September 28, 2009
August 28, 2009
Therefore, get ready for 32 minutes’ worth of Batman And Robin #3, Blackest Night: Titans #1, Detective Comics #856, Fantastic Four #570, Flash: Rebirth #4, Gotham City Sirens #3, Green Lantern #45, Madame Xanadu #14, Superman #691, Superman’s Pal Jimmy Olsen Special #2, Unknown Soldier #11, Wednesday Comics #8, and Wonder Woman #35. Can you handle it?
Music, of course, is by R.E.M.
August 1, 2009
[EDIT: Sorry, folks, the Unknown Soldier stuff somehow got lost in the editing process. I’ll try to work it in next week!]
February 17, 2009
Get it? “4 5 6 7?” Huh? Huh?
Okay, it’s not a big deal, but as long as people mention things like 8/8/08, I figure somebody finds it at least a little intriguing.
Too bad the Calculator is a DC villain….
September 8, 2008
I’ve also been reading a lot of non-superhero comics. I finally got around to The Professor’s Daughter, The Plain Janes, and Black Hole, with Bottomless Belly Button on deck.
But yes, the superheroes still dominate, so let’s get to ’em.
In Booster Gold #11, guest-writer Chuck Dixon joins regular artists Dan Jurgens and Norm Rapmund for a light look back at Batman’s less-grim days. Batman, you say? Yes; Booster must pose first as Killer Moth and then as the Darknight Detective himself in order to fix the problems one of Dixon’s one-shot Detective Comics villains has caused. It’s part 1 of 2, and it seems content to gawk giddily at the trappings of ’60s Batman and one of his goofier villains. (Killer Moth considered himself the anti-Batman, down to his own set of themed gadgets.) There’s the usual drama about A World Without Batman, but we know by now how that sort of thing turns out — especially in a two-part guest-written arc. It’s still fun, though.
Someday soon — maybe after Bottomless Belly Button and finishing another run through Watchmen — I’ll break out all of the Grant Morrison Batman issues to date. Maybe then I’ll have a more informed angle on “Batman R.I.P.” In the meantime, though, every issue seems like a mad dash through the storyline, with Morrison throwing out ideas and plot points left and right. Batman #679 finds the “emergency persona” in full effect, busting heads and behaving like a cross between Rorschach (i.e., vigilantism on the cheap) and the Frank Miller parody, with a little “Moon Roach” from Cerebus thrown in. I liked it pretty well, and I think my problem is that I read it too quickly.
Wonder Woman #23 finished the “Ends of the Earth” storyline with a big, brutal fight between Diana and the Devil, with her soul (among other things) at stake. I liked it on its own terms, but I still couldn’t follow the changing loyalties and subtle reveals from previous chapters. Fortunately, the issue brought Donna Troy into the romantic subplot involving Nemesis, and let Donna have a good scene involving Amazon ritual.
Assuming we hadn’t seen it previously, Action Comics #868 adds The Matrix to the other sci-fi influences writer Geoff Johns and penciller Gary Frank have brought to their ultimate version of Brainiac. While Superman contends with the villain, the more lively parts of the issue involve Supergirl and her soon-to-be-Jonah-Jameson-like rival, Cat Grant. It’s all good, though.
Fantastic Four #559 tracks the Human Torch’s fight with the New Defenders across Manhattan, while Sue has dinner with Reed’s ex-flame and Ben takes his new love to see Johnny perform on “The Late Show.” If you think this is mostly an opportunity for Bryan Hitch once again to demonstrate his photorealistic tendencies, you’re not far off (although there is no David Letterman cameo, unfortunately). One money shot shows the Fantasticar flying low over Times Square. The issue has a couple of big revelations, one involving Magrathe– I mean, the “new Earth” — which is mildly surprising, and the other involving a classic FF foe which recalls both the Walt Simonson issues and JLA/Avengers. If you’d never read a Fantastic Four comic book before, you’d probably think this was pretty cool stuff, but for us lifers, it feels pretty hollow.
