Showing posts with label green lantern. Show all posts
Showing posts with label green lantern. Show all posts

Saturday, December 19, 2009

Fiddle-dee-dee!

Not sure what's turned my thoughts to fictionalized warfare. Maybe some Avatar osmosis, although I've cooled to James Cameron's directorial charms. Anyway, in trying to get to sleep the other night, I started thinking about a Green Lantern story. (It could easily be a Justice League story, but would center around GL.)

Basically, the initial setup was this: Green Lantern -- doesn't matter who, might as well be John -- is patrolling Sector 2814 when his ring detects an approaching starship. It's an advance scout for a massive armada headed, yes, straight for Earth. Naturally, GL alerts the Justice League and also buzzes Oa for backup. The JLA is prepped and ready for action, but the word comes back from Oa: reinforcements denied. In fact, a Guardian gets on the horn to tell John specifically that he is to offer no resistance to the invaders. Instead, he is to observe and advise them. He can protect the Earth's best interests, but the Guardians have determined that the invasion must be a success, because that's the only way Earth can survive.

John then contacts the JLA from aboard the invading scoutship and explains the situation. Obviously John is conflicted, but ultimately he has no reason to distrust the Guardians. Besides, he (and presumably any other Green Lantern in the area) will theoretically be able to influence the invaders in Earth's favor. Of course, the JLA and the rest of Earth's super-folk have no such conflict, and while there is some debate over whether to follow John's lead, eventually the choice is made to repel the invaders.

Thus, the stage is set: hundreds (if not a thousand) hostile starships bearing countless troops, versus the Justice League, Justice Society, Teen Titans, et al. There are pitched battles in orbit and fierce fights on the ground, but the invaders eventually get past the superheroes. The invaders seem to be looking for something, but they don't know quite where; and they tear the dickens out of several regions in the process. Cairo, Helsinki, Nepal, and Salt Lake City are hit especially hard. Regardless, thanks to John, casualties are amazingly low, including among the superhumans. Indeed, the invaders start ham-fistedly rebuilding the infrastructure of the devastated cities, even advising local leaders on alternative forms of government.

Once the invaders believe Earth has been subdued, though, the JLA and its allies strike back using guerrilla tactics. This is quite successful, in part because the invaders are caught off-guard. Before they know it, they've lost half their fleet and most of their infantry has been incapacitated; and they're ready to retreat. After Green Lantern has escorted them out of the solar system, he gets a call from Oa: the Guardians are pleased.

Pleased?!? John spits. You could have stopped all this before it even started!

Yes, muses the Guardian coolly, but the [invaders] needed to be taught defeat. The Guardians knew that bloodying the invaders' collective nose was the only way to get them to leave Earth alone, but calling in the GL Corps would have merely turned the invaders' attention to Oa. It seems the invaders are a particularly thick and brutal race, but one thing they do especially well is fight -- so they would have first found a way to eliminate the GL Corps, and then they'd have come after Earth. And make no mistake, John Stewart, intones the Guardian, [the invaders] would have dedicated their very existence to wiping us out. Now, however, they see that even if they defeat an enemy one day, it also won't stop until it's driven them off. The Guardian wraps up by saying they regret having to manipulate John and the other Earth GLs as they did, because (irony alert) they normally don't work like that.

* * *

Now, clearly there are a number of problems with that story. I first thought of it when I was half-asleep, and I fleshed it out on the fly just now. The point, though, is that it is a blatant morality play about the Iraq war, and I'm not sure that something as deadly serious as Iraq (or Afghanistan, or wherever else the U.S. finds itself) should be trivialized, even potentially, by adapting it to a superhero setting. For one thing, it's designed to leave no lasting scars on the Earth or its people. For another, the invaders are pretty one-dimensional -- they're looking for WMDs because they think someone on Earth attacked them, but that's never really made clear.

Still, if you declare that some subjects are off-limits to superhero stories, aren't you shortchanging the genre? Joe Kelly wrote a decent Iraq-related issue of JLA, where President Luthor basically lies to the Justice League to get them to invade an inoffensive country; and Greg Rucka put Lois Lane in harm's way in "Umec" during his tenure writing Adventures Of Superman.

