Amazons Attack #3 and Wonder Woman #10 have bled into each other by now. I’d have to go through each side-by-side and page-by-page to determine what takes place in which order, let alone how this event relates to Countdown. Also, Batman’s “Bees. My God.” line from AA #3 demands to be said in a Cartman voice. Still, both books look pretty; AA’s Pete Woods always delivers, but Paco Diaz does a fine Dodson/Drew Johnson impression for Wonder Woman.
My only complaint with Fantastic Four #547 is that Reed can apparently survive in space unaided, and the more I think about it the more it makes a weird comic-science sense. Otherwise it’s another solid issue from Dwayne McDuffie, Paul Pelletier, and Rick Magyar.
I wasn’t going to get Supergirl & The Legion #31, because I thought a break was needed after the Waid/Kitson era, but it wasn’t too bad. It feels like a pastiche of Waid/Kitson, which isn't entirely fair considering that Tony Bedard and Kevin Sharpe had each done some fill-in work previously, but I'm still not sure I don't need a break.
She-Hulk #19 presented a fascinating legal strategy, one which might not be too innovative in the history of superhero comics, but which was argued well nonetheless. I continue to like the Dan Slott/Rick Burchett/Cliff Rathburn team, but some combination of the inks and the colors (by Andy Troy) actually make the figures look two-dimensional – and by that I mean that I had to look twice to see if a Two-Gun Kid cardboard cutout was supposed to be sitting at the table.
I talked about Sinestro Corps already.
The 3-D effects were the best thing about Action Comics #851, and that’s actually saying something this time. This story has been a mixed bag, but this issue doesn’t have too much to do beyond getting Superman out of the Phantom Zone and showing Zod’s conquest of the Earth. I bet in four or five months, when the conclusion finally appears, I’ll have had time to form an opinion on the story so far.
Atom #13 takes Ryan and Chronos back to the land of tiny barbarians Ray Palmer visited in the Sword of the Atom books, and by and large it’s pretty fun. Gail Simone uses the same kinds of funny-talkin’ aliens that endeared us to this book’s first crop of diminutive villains, but it works here too.
Nightwing #134 flashes back to a Bat-spat, and in the present finds our hero fighting the new Vigilante. However, one of the things I liked best was Jamal Igle’s two-page, top-tier spread of a swanky restaurant. It might seem like an indulgence, but it sets the proper tone for the scene. The story’s pretty good so far, too.
Detective Comics #834 -- 700 issues ahead of Nightwing, I see – finishes up the Batman/Zatanna team-up pretty well. Zatanna gets her revenge on the villain of the piece, and she and Batman finally make up after Identity Crisis. It’s still a Batman story, but he doesn’t overshadow her, which was nice.
Aquaman: Sword Of Atlantis #53 is officially a dead title walking, as of today’s DC solicitations. It’s a shame, but I can’t say I’ll miss the book too terribly much. This issue was decent; more of the Black Manta-takes-over-Sub Diego story, with well-done superhero action.
Welcome To Tranquility #8 presents a medley of spotlights on the people of Tranquility, and I have to say, these little doses have done more to make me like this title than the big six-issue opening arc did. They kept the book on my radar for sure.
All-Star Superman #8 wasn’t as immediately gratifying as its predecessors, but it was still good. I’m sure I will appreciate its depth and complexities the more I revisit it ... whenever that might be. The same thing applies to JLA Classified #40 -- I can tell there’s a nature/nurture/free-will theme running through the issue, but I want to look at it in a better context before passing a more definite judgment.
I talked about some ramifications of Outsiders #49 last week. Probably not going to pick up the revamped title.
Star Wars: Rebellion #8 was fairly entertaining. The pieces of the story are starting to come together, and it's done a good job of creating Star Wars-esque characters who aren't overly familiar. I didn’t buy Vader’s high-jump-flip, though -- too prequel-y.
Green Lantern #21 was a very good follow-up to the Sinestro Corps Special, and it gives me high hopes that "SC" will be the good kind of epic “Event,” not the bloated Countdown kind.
Superman #664 did a lot to advance the “Camelot Falls” arc, even explaining the arc’s title. Tying in the Prankster fill-in from a few months ago was good too. Man, Carlos Pacheco draws a great superhero book; and Jesus Merino’s inks are meticulous -- everything pops off the page. Too bad about the book’s scheduling problems.
Superman Confidential #5 likewise does a lot to start wrapping up the “Origin Of Kryptonite,” with the most important probably being the explanation for the meteor chunk’s thought balloons. A good, plot-driven, payoff-facilitating issue.
Lastly, the Deadpool/GLI Summer Fun Spectacular was a highly enjoyable romp through the silliness which is post-Civil War Marvel. The sight of Penance’s cat was priceless.
SPECIAL DOES-COUNTDOWN-MAKE-SENSE? SECTION
Okay, so I read Countdown #s 44-42 all together to see if there’s any narrative cohesion, and the answer is ...
... maybe, a little. Countdown has dedicated itself pretty firmly to following its basic cast of characters. When those characters’ stories are interrupted, as #43's Flash funeral does, the series’ rhythms are thrown off.
However, Countdown’s problem lies in its over-reliance on its core characters to explain everything going on in the rest of DC. It seems like each scene is an interaction between characters – and if that sounds basic, I mean that each scene essentially involves conversation. The exception in these three issues is the funeral, which begins with a few narrated panels establishing Keystone City. Still, even that narration comes from Jimmy Olsen. Jimmy might well be Countdown’s central figure, but the series spends so much time on each of its characters that Jimmy contends for space with Mary Marvel, Donna Troy, et al.
Indeed, Countdown doesn’t do a whole lot to lay out its story’s scope, explain what’s at stake, or otherwise build a structure upon which to hang those scenes. Countdown has focused pretty faithfully on its characters, so much so that it seems like the plot is being left to other titles. After ten issues of a fifty-two-issue miniseries, those structural devices should start becoming apparent, and I get no sense of them. Now, it may well be that this isn’t just a fifty-two-issue miniseries -- but how much shapelessness are we readers expected to endure in an eighty- or hundred-issue Mega-Comics Event?