Green Lantern Corps #27 holds a hodgepodge of day-in-the-life-of-Oa subplots including the opening of “Guy Gardner’s American Cafe” (it’s not called that), a visit to the Green Lantern graveyard, and hints of affection between Kyle and Dr. Natu. However, the cover image refers (somewhat inaccurately) to the tragedy which I presume kicks off the next storyline, and it’s a gruesome one. Guest penciller Luke Ross (with guest inker Fabio Laguna) has a less distinctive style than regular penciller Patrick Gleason, but considering that this issue is concerned with introductions (Guy’s bar, the crypt), I suppose that’s okay. I have to say, though, that the aforementioned tragedy seems to fall squarely within the “worthwhile = realistic = gruesome” thinking which DC can’t seem to shake. This will sound like an empty threat, but I think I’ll be dropping this book if things don’t improve after “Black Lanterns.”
Batman Confidential #20, Part 4 of the current 5-part Batgirl/Catwoman storyline, was pretty much like the other three chapters, except with Batman replacing the shredded costumes and outright nudity. By that I mean Batgirl isn’t necessarily struggling to impress/one-up Catwoman here, but Batman himself. Still pretty entertaining, although Batgirl’s dialogue tends to be a little too earnest.
Green Arrow And Black Canary #11 lays out the details of the Plot To Kill Green Arrow, along the way revealing the mysterious mastermind behind it all. Not bad for an expository issue, although I’m not sure it dovetails entirely with the “Countdown was responsible” tone of the first few issues.
I’ll be honest: I was ready to declare Final Crisis: Revelations #1 (written by Greg Rucka, pencilled by Philip Tan, inked by Jonathan Glapion et al.) one of the worst comic books I have ever read. The art seemed deliberately ugly and incomprehensible, and the writing depended upon a good working knowledge of recent DC crossovers.
Well, re-reading it, it’s not quite that bad. The writing still involves a particular learning curve, but I suppose if you’re buying a Final Crisis [Colon Subtitle] book, you’re halfway there already. The art isn’t a model of clarity, but perhaps it fits the particularly grim mood of the book. This is an issue where Doctor Light dresses up helpless teens as rape-ready superheroines, and where the Spectre subsequently gives him and assorted other supervillains their ironic punishments for the even-more-sordid acts they committed in the course of recent DC crossovers. Furthermore, the story invokes one of the classic responses to an omnipotent character: making him powerless (or not so powerful) against a particular foe. I wouldn’t mind it so much here if it hadn’t just been used in Countdown To Mystery, although it does make more sense here than there.
Ultimately, though, I’ll stick with this miniseries largely out of a need for closure. I hate to say it so bluntly, but at least we won’t have Doctor Light to kick around for a while. Maybe by the end of this miniseries we’ll have a functional Spectre and/or Question.
Finally, The Last Defenders #6 was a letdown on a couple of levels. First, the big revelation is something of a betrayal of the “non-team” concept. Second, I kinda get Nighthawk’s role, but I’ve been reading those Essential Defenders (halfway through #4!) and does he really need to be validated this much? I guess I was expecting something more subversive. Also, the opening fight choreography was hard to follow.
Three weeks (or so) worth of comics left….
July 13, 2008
Actually, you probably would believe it; but since a lot of it involves finishing up the 3-part Grumpy Old Fan look at DCU miniseries, 2001-08, it’s kind of dull.
Regardless, it’s been pretty busy for me in the Real World, so I’m on the road to recovery as far as this here blog is concerned. What say we get cracking on that backlog?
Obviously this week’s big release was Final Crisis #2, which quite honestly scared me. When you have one of DC’s major characters locked into an Apokoliptian torture machine and screaming “CALL THE JUSTICE LEAGUE!” to an apparently random person who wouldn’t have any way of knowing how to do so, that’s a pretty dire circumstance. Grant Morrison and J.G. Jones have thrown our heroes into the deep end of the pool and are now pouring even more water on top of them. It’s not exactly a new thought to say this is the JLA arc “Rock Of Ages” from a slightly different perspective, but what makes it more immediate, and more scary, is the notion that it’s happening right now, without the comfort of a reset button that the original had.
Superman #677 was the start of James Robinson’s run as writer, and he chose to begin with heavy doses of Krypto and the Science Police troopers. I’m not looking for him to make this particular SP squad into a higher-tech O’Dare family, because clearly this isn’t Starman and Robinson’s not that repetitive anyway. Still, there are Starman-esque touches in the omniscient narration’s bullet points and the characters’ self-awareness; and they’re certainly not unwelcome. The “new guy wants to replace Superman” story is pretty well-worn, though, so I’ll be expecting some new twist from Robinson. On the art side, I have no complaints with Renato Guedes except that he (like Gary Frank) is using Christopher Reeve pretty clearly as Supes’ model. While I love Reeve’s Superman, actually seeing him in print pulls me out of the story.