I actually do like the story, mostly for the moral dilemma it puts GL in. I suppose you could strip out the more obvious real-world parallels and make a passable 2- or 3-issue arc out of it. It wouldn't have any real-world lessons, but it might be entertaining, and it would definitely explore the relationship between a Green Lantern and his little blue bosses.

Still, on balance I'd like my comics to be open to larger moral concerns. I'd just hope they'd be able to get past all the fantastic stuff.
Full Post

Monday, October 05, 2009

New comics 9/30/09

A light week means a shorter podcast, and at the risk of being immodest, this week I think I am finally starting to put all the pieces together. Comics discussed include the Astro City: Astra Special #1, Blackest Night: Titans #2, Gotham City Sirens #4, Green Lantern #46, Justice League of America 80-Page Giant #1, Superman #692, Unknown Soldier #12, and Wonder Woman #36. Olivia helps as well, and as always the music is by R.E.M.

Download it here, stream it via the player at right, or visit the podcast homepage here. Happy listening!
Full Post

Monday, September 21, 2009

New comics 9/16/09

Big agenda this week not just because a whole lot of comics came out, but also because we're catching up from last week. That means forty-odd minutes of laconic drawlin' 'bout Action Comics #881, Agents Of Atlas #11, Batman And Robin #4, Batman: Streets Of Gotham #4, Blackest Night #3, The Brave and the Bold #27, Captain America Reborn #3, Green Arrow & Black Canary #24, JSA Vs. Kobra #4, Marvels Project #2, Warlord #6, and Wednesday Comics #s 10 and 11.

Download it here, listen to it via the player at right, or visit the podcast homepage here. Music, of course, is by R.E.M.
Full Post

Tuesday, September 15, 2009

New comics 9/10/09

Another light week this week, in part because I got to the shop too late for new issues of Wednesday Comics and Warlord. It still leaves Blackest Night: Batman #2, Booster Gold #24, Doom Patrol #2, Green Lantern Corps #40, Secret Six #13, Superman: World Of New Krypton #7, Titans #17, and The Unwritten #5.

Tune in as I use the word "gratuitous" in a way that may seem, well, gratuitous; marvel as a "pal" gets the boot; admire the squickiness of Secret Six, and observe the unfortunate juxtaposition of a thong and hot dog. Olivia contributes comments in the background. Music, as always, is by R.E.M.

Download it here, listen to it via the player at right, or visit the podcast homepage here.

Happy listening!
Full Post

Friday, August 28, 2009

New comics 8/26/09

My throat's still a little sore, but the new comics just keep coming--!

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.

Download it directly here, stream it directly from the player on this here site, or go to the podcast homepage here. Happy listening!
Full Post

Sunday, August 16, 2009

New comics 8/12/09

For this week's 40 minutes of heck, I try to balance a rant about Dr. Mid-Nite and some Blair Butler bewilderment with some memories of the classic New Teen Titans and nice words about Wednesday Comics' "Wonder Woman."

Specifically, it's Action Comics #880, Adventure Comics #1, Batman #689, Blackest Night #2, Blackest Night: Batman #1, Booster Gold #23, Green Arrow/Black Canary #23, Green Lantern Corps #39, JSA Vs. Kobra #3, Titans #16, The Unwritten #4, and Wednesday Comics #6. Plus, Olivia gets another cameo!

Download it directly here, visit the podcast homepage here, or cast your eyes to the player at right.

Music, as always, by R.E.M.
Full Post

Saturday, August 01, 2009

New comics 7/29/09

This week I go off on a little rant about Mark Millar's Fantastic Four, and there are references to Fargo and Stripes, as well as a thoroughly-unsurprising Monty Python reference. Otherwise, it's Batman: The Brave and the Bold #7, Blackest Night: Tales of the Corps #3, Detective Comics #855, Fantastic Four #569, Justice League of America #35, Madame Xanadu #13, Superman #690, Wednesday Comics #4, and Wonder Woman #34. Music, as always, is by R.E.M.

