The Arkham Sessions, hosted by clinical psychologist Dr. Andrea Letamendi and Brian Ward, is a weekly podcast dedicated to the psychological analysis of Batman: The Animated Series. Nostalgic, humorous, and even a little educational, each episode promises to lend some insight into the heroes, villains, and classic stories of the Dark Knight.
As a special exclusive for ComicsAlliance visitors, new episodes of The Arkham Sessions will stream on CA several days in advance of their syndication to iTunes.
This week, we discuss the highly acclaimed, Emmy-winning episode of Batman: The Animated Series, "Robin's Reckoning." We cover Part 1, in which we're shown Robin's origin story. We discover who killed Robin's family and how he joined forces with Batman.
A Twitter user by the name of Ryuuchan spotted something you don't see every day on the roadways of Japan's Chiba Prefecture last weekend: Batman, in broad daylight, riding around on a Batpod similar to the one from The Dark Knight and The Dark Knight Rises.
The Batman costume looks spot-on, and while the Batpod isn't quite the design from the movies (it's got three wheels instead of two), it does look pretty doggone cool.
When the New 52 launched back in 2011, one of the interesting things about the lineup of titles was the presence of a lot of books that attempted to break out of the standard superhero genre, at least a little. There were horror, fantasy and war comics, but the most creatively and commercially successful by far was DC Comics' All Star Western, featuring Jonah Hex. Now, however, All Star Western is coming to an end after three years with a story where Jonah Hex is faced with what may be his toughest foe yet: Jonah Hex.
This issue marks a pretty notable conclusion for a few reasons, most notably being that, if you count the Jonah Hex series that launched back in 2006 before rebooting as All Star Western, writers Jimmy Palmiotti and Justin Gray are two of DC's longest tenured creators, having written over a hundred issues about Jonah Hex, the disfigured old west era bounty hunter originally created by John Albano and Tony DeZuniga in the early 1970s.
The second is that the issue marks the auspicious return of award-winning artist Darwyn Cooke to the character for his final adventure.
An eBay auction for a so-called "pristine" copy of 1938's Action Comics #1 -- the 1938 issue in which Superman made his very first appearance -- ended Sunday afternoon, and the winning bidder snagged the issue for a cool $3.2 million. That's the most anyone has ever paid for a comic book, by a pretty wide margin. The previous record was $2.16 million, for a different copy of Action #1.
Marvel launches the eighth of its nine solo titles with a female lead in November with Spider-Woman #1, and the book sadly already has a cloud over it. A variant cover by master erotic artist Milo Manara stirred enough controversy last week to garner mainstream attention. The cover featured Spider-Woman with her apple-shaped butt raised high in decidedly unheroic manner. It was exactly what one would expect from Manara, who has created a number of superheroine illustrations for Marvel, but the image suggested a particularly overt tone of sexual objectification that could alienate the sort of readers who attended the Women In Marvel panel at San Diego where the series was announced.
As far as I can recall, Marvel has more female solo titles now than ever before, with a ninth title, Angela: Asgard's Assassin, launching in December. On paper, that suggests a laudable effort to reach out to superhero comics' growing and under-served audience of female readers. Yet the Manara incident serves to remind us that books about women can very easily be targeted to a male audience.
There's currently an unspoken contest between Marvel and DC to see who can produce more comics aimed at a female audience. It's possible the contest only exists in my head, as I've been keeping a tally of solo titles with female leads for the past several months -- but I wouldn't be surprised to learn that editors at the two publishers have also been keeping track.
Q: I was reading your column about New Teen Titans where you said Crisis on Infinite Earths was a mess, but a topic for another time. Care to explain now? -- @jeremyliveshere
A: The one thing you can't say about Crisis on Infinite Earths is that it didn't deliver on its promise. In a time when "event" comics were still in their infancy, Crisis came out of the gate promising to be the biggest thing that had ever or would ever hit comics, and looking back on it from almost thirty years later, it's hard not to admit that even with a comic rolling out every six months like clockwork that promises to change everything forever, it's still the one that actually did it. Worlds did live, worlds did die, and nothing actually was the same again.
It just also happens to be a story that's a complete friggin' mess.
If there's one thing we've learned from our series of in-depth reviews and interviews about Batman: Zero Year, it's that the creative team of Scott Snyder, Greg Capullo, Danny Miki and FCO Plascencia set out to do a lot more than just re-tell Batman's origin for a modern audience. That might've been the stated goal, but along the way, it became clear that the team wanted to use that bombastic superhero background to tell a story that was incredibly personal, using the trauma that made Bruce Wayne a hero to explore feelings of isolation, fear and, eventually, triumph.
In our final Zero Year interview, Snyder tells us about the interactions with other Batman creators while it was coming out, how he identifies with both Batman and the Riddler, and how much of the story was inspired by his own very personal experiences with overcoming panic and despair.
For the past year, I've spoken to Scott Snyder for a series of in-depth interviews about Batman: Zero Year, the new origin story that he, Greg Capullo, Danny Miki and FCO Plascencia have produced for DC Comics. In the final act, "Savage City," Batman was confronted with a Gotham City that had been destroyed by a super-storm, was overrun by plants that had grown out of control, and was being held in the iron grip of the Riddler, all while confronting the trauma that inspired him to become a hero.
With the full story completed, I spoke to Snyder for the first part of a two-part interview about how he felt he'd achieved his goals with the bestselling story, the inspiration for the dynamic visuals, and his meeting with Frank Miller, possibly the most definitive Batman author, who had one very specific note about the story.
If our weekly Ask Chris column isn't enough of definitive comic book (and pro wrestling) opinions for you, good news: ComicsAlliance is proud to present Here's The Thing, a series of videos where you can join our own extremely opinionated senior writer, Chris Sims, as he dives into comics history to explain why you're wrong and he's right.
This week, a few viewers write in to ask about the history of Firestorm, a relatively obscure DC Comics character who was most prominent in the 1980s. As you may already know, obscure DC characters from the '80s are Chris's entire jam, which sends him on a long explanation of who Firestorm is and how he came to be, from the DC Implosion to Brave and the Bold.
Teased for years and finally launched this week, The Multiversity is a universe-jumping series of DC Comics one-shots tracking the cosmic monitor Nix Uotan and an assemblage of star-crossed heroes as they attempt to save 52 universes and beyond from a trippy cosmic existential threat that, like much of Morrison’s best work, represents something far more mundane and relatable. Tying back into the very first Multiverse story in DC’s history, the heroes of these universes become aware of this threat by reading about it in comic books… comic books that, it turns out, take place in neighboring universes. Indeed, writer Grant Morrison continues his streak of highly metatextual DC cosmic epics with this eight-issue mega-series (plus one Tolkienesque guidebook).
Described by Morrison as "the ultimate statement of what DC is", The Multiversity naturally offers the reader much beyond the surface level adventure, and that means annotations. Rather than merely filling out checklists of references, my hope with this feature is to slowly unearth and extrapolate a narrative model for Morrison and his collaborators' work on The Multiversity; an interconnecting web of themes and cause and effect that works both on literal and symbolic levels.
Three pages into the preview for The Multiversity #1, I knew I was going to have a lot to work with.
With no further ado, go get your erasers and your textbooks, close your laptops, sharpen your pencils, and get ready for some course notes. Let's go to school.
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