What If This Was [sic] The Fantastic Four? (written by Jeff Parker, illustrated by various people) is a perfectly charming tribute to the late Mike Wieringo, postulating (for the second time) that the Spider-Man/Hulk/Ghost Rider/Wolverine team had stayed together. I encourage you to pick it up.
Back in the regular book, though, Mark Millar and Bryan Hitch … well, I think you know how I stand on their tenure so far. Fantastic Four #558 brings in the “New Defenders,” a team with some similarities to the FF, who’ve captured Doctor Doom and apparently are less than charitable in dealing with them. There’s also a new nanny whose subplot was pretty obvious to me from the moment of her introduction. Therefore, I have a pretty good idea as to how this arc will play out, but I am in fact curious to see what Millar will do with the issue’s Big Revelation about one of the Richards clan. Otherwise, I wonder if the story would read any better with Alex Ross on art. That’s how static Hitch and inker Andrew Currie’s work seems to me now.
The newest Captain America meets the public in Captain America #39 (written by Ed Brubaker, drawn by Rob De La Torre). The issue presents a familiar story about manipulating the public through imagery and superficialities, and it winds up similar to Superman #677. De La Torre is new to me, although he (augmented by regular colorist Frank D’Armata) preserves the book’s quasi-realistic style. However, his Bucky is a bit more buff than, say, Steve Epting’s, which was a little distracting.
Was I saying that Batman: Gotham After Midnight didn’t know how seriously to take itself? With issue #2 (written by Steve Niles, drawn by Kelley Jones), it seems to be saying “not very.” That’s hardly a bad thing, mind you. This particular approach to Batman casts him as the scariest dude in the room, except for the scarier dude who’s working behind the scenes. I’m still not completely on board with it, but I do give it credit for being true to a gonzo sensibility. Let’s put it this way: if you like scenes where Batman is lit apparently by a noir-ish light source independent of everything else, you’ll love this book.
About Green Lantern #32: “Secret Origin” continues, and I think we’re up to the point where Hal gets hired officially by Carol Ferris. Honestly, though, we’ve been down this road so many times I’m just picking out the “Blackest Night” clues and letting the rest go by. It’s not a bad story, but it’s like hearing another cover of “Yesterday.”
The same goes for Teen Titans #60, which concludes the Terror Titans arc. Our heroes triumph, but one of ’em leaves the team. While I didn’t dislike it, I found Clock King and his minions to be rather boring, and I’m not eager to see ’em again.
I also bought Trinity #4 and liked it fine.
Back before you know it with the first new comics of July!
June 28, 2008
I’m a little torn about the format of Secret Invasion: Fantastic Four (#2 written by Roberto Aguirre-Sacasa, pencilled by Barry Kitson, inked by Mick Gray). On one hand I don’t like crossovers disrupting a regular creative team’s groove, especially if that team does Culturally Significant work. On the other, it’s always nice to see how the regular creative team handles the shared-universe responsibilities. Besides, at some point I just want a singular creative voice.
Still, I know it’s naive to wish that SI: FF were three issues of the regular book; and it’s somewhat petty to say that it’s better than Mark Millar and Bryan Hitch’s work. For someone not reading Secret Invasion, and therefore not looking to reconcile the FF miniseries with the bigger picture, it’s simply a story about Johnny fighting his Skrull ex-wife while Ben protects Franklin and Valeria from the horrors of the Negative Zone. Everyone involved has good handles on the characters. There’s nothing wrong with it, but it’s not Culturally Significant either. At times It can be pretty cute, though (“Yay, prison!”).