[EDIT: Sorry, folks, the Unknown Soldier stuff somehow got lost in the editing process. I'll try to work it in next week!]

Download it here, or go directly to the podcast homepage here.
Full Post

Thursday, July 23, 2009

New comics 7/22/09

This week's podcast features Blackest Night: Tales of the Corps #2, Final Crisis: Legion Of Three Worlds #5, Final Crisis Aftermath: Dance #3, Gotham City Sirens #2, Green Lantern #44, Madame Xanadu #s 11-12, The Spirit #31, Power Girl #3, Supergirl #43, and Wednesday Comics #3.

Sorry in advance about some lingering sound-quality issues. This is also the second week in a row in which I use the phrase "boy band."

Once again, Olivia contributes from the peanut gallery, and R.E.M. supplies the music. Download it here, or visit the podcast homepage here.
Full Post

Thursday, July 16, 2009

New comics 7/15/09

In this week's podcast: Action Comics #879, Agents Of Atlas #8, Batman: Streets Of Gotham #2, Blackest Night #1, Blackest Night: Tales of the Corps #1, Brave and the Bold #25, Captain America #601, JSA Vs. Kobra #2, Rasl #5, Titans #15, Wednesday Comics #2, and Prince Valiant Vol. 1: 1937-38.

I hope I have fixed some of the lingering technical issues (which I further hope no one minded in the last episode), and of course I am still working on my elocution. Early on, Olivia even offered her own comments in the background. (The music, once again, is by R.E.M.)

Download it here, or visit the podcast homepage here. Thanks for listening!
Full Post

Tuesday, July 14, 2009

It's my 5-year blogoversary -- in stereo!

Can you believe that it's been five years since this humble blog was launched? Heck, it seems like five years since the last post....

Accordingly, as a way to get back into the weekly new-comics grind, I am trying the exciting world of podcasts! Yes, give me thirty minutes and I'll give you somnolent commentary on the usual batch of new purchases! This week it's Wednesday Comics #1, The Unwritten #3, House Of Mystery #15, Superman: World Of New Krypton #5, Green Lantern #43, Batman #688, Green Arrow/Black Canary #22, Booster Gold #22, and The Warlord #4. (Music is by R.E.M.)

Right-click here to download the episode. You can also visit the podcast homepage here.

Anyway, I'm hoping to have new installments up on weekends (or Fridays if I'm lucky), so keep an eye out!
Full Post

Friday, March 13, 2009

Two new comics, 3/11/09

Longtime readers may remember that I used to post weekly new-comics roundups (I hesitated to call them "reviews") about a particular set of purchases. Between annotating Trinity and looking after a new baby, I got out of the habit of doing those.

However, this week I read two comics which, if not exactly polar opposites in terms of quality, were at least headed in different directions as far as merit was concerned. I was surprised at how much I liked one, and how much I disliked the other. Therefore, let's talk about Titans #12 and Batman: Battle For The Cowl #1.

* * *

First, though, just to be complete, I'll run down briefly the rest of Wednesday's haul. I covered Trinity #41 over at Robot 6. Batman Confidential #27 was Part 2 of the "hey, it's King Tut! In the comics!" story. It brings one of the '60s TV show's more ridiculous villains (and that's saying something) into the serious Batman comics after forty-odd years, but the story is neither goofy nor overly grim. Instead, Tut is creepy and mysterious, so much so that Batman is forced to turn to the Riddler for help. The result is an engaging mystery with snappy writing and great art.

I'll have to read back issues of Booster Gold and the Superman books to get a better idea for this week's developments (in Booster Gold #18 and Action Comics #875). I liked both fine, but each depended on the culmination of long-running plot threads. Same is true to a certain extent for Green Lantern Corps #34, although that issue was more setup than anything else.

Finally, I'm not sure how I feel about Green Arrow/Black Canary #18. It's three issues into the new writer's first arc, but he doesn't seem to have the best handle on the characters, and the "Green Arrow has a stalker" plot feels very familiar.

0n to the main event....

