-->
Reviews

Better Off Dead: "Suicide Squad #20"

In just one issue, Ales Kot has turned Suicide Squad into one of my must-read titles each month.


Suicide Squad #20

Publisher: DC
Length: 22 pages
Writer: Ales Kot, Patrick Zircher
Price: $3.99
Publication Date: 2013-07
Amazon

A major challenge both DC and Marvel face on a regular basis is how to highlight lesser-known characters. It’s a lot easier to sell a Superman comic because everyone already knows who Superman is, what his powers are, who he fights, his perspective on justice, and generally what to expect when you pick up an issue. In this sense, writers don’t necessarily have to spend time building up backstory or detailing personality elements because they’ve been somewhat established already. When it comes to the B-list, though, it takes more to grab readers’ attention and keep them reading. DC did well when they made a conscious effort to offer a number of titles that featured second-string characters in the New 52. While not the best sellers in DC’s catalog, titles like O.M.A.C., Demon Knights and All-Star Western prove how well these minor characters can perform when they’re well developed.

Suicide Squad is an anomaly of sorts, in this regard. Casual readers wouldn’t readily know who Deadshot, King Shark, or Voltaic are, but the inclusion of Harley Quinn as a team member raised the star power of the book due to her inclusion in the insanely popular Batman: Arkham Asylum video game. Thus, while Suicide Squad features mostly lesser-known characters, it’s been free from cancellation worries and has crossed over with a number of other titles over the past 21 months. Enter Ales Kot, who finds himself in the unique situation to basically reinvent Suicide Squad 20 issues into its run. Unlike Jim Starlin—who took the same opportunity and erased the events of the preceding 18 issues on Stormwatch—Kot has opted to not only flesh out the current roster of the Suicide Squad, but the concept of the team as well. It’s a risky move, one that could have potentially alienated fans of Glass’ work while not attracting new readers. Fortunately, Suicide Squad #20 is a fantastic jumping-on point for new readers and a great transition issue into a new era for the team.

Reading Suicide Squad #20 was interesting because my initial desire to do so came from a completely abnormal place. First, I read about Kot’s affinity for a more ‘alternative’ writing style and was intrigued as to how it would work on a title such as this. Second, I was interested to see if Suicide Squad, a series I’ve never been particularly interested in even before the New 52, could hold my attention under the right hand. Having not read any of Kot’s work before, and having little interest in the Suicide Squad in general, I was surprised by how much I enjoyed this issue.

Instead of jumping in headfirst, Kot takes the entire issue to set up his playing field, and he focuses on the core of what makes the Suicide Squad such a compelling concept: the expendability factor. Because every member is a documented super criminal, they’re lives are just as appreciated when extinguished as when they’re used for A.R.G.U.S. missions. Either way, everybody wins. It’s interesting that Amanda Waller, high-ranking agent of A.R.G.U.S. seems to have the most consistent characterization across the many titles she pops up in from time to time. Waller is an staunch authoritarian who doesn’t respond well to insubordination. And because the Suicide Squad is based on insubordination, her natural iciness is compounded.

But the issue also focuses on how perception plays a big role in how roles are defined. King Shark—the human/Hammerhead shark hybrid—isn’t a monster so much as he is a lonely, intelligent young man with uncontrollable animal instincts and hormones that shouldn’t have to be at odds. Deadshot hasn’t really been the leader over the past 19 issues, but rather just another pawn in Waller’s grand scheme who gets played as much as anyone else. Harley Quinn isn’t (necessarily) a psychopath, just a girl who fell in love with the wrong guy and got scarred because of it, though, deeply and more violent than most. Even the Unknown Soldier; a vicious man, yes, but mostly a military man with nowhere else to go and a drive for order in a wholly chaotic world.

The perception/defined role paradox of the team itself is that, for all it’s seriousness, all the money and time and energy that are invested, the consistently fatal danger, and the pretense of it being a program to use bad people to help good people, the Suicide Squad is simply a game. A.R.G.U.S., the team members, their enemies, whoever: they all see the Squad as the volatile bomb that it is. What else is there to do when there’s nothing to lose? Anything you can to get the job done. For Waller, that means having to take responsibility for a team of killers, monsters, and psychotics in service of the greater good.

Suicide Squad #20 is an excellent comicbook. Recently, DC has been taking a note from Marvel’s diary and hiring new, young writers who are bringing their unique visions to titles like this who have suffered from mediocrity since the New 52 relaunch. In one issue, Ales Kot has turned Suicide Squad into one of my must-read titles each month.

9
Music

The Best Indie Rock of 2017

Photo courtesy of Matador Records

The indie rock genre is wide and unwieldy, but the musicians selected here share an awareness of one's place on the cultural-historical timeline.

Indie rock may be one of the most fluid and intangible terms currently imposed upon musicians. It holds no real indication of what the music will sound like and many of the artists aren't even independent. But more than a sonic indicator, indie rock represents a spirit. It's a spirit found where folk songsters and punk rockers come together to dialogue about what they're fed up with in mainstream culture. In so doing they uplift each other and celebrate each other's unique qualities.

With that in mind, our list of 2017's best indie rock albums ranges from melancholy to upbeat, defiant to uplifting, serious to seriously goofy. As always, it's hard to pick the best ten albums that represent the year, especially in such a broad category. Artists like King Gizzard & the Lizard Wizard had a heck of a year, putting out four albums. Although they might fit nicer in progressive rock than here. Artists like Father John Misty don't quite fit the indie rock mold in our estimation. Foxygen, Mackenzie Keefe, Broken Social Scene, Sorority Noise, Sheer Mag... this list of excellent bands that had worthy cuts this year goes on. But ultimately, here are the ten we deemed most worthy of recognition in 2017.

Keep reading... Show less

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less
Music

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Keep reading... Show less

It's ironic that by injecting a shot of cynicism into this glorified soap opera, Johnson provides the most satisfying explanation yet for the significance of The Force.

Despite J.J. Abrams successfully resuscitating the Star Wars franchise with 2015's Star Wars: The Force Awakens, many fans were still left yearning for something new. It was comforting to see old familiar faces from a galaxy far, far away, but casual fans were unlikely to tolerate another greatest hits collection from a franchise already plagued by compositional overlap (to put it kindly).

Keep reading... Show less
7

Yeah Yeah Yeahs played a few US shows to support the expanded reissue of their debut Fever to Tell.

Although they played a gig last year for an after-party for a Mick Rock doc, the Yeah Yeah Yeahs hadn't played a proper NYC show in four years before their Kings Theatre gig on November 7th, 2017. It was the last of only a handful of gigs, and the only one on the East coast.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image