Tangent: Superman’s Reign #4 (written by Dan Jurgens, pencilled by Jamal Igle, inked by Robin Riggs) also falls in the “why isn’t this in the main book?” category. It’s basically a Justice League story, superficially very close to the JLA/JSA multiversal team-ups of yore. However, it’s also something of a sequel to the “Tangent Comics” specials from ten years ago, so I guess that’s why it gets its own maxiseries. It’s been consistently entertaining, and this issue provides a little more insight into what Tangent-Superman sees as his benevolent dictatorship. Otherwise, more Justice Leaguers (Batman, GL/Hal Jordan, Black Canary, Black Lightning) join Flash and GL/John Stewart on Earth-Tangent, there’s a stunning reversal, and we have our cliffhanger. The art is good — I like Jamal Igle, and while Robin Riggs’ inks are a little more loose than I’m used to seeing on Igle’s work, he keeps the book from getting bogged down. Every time I read an issue I feel like I’m farther into the story than I actually am. On balance I suppose that’s a compliment.
Via Annie, the Long-Suffering Girlfriend, RASL #2 (by Jeff Smith) offers a little more background on our hero and his dimension-hopping, and sets up the next bit of plot. The rest is tone and attitude — Rasl likes the ladies, Annie has an holistic approach to parallel universes. The issue feels like it’s about 8 pages long, not 32, but that’s part of Smith’s sparse approach. Still, there’s enough in the issue (both implicit and explicit) that I didn’t feel shortchanged, and I’ll be waiting for #3.
Paul Smith returns as penciller of The Spirit (#18 written by Sergio Aragones and Mark Evanier and inked by Walden Wong), tackling a story which sends our hero to Egypt to deal with — what else? — mummies. This is getting to be the Adam West version of The Spirit, but that’s not necessarily bad. Anyway, the ending is a bit predictable, so not quite as enjoyable as the other Aragones/Evanier done-in-one stories; and the art is good as always.
Wonder Girl and Speedy go on a date — with danger!! — in Teen Titans Year One #5 (written by Amy Wolfram, pencilled by Karl Kerschl, inked by Serge LaPointe), a thoroughly charming story which incorporates an old Titans villain, the Batmobile knock-off called the Arrow-Car, and a Green Arrow who’s about as good a foster parent as you’d think. Of course the date goes wrong; of course Wonder Girl saves the day (the date’s told mostly from her perspective, after all); but that’s not the end of the story, and that ending sets the story apart. What’s more, the art is a very nice blend of linework and painting which I’m guessing was run through some PhotoShop filter … but technical details aside, it sets a dreamlike tone perfect for a first date. Really great work from Kerschl, LaPointe, and colorist John Rauch. I’ll be very sorry to see this miniseries end.
Speaking of Green Arrow, here he is in The Brave and the Bold #14 (written by Mark Waid, drawn by Scott Kolins), essentially providing a body for Deadman to inhabit. Accordingly, this isn’t so much a team-up as it is a takeover, but it’s still a suspenseful Deadman story. See, Deadman needs to get back to his spiritual home of Nanda Parbat to free it from some evil presence, but along the way said presence keeps throwing mind-controlled pawns in his way. Waid and Kolins effectively evoke the spirit (so to speak) of paranoid thrillers like Invasion of the Body Snatchers; and while I didn’t quite buy what the cliffhanger ending was selling, I can’t complain about the execution.
The Flash #241 came out almost concurrent with the news that writer Tom Peyer and artist Freddie Williams II may well be leaving. That’s too bad, because the current issue manages to use Gorilla Grodd, multiple Flashes, the Fourth-World-flavored bad guys behind the Dark Side Club, and Wally’s ironic punishment (torture?) of Flash-killer Inertia, in a fairly cohesive story. It’s a little too much to explain, but it all works. Both Peyer and Williams have found their grooves on the title, and Williams especially does good work with Wally’s kids.
Birds Of Prey #119 (written by Tony Bedard, pencilled by Nicola Scott, inked by Doug Hazlewood) is, at first glance, a “moving-in” story about the Birds (don’t call them that!) relocating to the Silicon Valley-esque town of Platinum Flats. However, in conjunction with Justice League of America #22 (written by Dwayne McDuffie, pencilled by Ed Benes, inked by Sandra Hope), it could be a lesson on How To Draw Super-Women.
