Mindless Ones

Before the sun sets on the comics week.

Batman and Robin #4
Published by DC Comics
Story – Grant Morrison
Art – Philip Tan, Jonathan Glapion

This was always going to be a let down from where I’m sitting. Batman and Robin under the pen of Quitely was without a doubt my favourite Superhero comic of the year, and very possibly my favourite superhero comic since the last time those two collaborated. Scratch that, truth be told I preferred those three issues to All Star Superman, because not only were Morrison and Quitely producing fabulous work, they were producing fabulous work on a Batman comic, and I do so love a bit of Batman. So, yes, I always knew this was going to be a letdown and that I would have to struggle to give it a fair hearing.

More after the jump

• Hooray, David Uzumeri is back on the Batrob annotations horse. Oh, look, he’s even done some for issue 4! As I said over in the FBB comments, his thoughts perfectly complement ours in that he goes in for much more solid, sensible speculation and fact based approach than we do. Oh, and you should read the comments section – my new favourite fan theory lurks in those depths. (z)

• Wow, it’s a strange thing indeed to disagree with Jog quite so strongly! I normally nod along to his reviews, sometimes cracking a smile at the odd epiphany. Not this time. This time I found myself wondering whether we were reading the same comic (Batrob issue 3). The very idea that Quitely’s action scenes were occasionally difficult to parse, or that they were too slow? Crazy times. Quitely manages the almost impossible feat of making feel movement within (and less extraordinarily between) frames. I can probably count the other artists working within the genre that can do that on maybe three fingers. (z)

• If you didn’t already know, recorded music is over. Bill Drummond tells it like it is, and even if his diagnosis doesn’t prompt you to start you own choir of wailing neanderthals, the musical history he relates, the mirror he holds up to modern consumer culture and the questions it all raises are very interesting and meaty indeed. This podcast will only take up 25 mins of your time – do listen to it. (amy)

• Incredibly, even though I read comics, I really like art, design, photography, etc, so from now on, with each aggregator, I’m going to include links to somewhere you can find some pretty pictures, esp image blogs. Sure, they’re just freeze-frames from DVDs, but think of it as found art. Anyway, you can never go wrong with anything remotely goatmendes-like. (amy)

• And finally from me, if you haven’t already heard it you must check out this Brian Eno interview conducted by Alan Moore. Two of the most interesting guys on the planet having a nice chat. Brilliant. And it’s bit like comics because I gather Mr. Moore has written a comic called Spawn in the past. In the eighties or something. There was a smiley face I think. (amy)

Congratulations to Mr Bobsy Mindless and Mrs Bobsy Mindless. May the speedforce be with you.

Love, the Mindless Ones.

xxx

As adults we forget how strange things are. Take caves, for example.

On a recent holiday, my wife, son, and I found ourselves on a guided tour through a cave system. The group was large, and the cave as well lit as the intersection between health and safety and the management’s sense of theatricality would allow. The guide’s patter was honed and confident, glinting with comfortable jokes that didn’t require laughter, and just the right blend of folklore and history to keep us interested. The package offered no reason this side of phobia to feel unsafe, or uncertain. No-one was going to get lost, and no-one was going to get hurt, even boredom was unlikely to be much of a problem given that the tour was, quite sensibly, rather short.

But somewhere in the darkness beneath the spotlit consumer experience the real appeal rustled. Awe. It went unspoken of course only ever hinted at or skirted. The guide spoke of a gigantic network of which ours was but a fragment, of divers who had squeezed their way through small spaces in the deep and discovered gigantic caverns, one of which was thus far inexplicable to the geologists and engineers that had pored over the photographs, the mega-tonnage above the vast cave roof apparently unsupportable. The guide also spoke of deeper passages still, of underground lakes and streams, and of tunnels yawning forever into the earth. Even the history of the place hung like a heavy shadow. The caves had been sacred to the Celts, who offered up sacrifices to the dark. Later the Christians came and banished the old religion, a conflict hinted at in the local legend of a witch turned to stone by a priest. The guide showed us the rock where, if the light is right, the witch’s petrified profile can still be seen glaring into the blackness, and claimed, as a good tour guide should, that late at night her mordant laughter can be heard echoing in the depths.

Perhaps from sub-level 7, perhaps deeper

Down, down, down…

We’re gonna be doing this every Tuesday from now on, Kids. Capsule reviews in the dying light of the comics week.