* * *

It's no exaggeration to say that the relaunched Titans has had its problems. In the first eleven issues and the Titans East special, the book has had a handful of different artists (and wildly divergent artistic styles). Although the writer, Judd Winick, has stayed the same, he's been criticized for failures of characterization and plotting. Next month begins "Deathtrap," a crossover with Teen Titans and Vigilante, two books I don't read. Accordingly, it would be easy for me to drop Titans, but something keeps me going.

Titans #12, guest-written by Sean McKeever, penciled by Howard Porter, inked by Wayne Faucher, and colored by Edgar Delgado, was a good example of what the title could be. Titans is essentially a revival of New Teen Titans, so it treads the dangerous ground of, say, a sequel called "fortysomething" (or, to my mind, a "Friends" reunion). At its core it must make the argument that this particular combination of characters -- Cyborg, Starfire, Raven, Beast Boy, Wonder Girl/Troia, Speedy/Red Arrow, and Kid Flash/Flash -- still works, and is still worth watching. So far Titans had been coasting on the assumption that its existence didn't need justifying.

However, this issue finds two members debating just that. Ex-member Jericho has turned evil, and since he can inhabit anyone's body and control anyone's actions, everyone else is on edge. As a result, when Donna and Roy meet for coffee, neither of them is particularly thrilled to go on like they have been. When Raven rebuffs Beast Boy's attempts at romance, he exclaims desperately that Jericho must be inside her, toying with him.

The other characters don't have quite as much to do with the Jericho plot, but they were more recognizable to me than they had been. Starfire, whose powers come from solar energy, gets a few pages to worship the sunrise in a way which is reverential, not prurient. Later in the issue, she and Donna meet at dusk for a photography lesson. Roy's conversation with Donna is sandwiched between leaving one lover (after busting up a mugging outside her window) and almost reluctantly picking up another. In a sign that he too might be leaving the team, Wally "Flash" West's only scenes are with his family, and by itself the scene doesn't really go anywhere. Finally, Cyborg's work in Titans Compound bookends the issue and sets up "Deathtrap."

I became increasingly dissatisfied with Sean McKeever's work on Teen Titans because I felt myself caring less about the characters, not more. Maybe I'm bringing too much of my own knowledge of these characters to this issue, but I found McKeever's writing here to be subtle and almost elegant in its efficiency. When Roy returns to his one-night-stand's apartment after fighting the muggers, she's eager for breakfast (and more), but the only thing he says to her is that he just came back to get his wallet. McKeever lets the art (and especially the coloring) speak for itself with regard to Starfire's sunrise-worship. Similarly, Starfire's conversation with Donna consists of the simple, direct sentences which old friends use as shorthand. Probably the clunkiest bits of dialogue are the ones with the most romantic tension, between ex-lovers Donna and Roy and would-be lovers Raven and Beast Boy.

On the whole I enjoyed the art of Howard Porter and Wayne Faucher, augmented by Edgar Delgado's colors. Porter can't quite settle on Roy's hairstyle, which makes him look like Wally; and his layouts of Raven's head over the "montage" of the last few pages doesn't quite work. Still, Porter and Faucher produce clean, readable work. It's stylized somewhat, but not to the point of distraction; and except for Wally and Roy it allows the characters to have distinct personalities.

Overall I was quite happy with Titans #12. It's the kind of issue which highlights this sort of book's soap-opera elements without swamping the reader in them. I thought all of the subplots touched on here were explained adequately, so as not to mystify a new reader. I'm curious about the next issue, and that's the kind of feeling a serialized comic book should produce.

* * *

Naturally, Batman: Battle for the Cowl #1, which was written and penciled by Tony Daniel, inked by Sandu Florea, and colored by Ian Hannin, is something else entirely. BFTC #1 drops the reader into the middle of a Gotham City gone insane. Because Batman is Teh Dedd, all the gangs and super-criminals are battling for turf. Trying to hold everything together is a motley crew of Bat-sociates, organized by Nightwing and Batgirl (but mostly by Nightwing, as Batgirl gets maybe one panel in this issue).