On BOP, Nicola Scott draws a virtually all-female cast: the wheelchair-bound Oracle, the teenager Misfit, and the well-built Huntress, Lady Blackhawk, Manhunter, and Black Canary. Black Canary also appears in Justice League, along with Hawkgirl, Vixen, and Wonder Woman, and Zatanna. In the current issue of BOP, the women mostly do mundane things: talk, unpack, lift and tote boxes, etc. There are a couple of fight scenes, but more character interaction. Over in JLA, the women have some character scenes too — especially Vixen and Black Canary. However, this reader was distracted by penciller Ed Benes’ fascination with Vixen’s dinners (her costume’s zipper can’t take the strain!) and Black Canary’s rear. BC gets a Dramatic Reveal as a prelude to a fight in BOP, but Scott makes it heroic and not particularly sexualized. In JLA, though, when the same character delivers a bit of straight talk about the future of the Justice League, Benes gives her the beginnings of a wedgie and thrusts out her butt. What’s weird is that Benes used to draw both BOP and Supergirl, and wasn’t this blatant on either.
JLA has story problems too — it focuses yet again on Red Tornado’s Search For Humanity, a topic former writer Brad Meltzer pursued at his peril. I will say that if the Vision is currently out of commission, the comics world may be in desperate need of emotive androids, but it feels like this title has had maybe four different plots in almost two years. There’s also some business about Red Arrow’s relationship with Hawkgirl, and the aforementioned Vixen subplot, and I wonder whether those wouldn’t also have come off better had they not been portrayed by Mr. Benes. His work is just too sketchy, scratchy, busy — you get the idea — and at this point it’s become a distraction. McDuffie I still have faith in; but Benes needs to go.
Finally, I continue to like Trinity #3 (main story written by Kurt Busiek, pencilled by Mark Bagley, inked by Art Thibert). This issue brings in the Justice League and also (in the Fabian Nicieza/Mike Norton & Jerry Ordway second story) introduces Tarot, and it’s a pretty decent, old-fashioned superhero story.
May 31, 2008
Therefore, might as well begin with the lead-in to the latest LWE, Justice League of America #21 (written by Dwayne McDuffie, pencilled by Carlos Pacheco, inked by Jesus Merino). I really, really hope that this is the last crossover-affected issue of JLA for a while. It begins with a 9-page sequence of the “Trinity” sitting around a table talking about how they’re not really running the League from behind the scenes. I thought the dialogue was good (“I had a run-in with Mr. Polka-Dot.” “Is that a euphemism?”). However, although Pacheco kept the talking heads from getting too boring, he could have used a few flashback images. Overall, it assumes a little too much knowledge, even on the part of the longtime reader. I presume this will have repercussions in JLA itself, but I wouldn’t be at all surprised if it showed up later in Trinity.
The bulk of the issue concerns the Human Flame, his fight with Red Arrow and Hawkgirl, and his recruitment by Libra. HF is a schmoe, that’s for sure; but he’s not the stereotypical lovable-loser supervillain schlub. McDuffie gives him a mean streak that undercuts whatever sympathy we might be starting to feel. Likewise, Pacheco doesn’t play up any endearing parts of his dumpy appearance. Overall, this was a well-told story, but I still think it should have been in a Secret Files.
For those of you who know the dirty secret of cruise ships — namely, that they give the surviving passengers hush money to cover up all the deaths — the nautical nastiness depicted in The Spirit #17 (written by Mark Evanier and Sergio Aragones, pencilled by Aluir Amancio, inked by Terry Austin) will come as no surprise. This was yet another light-hearted, compact caper using Will Eisner’s characters and designs; but one of the subplots seemed pretty obvious and the other only slightly less so. Also, from what little I’ve read of the original Spirit stories, I don’t remember Ellen Dolan being such a self-absorbed Barbie doll. Amancio and Austin’s work is more cartoony than Paul Smith or Mike Ploog, but it gets the job done.
According to the first page of Fantastic Four #557 (written by Mark Millar, pencilled by Bryan Hitch, inked by Paul Neary), I should have read Mighty Avengers #11 first. However, I don’t know why; and I’m not eager to track down a 3-month-old issue to find out. Anyway, I did like how Reed and Sue celebrate their anniversary, but the rest of it is a bunch of exposition wrapped around a one-joke fight scene. I can kind-of accept “the Anti-Galactus,” but things like Johnny’s nympho supervillain girlfriend and the faux-drama about Reed being tempted just seem artificial. The snow effects look better this time, though.