Mindless slack is officially over

Detective Comics #855
Published by DC Comics
Story – Greg Rucka
Art – J.H. Williams III, Dave Stewart

This time around Batwoman goes toe to toe with Alice, high priestess of crime. In other words, not much happens, but that doesn’t stop this from being one of the richest, most complex superhero reads on the racks. If it were a wine it would would be… well, actually I don’t know anything about wine but it would definitely be red, full bodied and possessed of the jammiest of noses. Williams conjures iconography and atmosphere from the very gutters and, just like the characters, sets them in pitched battle, and it’s a truly marvellous thing to behold. Add to that a well realised and entertaining back-up strip, with just enough story to satisfy, and what you have here is a nigh-on perfect package.

More reviews after the jump

Batman & Robin #2 would appear to be the book where the uncommitted became converts, or at least became considerably more interested. People have made the usual gestures towards Quitely’s wonderful art, and highlighted the elegant conceptual economy evident in Morrison’s character work and its meta-textual dimensions. And here we get to the first object of this droplet of criticism – a slice of meta-commentary of surprising value, in that it makes a strong case for shedding our fears and anxieties about this ersatz Batman. By framing Dick’s tenure as a performance, Morrison shows us how both the characters and we, the audience, can engage with the new status quo without feeling that anyone’s toes are being trod on. The real beauty of this idea is that it brings with it the flexibility and permissiveness of adaptation and interpretation (key elements of any performance), and consequently lends the book a lightness and unboundedness (made much of by Amy in his review) that is all too rare in A-list superhero books. Put simply: a lot more can happen because this Batman isn’t Batman. Implicit to this way of approaching the comic is the understanding that theatrical performances are there, largely, to be enjoyed. Morrison is tacitly telling us to allow ourselves to sit back and have fun, to take pleasure in the unfolding of the role, to view it for what it is: entertainment.

Tired? Man up and jump

Gary Lactus’s spaceship is caught in a cosmic vortex, which means, amongst other things, that there will be no Amusing Brothers this week.

The universe sheds a tear

Detective #854 surprised me. I expected JHW3 and Dave Stewart to knock the ball out the park, what I didn’t expect was to be so impressed by Rucka’s writing. Admittedly there was little in the way of conceptual, narrative or formal pyrotechnics – the sorts of things that I look for in Morrison’s work – but then with JHW3 on board there didn’t need to be. Instead Rucka provided us with a rock solid set-up issue on which to hang the astonishing art. Perhaps Rucka’s writing is usually this sturdy and it took this particular art team to get me to pay attention. Perhaps not. Either way the issue clicked like a gun being cocked. Time will tell whether it’s gonna jam.

But you know all this: you’ve read the book, you’ve read all the reviews worth reading, you’ve nattered about it with your mates. It’s one week later and ‘Tec 854 has thoroughly bedded down in your brain. Roll on 855. Shut up the Mindless Ones, late to the party as ever.

You’ve had enough, but after the jump you’re going to get some more!

So the news about Captain Britain and MI-13 coming to an end hit just as I was halfway through a reread of the Alans Moore and Davis’s seminal run, and I’m left with the distinct feeling that had Cornell and Kirk engaged more closely with the question of haircuts that their tenure may have had more longeivity, or at least been more enjoyable from my own valuable perspective.

MI-13 never reached the heights of Cornell and Hairsine’s brilliant Wisdom mini. Even that series’ latter issues, the weaker ones, were comparable with MI-13 at its best. And Kirk’s art, sitting halfway between Mark Bagley and Brian Hitch, never rose above merely adequate. Perhaps if MI-13 hadn’t been creatively hobbled by a no doubt sales boosting tie in with Secret Invasion things would have been different; Perhaps if Cornell had opted/been permitted not to stretch the second arc to five increasingly tedious issues, and stuck to the snappy, smart high concept format which had worked so well for Wisdom I would be sad to see MI-13 end, but given that I’d just had the pleasure of wallowing in a youthful Moore’s kaleidoscopic take on the titular character I can’t say that the news bothered me overmuch. Yes it was half decent, yes it was one of the better books on the racks, yes I want to be a cheer leader for Cornell’s work because when it’s good it’s very good, but I know what I want to see in a comic featuring Captain Britain, and MI-13 wasn’t supplying it.

I want to see is a lot more of this…

Bad hair

The centrality of haircuts is discussed at length after the jump