But soft! Whither goest yon red-eyed wraith with the Wayne-issue Batarangs? 'Tis a new Batman, taking out a trio of thugs wearing clown masks left over from The Dark Knight before Robin and the Squire (the British version of Robin) can get to them. This Batman knows enough about How Not To Be Seen to slip past experienced crimefighters, but they know he's Batman because, along with those Batarangs, he leaves helpful notes which say "I Am Batman."

And that, in a nutshell, is BFTC #1's main problem: its apocalyptic setting is based on there being No Batman, but in the first few pages it introduces I-Am-Batman. What's more, even though the streets are full of bad guys battling SWAT teams, Gotham is apparently safe enough for ordinary people to gather into mobs, just to drive home the point that society is breaking down. Granted, I've never been part of a city in turmoil, but it seems to me that if the streets aren't safe, is it really such a good idea to go out into the streets in large groups to highlight this lack of safety?

Still, as always, Gotham gets the local bureaucracy it deserves; because wouldn't you know it, everyone in Arkham Asylum -- the Joker, Poison Ivy, the Scarecrow, that guy with the shark-teeth -- is currently in low-security buses (buses!) while the Asylum is being fumigated. (Actually, narration explains that the Asylum is being decontaminated after the Black Glove's shenanigans.) This sets up the dramatic return of Black Mask, who hijacks the convoy and blows up Arkham Asylum.

That's about it for setup: new Batman, mayhem in the streets, super-crooks on the loose. In other hands it might be pretty exciting. However, under Tony Daniel, BFTC #1 is overwritten, uninspired, crowded, and generally just a lot of sound and fury. From the very first panel, when Daniel started with an establishing "Gotham City" caption and then had Robin narrate four sentences later that yes, they were in Gotham City, I knew it would be tough going. (I was willing to overlook Robin saying "Squire and I" when it should have been "and me.") I've mentioned some of the nonsensical plot elements already, but they're worth repeating. Instead of a city filled with protesters, gangs, cops, and supervillains, why not a ghost town of empty streets, distant fires, and a general air of hopelessness? Instead of Black Mask co-opting the Arkham residents by hijacking their bus convoy, why not show how these master criminals each attempting to escape? BFTC #1 is so concerned with getting all its ducks in a row that it never thinks about the ducks themselves.

Moreover, BFTC saves its worst element for last, in the form of Bruce Wayne's and Talia al Ghul's son Damian. Grant Morrison gave Damian -- who, if memory serves, grew up alongside the League of Assassins -- a bratty bad attitude and a mean sense of entitlement. Here, though, he's a posturing little kid whose facade crumbles, and literally screams for Mommy, when faced with Killer Croc and Poison Ivy. Morrison's Damian wouldn't just take this kid's lunch money, he'd make him eat it.

Daniel doesn't explain who Damian is, though, similarly failing to give a hypothetical new reader any information on the Knight, the Squire, or any of the several other superheroes -- some, like Black Canary, the Birds of Prey, and Wildcat, only tangentially related to Batman -- who flit through this issue's panels. I can live with assuming that everyone knows Nightwing's relation to Batman, but Robin's reference to "my father's costume" seemed to come out of left field, even knowing that Bruce adopted Tim three years ago.

All in all, Battle for the Cowl #1 is a story outline in comic-book form, filling a spot on DC's production schedule until everything settles down in June. I realize that the two main Batman books have had their own scheduling problems lately, and Robin, Nightwing, and Birds Of Prey were canceled to make room for the post-BFTC lineup, but considering the events of this issue makes me wish even more that the storyline had been serialized at least across Batman and Detective. Not only could it have built suspense (the Arkham inmates have to be moved! The police might strike!) over a few weeks, it could have pulled all of these elements into a more coherent narrative. Instead, BFTC looks like an exercise in Here's What Happened, a process-oriented miniseries in danger of being ignored.
Full Post

Friday, October 03, 2008

Now I want a John Stewart movie too

Inspired by Brainfreeze, just a quick question before a busy weekend (and no time for Friday Night Fights, darn it)....

Wouldn't the first Green Lantern movie be more interesting if it focused on John Stewart?