Captain America #38 (written by Ed Brubaker, pencilled by Steve Epting, inked by Epting and Mike Perkins) (re)introduces what I presume is the last player in this particular arc, and sets him up against Bucky/Cap. It’s hard to explain without giving everything away, but I’ll try. Using a raid on an AIM base as its main sequence, the issue examines the relationships of mentors and proteges, and inspirations and successors; and observes that, for the three principals involved, those roles have shifted, if not outright reversed. It’s a neat little chapter which probably sums up at least one of Brubaker’s overriding themes, and while it might appear to be a simple action issue, there’s a lot more going on.
For the second straight month, Tangent: Superman’s Reign (#3 written by Dan Jurgens, pencilled by Jamal Igle, inked by Robin Riggs) focuses on the squad of Tangenteers trying to free the Tangent Atom. While that subplot achieves some closure, and the two worlds’ characters actually come into conflict (as opposed to comparing notes), it still feels a little redundant. I like Igle’s work fine, although Riggs’ inks are looser than what Igle usually gets. It feels more like a Justice League story than what’s been in JLA lately; and next issue I bet things will pick up.
The “Dark Side Club” banner started appearing on particular DC titles last week, and it looks like the kind of underground fight-club we’ve seen before. Specifically, Birds Of Prey #118 (written by Tony Bedard, pencilled by Nicola Scott, inked by Doug Hazlewood) opens with a fight involving Sparx, a D-list character whose abduction we see in the first issue of Final Crisis. So, you know, there’s that crossover element we like so much. The rest of the issue involves Black Alice and Misfit fighting, again. This issue introduces a new aspect of their relationship which leads to a result I wasn’t expecting. However, I wasn’t expecting it because their relationship feels artificially manipulated to begin with, and the latest twist just seems like another manipulation. Scott and Hazlewood are good as always, with (I hate to say it) a grisly, shadowy death being a particular highlight.
The new issue of The Flash (#240, written by Tom Peyer, drawn by Freddie Williams II) also sports a “Dark Side Club” banner, but it’s incidental to the main story of Wally and Jay vs. Grodd and Spin. I can’t complain any more about Williams’ chunky Flash, because he seems to have gotten through that phase. I also got a kick out of this issue’s mind-control victims talking in Local-Newscast-ese — it’s funny ’cause it’s true. The cliffhanger makes me wonder about the length of the current setup, though….
Finally, here’s Jay Garrick again, teaming up with Batman in The Brave and the Bold #13 (written by Mark Waid, pencilled by Jerry Ordway, inked by Scott Koblish and Bob McLeod). They make a good team, because the easygoing Jay not only provides a good counterpoint to Batman’s intensity, Batman respects him and so dials it back a few notches. The plot, involving an old Bat-villain, a mad scientist, killer robots, and Jay’s chemist colleagues, may be more complicated than it needs to be, but it’s probably necessary to get these two characters together. I daresay Ordway’s more understated style is better-suited to this story’s amiable nature than George Perez’s would have been; and Waid provides good conversation amongst all the robot-smashing.
Look for the comics from Thursday (Happy Grant Morrison Day!) in the next couple of days.
May 20, 2008
Serenity: Better Days #3 (written by Joss Whedon and Brett Matthews, drawn by Will Conrad) finds the crew having to rescue Mal, which was kind of a surprise to me because I didn’t remember the last issue leaving off with that. In fact, this whole miniseries has seemed disjointed, issue-to-issue. It also feels a bit short, like it could have used at least one more installment. Anyway, this one is fine for what it is — Whedon and Matthews obviously have the characters’ voices cold; and Conrad does fine with the likenesses and the storytelling. Maybe in a chunk it will read better, so maybe I should be waiting for the trades instead.
The same may be true for Last Defenders #3 (written by Joe Casey, pencilled by Jim Muniz, inked by Cam Smith), which is starting to veer too much into arcane-Marvel territory for me. I don’t have a problem with the dialogue or the art, but I get the feeling that I’m supposed to be more emotionally affected by the plot.
Huntress: Year One #1 (written by Ivory Madison, pencilled by Cliff Richards, inked by Art Thibert) is in a weird position. The modern version of the character has been around for almost twenty years. For much of that time she was a B-list character in the Batman books. She resented Batman for not trusting her (join the club), she teamed up with Robin, and slept with Nightwing. She had two stints in the Justice League, first under Giffen/DeMatteis and then under Morrison. For the past few years, though, she’s been a more well-adjusted member of the Birds Of Prey — a little hardcore on occasion, sure, but more often than not kicking back with a beer after a mission is done.
