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Duck and Cover Variants
14 years ago
General
http://www.amazon.com/Darkwing-Duck-Knight-Returns/dp/1608865762/ref=sr_1_2?s=books&ie=UTF8&qid=1303832298&sr=1-2
For a 20 year old TV series I watched more out of force of habit than anything else, DARKWING DUCK gets a very, very good reboot as a comic from Disney's BOOM! Studios. First things first: Ian Brill's witty, grown-up (but kid-friendly) scripts and James Silvani's dynamic, surprisingly detailed artwork give us the comic book equivalent of Darkwing in widescreen and HD, only funnier. The sometimes melancholy laughs come from moving the perpetually imperiled city of St. Canard into the 21st century, when the heroes and villains, having been put out of business by a robotic police force, have all hung up their costumes and gotten jobs at the same mega-corporation. Gosalyn's enrolled in an expensive private school, Launchpad's gone back to being a mechanic, and in the ultimate indignity, DW, in his Drake Mallard identity, is forced to share a cubicle with his old enemy, Megavolt.
Of course there's a criminal mastermind behind it all, but I can't shake the feeling that the real villains of this story arc are economic reality and the inevitable compromises of middle age. As a couple of the characters point out, if you want to enslave a city, don't waste your time building a death ray. Use something more insidious: a paycheck.
Former Disney writer and producer Tad Stones, Darkwing's creator, contributes a bonus essay in which he explains how the DARKWING DUCK TV series (1991-92), envisioned as a James Bond parody, evolved into the superhero action comedy we remember. It makes for interesting reading.
For a 20 year old TV series I watched more out of force of habit than anything else, DARKWING DUCK gets a very, very good reboot as a comic from Disney's BOOM! Studios. First things first: Ian Brill's witty, grown-up (but kid-friendly) scripts and James Silvani's dynamic, surprisingly detailed artwork give us the comic book equivalent of Darkwing in widescreen and HD, only funnier. The sometimes melancholy laughs come from moving the perpetually imperiled city of St. Canard into the 21st century, when the heroes and villains, having been put out of business by a robotic police force, have all hung up their costumes and gotten jobs at the same mega-corporation. Gosalyn's enrolled in an expensive private school, Launchpad's gone back to being a mechanic, and in the ultimate indignity, DW, in his Drake Mallard identity, is forced to share a cubicle with his old enemy, Megavolt.
Of course there's a criminal mastermind behind it all, but I can't shake the feeling that the real villains of this story arc are economic reality and the inevitable compromises of middle age. As a couple of the characters point out, if you want to enslave a city, don't waste your time building a death ray. Use something more insidious: a paycheck.
Former Disney writer and producer Tad Stones, Darkwing's creator, contributes a bonus essay in which he explains how the DARKWING DUCK TV series (1991-92), envisioned as a James Bond parody, evolved into the superhero action comedy we remember. It makes for interesting reading.
Pretty cool Yes?
BTW, Quackerjack's last story? Absolutely heart breaking DX
Are there CEOs that are assholes? Sure. CEOs as a group are no more immune to human vices than any other group of people.
However, much of the malice that's attributed to them as a whole is cliched bullshit that ignores the entire purpose of any company: to make money. CEOs doing things for giggles ("flaunt every law that exists because they can") is not, by and large, profitable.
The nearly universal portrayal of CEOs as Captain Planet villains (really, how often do you see stories about CEOs that are honorable, upstanding, and morally focused?) is lazy thinking at best.
Our business is thus concluded, good day to you, sir.