I mean, I love Hal, but his story arc is pretty much a straight line. The basic Green Lantern origin-story plot is "you are in over your head." Here is a magic ring; now go fight aliens and fix problems.

With Hal, there's no real story arc. Any complications (father issues! drunk driving!) seem artificial, because come on, he's a test pilot. He's got the right stuff already, so why are we wading through these subplots to see it?

Speaking broadly, Guy and Kyle exist primarily in relation to Hal. Guy is the star of the Green Lantern movie that Adam Sandler's production company would make (har har, I'll use the ring for hookers and blow!); and Kyle is the star of Disney's (I am sensitive and I believe in myself!). Those are gross oversimplifications, to be sure, but I'm thinking two-minute trailers here -- not a lot of room for nuance.

John, though ... now there's a movie-movie. Spend the first ten minutes on slice-of-life stuff for a socially-conscious architect. However, drop into the background a couple of news items: a polarizing politician's visit, and Green Lantern saving a busload of school kids in Baltimore. The plot begins in earnest when Hal shows up to make John his deputy (and I did say make, because Hal and probably a big holographic Guardian head make it clear that John has no choice).

So yeah, it's essentially an adaptation and expansion of John's origin from the Denny O'Neil/Neal Adams Green Lantern #87, but really, isn't that the kernel of a good movie all by itself? Here is Hal, representing (as he did originally) the establishment, having to train a new Lantern who he worries may not have the right attitude for the job; and here is John, wondering what in fact this new role means to his long-held beliefs. Sure, there are racial and political overtones, but it would have been a heck of an introduction to John, Hal, and the Green Lantern Corps.

Okay, gotta go. Back before too long.
Full Post

Monday, September 08, 2008

New comics 8/13/08

Olivia turned four weeks old yesterday, and will be a month old on Tuesday ... not unlike my current-comics backlog, as it turns out.

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....
Full Post

Monday, August 25, 2008

New comics 7/28/08 and 8/6/08

Here are some quick impressions of recent books, as I try to get rid of the accumulated baby-related backlog....

7/28/08

Batman: Death Mask #4: I stand by my original appraisal of this series, which is that it's more of a read-right-to-left exercise than a demonstration of manga's storytelling potential. It was a decent Batman story, but (as opposed to those Star Wars manga from ten years ago) nothing which really encouraged me to read more manga. If this were Batman/Punisher or some other outside-the-norm crossover, each "side" would get a chance to "win." Here, though, Batman is still Batman, just read differently; so he wins decisively.

Green Lantern #33: This was the penultimate chapter of "Secret Origin," wasn't it? Good. I get the feeling that "SO" could have been more interesting, and more to the point (leading up to "Blackest Night"), if it had been a couple of oversized issues told from the point of view of someone other than Hal. Also, I really think Johns et al. are pushing it to give Black Hand's mortuary the Black Lantern symbol.

Justice Society of America Annual #1: I talked about this one in a Grumpy Old Fan.

Teen Titans #61: Not a bad issue, although I am still not convinced that Kid/Red Devil is the breakout character everyone says he is -- and I say that as someone who looked forward to his appearances in the old Blue Devil series.

8/6/08

Detective Comics #847: Part 2 of "Heart of Hush" would have been better if it didn't have so much Hush.

Final Crisis #3: This is a scary, scary miniseries, and I admire its unwavering fatalism. I think I also like the way it paints its terrifying picture through individual snapshots, and not a "widescreen" overview.

House Of Mystery #4: Last month I think I said it's taking a while for Fig to realize what the readers already know (because it's the premise of the book). This month does nothing to change that. HOM isn't badly made, it's just slow; and I may have to give it another storyline to evaluate it properly.

Manhunter #33: I continue to like this series, and I want to learn more about it, but honestly I couldn't tell you why I liked this particular issue.

Nightwing #147: Part 1 of a 3-part Two-Face storyline is fairly entertaining, although for various external reasons I'm not sure how much longer I'll be with the book.

Supergirl #32: However, it looks like I'll be with this book for a while to come, as long as it ties into the Superman titles.

Tor #s 3 and 4: Tor starts a family in these issues. I'll probably finish out this miniseries, if only because I enjoy Joe Kubert's storytelling.