Therefore, the Helena Bertinelli of H:Y1 is something of an artifact — all hardcore, no quarter asked, none given. This issue retells the story of her family’s murder and casts her in something approaching the Michael Corleone role: she wants to get out, but she’s so good at playing the game. The issue itself is told non-sequentially, with different color palettes (wielded by Jason Wright) for different time periods; and that can get a little confusing. There are also quite a few new (or at least unfamiliar) characters, so while we know the outlines of Helena’s story, it can be a chore to fit the others’ timelines to hers. Madison’s dialogue doesn’t go over the top too often, and apart from the flashback problems, Richards is a decent storyteller. Overall, it’s not particularly bad, but if this were ten years ago, it’d be less of a jolt.
I don’t want to sound like an apologist — or worse, a chauvinist — but despite the “Catfight Begins Here” tagline on the cover of Batman Confidential #17 (written by Fabian Nicieza, drawn by Kevin Maguire), the issue didn’t strike me as an excuse for 22 pages of cheesecake. As an extended chase sequence involving Batgirl and Catwoman, it is basically two attractive women in skintight costumes leaping and jumping and falling and fighting, so … well, I guess that does sound like an excuse for cheesecake. Still, Maguire doesn’t go out of his way not to draw sexy women, and the 22 pages are spent mostly on the mechanics of the chase itself. Nicieza uses dueling narrative captions, the device Jeph Loeb taught me to hate, but since he focuses mostly on the earnest Batgirl, they’re used to good effect. Looks like a promising, if inconsequential, story.
Bat Lash concludes with #6 (written by Sergio Aragones and Peter Brandvold, drawn by John Severin with help from Javier Pina and Steve Lieber). I’ve said it before — this miniseries was produced fairly well, but on the whole it seemed more like a generic Western than something which would have established Bat’s “Maverick”-esque personality. Since this is the end, the bad guy gets his, starting with an entertaining sequence which finds pretty much everyone else in the book throwing things at him. Pina and Lieber draw the climactic pages in a style which is a little cleaner than Severin’s, but not incompatible therewith. Actually, I wonder if this is the end for ol’ Bat, since the very last panel seems like something of a cliffhanger for someone who might only be familiar with the character through this book. I will say that if Aragones et al. come back for a sequel, I’ll probably get it; but I wish this miniseries had had a little more distinctiveness.
Green Lantern Corps #24 (written by Peter Tomasi, pencilled by Patrick Gleason, inked by Prentiss Rollins and Drew Geraci) follows our familiar GLs as they track Arisia and Sodam Yat, captives of the Black Mercy. Those of you expecting the familiar ideal-fantasy-fate seen in previous BM appearances may be disappointed here, as the plant has been made a little meaner by Mongul. That’s not necessarily bad, though; because honestly, how resonant would Arisia or Yat’s ideal fantasy be (as opposed to, say, Kyle or Guy’s)? Add a creepy interlude with the Sinestro Corps prisoners on Oa and it’s a full issue. However, as hard as it tries, this issue has a very matter-of-fact feel — almost day-at-the-office — right up to the last page. That last page redeems it, though.
I don’t have much to say about Green Arrow And Black Canary #8 (written by Judd Winick, pencilled by Mike Norton, inked by Rodney Ramos) except that I liked it. It’s a little light on scene transitions, but that could just be me not paying attention. I like Norton and Ramos as replacements for Cliff Chiang, I thought Winick’s dialogue was a little cute at times but I can take it, and I liked the misdirection at the end.
Winick’s other book this week, Titans #2 (pencilled by Joe Benitez, inked by Victor Llamas), was more of a puzzle. First off, let’s make one thing perfectly clear: I’ve read the Wolfman/Perez Titans. Whenever I continue the Big Titans Project, I’ll be getting into the post-Perez years. I’ve seen Wolfman/Perez pastiches before, most obviously from Devin Grayson and Phil Jiminez. Therefore, I’m not sure the Old New Teen Titans are best served by a return to Wolfman/Perez sensibilities.
