After Nefarious Althea Klang set up a phone charging station (hipster Loiter Magnet) just outside the home, Harley Quinn and Mrs. Grimaldi have only one option. When the Ravager, who hired Klang’s gun, inevitably thwarted the half-baked plan, Harley and Mrs. Grimaldi decide to do the next best and take them to court. Unfortunately, the involvement of several related citizens and their different opinions threaten the protest against Quinn’s “obstructive annoying erection.”
“If the term “local government zoning” is objectively hilarious, I can’t help it.”
DC Comics
Saturated with comedy and combat, Harley Quinn #52 is pure, pure comic book junk food. Inspired by Elliot Curran’s Rooney Tunes, humor is addictive and can be flipped from one page to the next. Mindy Lee’s artwork and Triona Farrell’s colours add to the humor and cartoon tone of the story. Unfortunately, I have rarely been satisfied ever since reading the book. There’s a message here about politics and gentlemen, but it feels more like an afterthought than a through line that readers should follow. The result is a hijink of nominal characters’ hijinks, a hijink with hijinks, the nominal characters.
As we begin, Harley presents her opening remarks to the court regarding her poor newly installed phone charging station. Throughout this sequence, Kalan does an incredible job using the testimonies of Harley, Ravager, and Klang to provide humorous frames and give depth to otherwise simple stories. One of the most powerful aspects of Harley Quinn #52’s script is the use of Elliot Kalan’s voice throughout each deposition. Kallan nails the spoofs of other characters in each character, allowing each joke to be rewarded in a way that reminds them of Bug Bunny and Duffy Duck in “Duck Season, Rabbit Season”.
Mindy Lee’s artwork adds fuel to the fire when comparing episodes of Looney Tunes. Due to the cartoonish nature of the artist’s work, it is impossible to not draw a comparison between the two works, even if the styles are not necessarily similar. This comparison is amplified by Farrell’s use of DCAU-inspired colors in the early 2000s.
One of my favorite elements of Harley Quinn #52 is that Lee uses emoji-style faces to tell who is telling part of the story in a particular sequence. This not only reduces confusion about who is always talking, but is also cleverly linked to conflict. By using emojis for each character, Mindily subtly reminds him of why he is appearing in Harley’s court.
DC Comics
“Oh, oh, oh, oh, oh, this isn’t how that happened.”
Unfortunately, the entire story isn’t as tied to as Mindily’s artwork with comprehensive conflict. The chicken fingers serve as a driving force for Quinn to take matters to court, but his 11-hour appearance before the judge felt more like an afterthought than a need for narrative unity. Most of this scattering is because the script has not been strengthened that Harley Quinn’s actions are motivated by offering chicken fingers and other homeless individuals. It is mentioned in off-hand at some point in the question. However, throughout the dissonance of Mary Melodies-inspired attitudes, nominal character reasoning is lost.
As a result, the theme of gentrification feels more like an afterthought than the driving force behind the problem. Furthermore, hen finger pleas to cooperate in politics feel he is working on his minimal role in this matter. By the end of the question, I was wondering what the point of the story was. There are many comedies to east feasting of substances that are enough to be satisfied after reading, like junk food, but there are not enough substances.
Overall, Harley Quinn #52 is pure, pure comic book junk food. Elliot Curran’s use of humor, inspired by Rooney Tunes, is as addictive as candy, and turns mindfully from one page to the next. Mindy Lee’s artwork and Triona Farrell’s colour add to the humor, cohesiveness and cartoonish tone of the story. Unfortunately, there is no clear theme element, so it rarely keeps readers happy for a long time. Karan’s message about politics and gentrification feels more like an afterthought than a through line that readers should follow. Eventually, Harley’s Merry Melodies fueled Hijinx drowned out the message.
“Harley Quinn” #52 is pure comic junk food
Harley Quinn #52
Saturated with comedy and combat, Harley Quinn #52 is pure, pure comic book junk food. Inspired by Elliot Curran’s Rooney Tunes, humor is addictive and can be flipped from one page to the next. Mindy Lee’s artwork and Triona Farrell’s colours add to the humor and cartoon tone of the story. Unfortunately, I have rarely been satisfied ever since reading the book. There’s a message here about politics and gentlemen, but it feels more like an afterthought than a through line that readers should follow. The result is a hijink of nominal characters’ hijinks, a hijink with hijinks, the nominal characters.
Karan’s use of humor inspired by Rooney Tunes is addictive.
It’s fun to use the deposition of each character to humorously frame the story. Each other’s impersonation offers comedy rewards.
Lee’s use of emoji-style faces during his testimony reduces confusion and is directly linked to the conflict in this issue.
Unfortunately, I have rarely been satisfied ever since reading the book. There’s a message here about politics and gentlemen, but it feels more like an afterthought than a through line that readers should follow.
