

Never thought that I would say this but I'm getting tired of the Trinity acting like they're the ones in charge all the time. Where's Green Lantern? Where's Martian Manhunter?

Did they notify Barry-Flash, Green Arrow or Nightwing? Heck, four of the known killed were part of the Titans at one time or another. Shouldn't they be checking on the rest, just in case?

Maybe it's shock or simply hiding their emotions, but they (the Trinity) have known Wally and Roy for years, watched them grow up, see their triumphs and overcome their tragedies. Granted I still don't know how much of their histories remain in canon, but geez, Wally was the Flash in JLA and Justice League: The Animated Series. It's feels like "Well, they're dead. More importantly, our plan failed!"

Cap, I thought the Puddlers were the robot family's name at first, too. 

As for the woman in white, my guess is that she's dressed like the majority of the Sanctuary robots, who are downstairs below the farm. The three robots killed upstairs are the robots that face the public in the upper part of the house, and are dressed like normal folks to avoid raising suspicion. 

Harley has had a madcap fourth-wall breaking personality since at least 2014, when her series launched with Amanda Conner and Jimmy Palmiotti writing it. (Maybe before; I don't follow her closely.) That's a couple years before the Deadpool movie, but years after Deadpool started doing that kind of thing in the comics. It's a winning formula, and I think suits her well. (Though moreso in her solo book than in books where she's not the viewpoint character.)

Jeff of Earth-J said:

I don't have much to say about it yet, but Tom King may be the new Alan Moore.

In that he is both a good writer and overrated?

As for the book. I actually had no intention on reading it, as it sounded just too depressing to me, BUT I found myself stuck at my LCS Wednesday night, and decided to give it a shot. It wasn't that bad. I don't know if it was good enough for me to buy each month, but I thought it was off to a good start. 

If this goes the way it looks like it might. Man, it sure seems like Tom King hates Booster Gold.

“The further away we get from Identity Crisis, the more I hate it.”

I’m thinking more about how I felt about it at the time; I’ve never re-read it.

“In that he is both a good writer and overrated?”

Ha! (Maybe.)

I think Tom King can be good, and has been on Batman. There have been some outstanding issues.

I think Tom King can stink up the place, and has on Batman. There have been some atrocious issues. (I will never forget, nor forgive, Batman #49.)

I don't see any obvious Moore comparison in his work. Moore is famous -- at least in my mind -- for a variety of things that Tom King doesn't do. There's a lot of mysticism in Moore's work, and he's also known for being extraordinarily literate (League of Extraordinary Gentlemen seems to reference every kids' adventure series in Britain for 100 years). But what I think he is most famous for is the complexity of his work in the way it loops on itself and has ideas, sounds and shapes that echo throughout the work and reinforce his themes.

I did a 20-minute PowerPoint in one of my graduate classes on the use of V-slash-5 in V for Vendetta. Did you know that the first four notes of Beethoven's Fifth Symphony are also the Morse Code symbol for the letter V? And that V is the Roman numeral for 5? And that Churchill used the Fifth Symphony opener in World War II to symbolize V for Victory? Vs and 5s, 5s and Vs -- the book hits us with them constantly, and brings out real-world connections that seemed to be waiting for Moore to find them.

And don't get me started on Watchmen and From Hell.

King's a decent writer, but I don't see that any comparison can be made with Moore, who is in a class of his own, and did his own thing, which nobody has ever done before (and probably won't again). They are two distinclty different artists. I can't think of anything in Moore's oeuvre that is as awful as Batman #49, and I can't think of anything in King's that's as good as Watchmen.

In terms of popularity or rise-and-fall or career moves or something like that, I still don't see anything of that nature. In terms of criticism -- good and bad -- I don't see any comparison. (Both are lionized, but I don't think King has quite earned it yet -- and he's still a relatively new face, so I don't think his stock will remain this high. Nothing will ever change Moore's, who is out of the business and STILL lauded to the skies.)

But hey, horse races. If you see it, then you see it.

"I don't see any obvious Moore comparison in his work."

My basis of comparison was for the way his prose reads (a rather subjective scale, I admit).

I don't feel a lot of comparison between King and Moore on Batman, say...but on Mister Miracle, I can see it. For some reason the conversations in Mister Miracle remind me of some scenes in Big Numbers. The viewpoint seems to regard the characters with a little bit of a clinical remove, a position that often reminds me of Moore.

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