However, I don’t know that they need Judd Winick and Joe Benitez (or whoever the artist will be next month). This issue finds the Titans — who refuse to acknowledge that they’ve gotten back together — making sure that all the ex-Titans are safe from Trigon’s minions. That makes sense. What doesn’t make as much sense is Benitez drawing Trigon like Iggy Pop and Raven (in what is basically a dream sequence) like Aeon Flux. In fact, Benitez and Llamas’ work looks like the offspring of Sam Kieth and Ed Benes. It’s not bad in the sense that it tells the story in an understandable way; but it’s not even as “realistic” as Ian Churchill’s work was last issue. Still, it has personality. As for the plot, not much happens this issue beyond rescuing Argent in the opening pages and visiting Trigon midway through. I do think this book has potential, but first it has to decide what it wants to be.
Superman #676 (written by Vito Delsante, pencilled by Julian Lopez, inked by Bit) is an “untold tale” of Supes’ first meeting with the Golden Age Green Lantern, as the two track down Solomon Grundy on Memorial Day. There’s a lot of Greatest Generation-oriented narration, with which I can’t argue; but it gets a little obvious after a few pages. The art is similar to the Carlos Pacheco/Jesus Merino style, which is nice, although it’s made more 3-D by the color effects of Marta Martinez, and that can get a little overpowering. In the end, though, it tells the story well. This is an issue more for the longtime fan who wants to see the most powerful hero of (current) DC-Earth’s Golden Age meet the most powerful hero of “today.” That reader will appreciate the nods to DC history which pepper the story, and might forgive the fact that otherwise the story tries a little too hard.
Speaking of DC obscura, Gail Simone is making me hunt through the old Who’s Whos for the scoop on the guy behind Wonder Woman #20 (written by Simone, pencilled by Aaron Lopresti, inked by Matt Ryan). He sends Diana on a quest to help a certain public-domain barbarian defeat his famous nemesis. This means new penciller Lopresti gets to draw Diana fighting wolves and barbarians without the benefit of most of her powers. A flashback scene with Etta Candy sets up the quest and lets Simone address the issue of Jodi Picoult’s “Naive Diana,” who was flummoxed by pumping gas. I liked this issue better than the Khund storyline, although Simone seems to be settling into a groove of “who will Diana fight this month?” She’s found the right voice for Diana to do it, though, so I’m not complaining too much.
Booster Gold #9 (written by Geoff Johns and Jeff Katz, pencilled by Dan Jurgens, inked by Norm Rapmund) isn’t exactly the perfect superhero-comic single issue, but it does demonstrate how much 22 pages can do. Basically the old Justice League International gang reunited to take down Max Lord and the mind-controlled Superman, it takes Booster and Beetle from a bombed-out Batcave to the final confrontation with the villains behind it all. (Continued next issue, of course.) Jurgens has done evil-alternate-timelines before, and in Justice League America to boot, so this is solid ground for him. Likewise, tweaking Infinite Crisis isn’t too hard for Johns. This is an extra-fine storyline, and I’m eager to see how it ends.
Finally, Batman #676 (written by Grant Morrison, pencilled by Tony Daniel, inked by Sandu Florea) begins the long-awaited “Batman, R.I.P.” arc with the Club of Villains, the Dynamic Duo taking out a would-be masked villain in about two minutes, a couple of scenes intended to beef up Jezebel Jet’s character, and a visit with the Joker which took me a few tries to understand. Each is important not so much for their details, but for their tone. The issue as a whole hints that Batman’s “happiness,” both with Jezebel and in costume, will be his downfall despite the extent to which he’s investigating the Black Glove’s organization. If Morrison’s basic take on the character is that “Batman always has a plan,” this may be the storyline which tests his planning ability. Daniel and Florea convey this all in a satisfactory manner, from the ridiculous (the Green Vulture) to the sublime (the Joker). It’s a good start to what is rumored to be a great story.
May 19, 2008
… it hints at another of his dark secrets —
— namely, that he had Earth-Marvel’s Stan Lee roughed up by Doombots for misspelling “soliloquy.”
[From “The Name Is Doom!” in Fantastic Four vol. 1 #84, March 1969. Written by Stan Lee and Jack Kirby, pencilled by Kirby, inked by Joe Sinnott, lettered by Sam Rosen. Color reconstruction by Tom Smith. Reprinted in Marvel Masterworks: Fantastic Four #9 (2005).]