Of course, I also bought Trinity #s 9 and 10, and enjoyed them beyond my self-imposed obligation to annotate.

Back before too long to catch up on the next two weeks!
Full Post

Sunday, July 13, 2008

New comics 6/25/08

You would not believe the week I have had. Actually, it's been more like two weeks.

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!

Full Post

Tuesday, June 17, 2008

New comics 6/11/08

Booster Gold #10 (written by Geoff Johns and Jeff Katz, pencilled by Dan Jurgens, inked by Norm Rapmund) feels a little "off" to me, and I don't quite know why. It's probably because there's so much going on. Rip Hunter narrates for a couple of pages, with his Chalkboard Of Destiny (TM) distracting the reader in the background. Booster takes over as the scene switches to the scrum with Max's forces ... and here, I think, is where things get too overloaded. Essentially the rest of the book takes place in and around a big superhero fight involving -- get ready -- a reunited Justice League International (including Guy Gardner, the good Doctor Light, J'Onn J'Onzz, and Batman); Superman; Max Lord; the original version of Despero; the white-ape Ultra-Humanite; Per Degaton; Black Beetle; Ted "Blue Beetle" Kord; Maximillian (the evil Skeets); Booster and his dad; and the Mystery Villain. Oh, and I forgot the interlude with Rip and the time bubble.

Johns and Katz and Jurgens do their best to break out of the fight the important character-based scenes involving Booster and his dad, the Beetles, and the sidekick droids; but even so, there's still a lot going on in the background. In other words, the scenes aren't put in perspective like they should be, so the rest of the players feel like distractions and/or afterthoughts. What's more -- and I admit this may be just me -- I couldn't remember the non-sacrificial function of the vehicle for the eventual heroic sacrifice. (Said sacrifice plays out like Wrath of Khan, or the last Lone Gunmen appearance, by the way.) There's a sacrifice, but I don't know what else it accomplished. We'll find out next issue, I guess.

Anyway, it's not a bad issue, and it may well play out better in context. It's just a frustrating installment for this month.

Most of The Last Defenders #4 (written by Joe Casey, pencilled by Jim Muniz, inked by Cam Smith) finds Nighthawk on the wrong side of just about everybody, as the term "non-team" starts to take on its most literal meaning. I thought it was fine, but once again, there's a lot going on in the background which apparently only has two issues to resolve itself.

Star Wars: Rebellion #14 (written by Jeremy Barlow, drawn by Colin Wilson) wraps up the current story arc with a lot of action, and a little denouement. There's a suggestion that Luke and Deena Shan are a little sweet on each other, and since this is the interstitial period leading up to Empire, I'm all for anything which gets him away from those understandable-but-creepy-in-hindsight feelings he showed for Leia. I have to admit I'm not as up on my Expanded Universe characters as I should be, or else I'd probably be more sympathetic to them. Still, I can accept how the narration builds Deena up, and I always like seeing spaceship combat. Once again the art reminds me of Howard Chaykin's early SW work from thirty years ago, except the brief glimpse we get of Han seems a little too paunchy for the whip-thin Harrison Ford of 1977. Pretty good if you've been with this story the whole way; probably better the more you know.

This month in Batman Confidential (#18 written by Fabian Nicieza and drawn by Kevin Maguire), Batgirl and Catwoman inch that much closer to making X-rated Internet fanfic mainstream, as they spend the first 10 pages naked from the neck down, fighting in a nudist club. The fact that Maguire draws Babs with all these extremely uncomfortable expressions and retreating body language doesn't make it better. If last month was an excuse for cheesecake, this month drops the pretense ... uh, as it were. As much as I like him, Maguire's figures are just rendered too literally for this extended sequence to be farcical. Maybe someone with a softer style could have pulled it off (what?!? sorry!) better. Cliff Chiang's "Naked Ollie" chases from Green Arrow/Black Canary come to mind, so Chiang or his designated replacement Mike Norton might have done well with this. Anyway, everyone puts their clothes on for the rest of the issue, and I presume the rest of the story. (There's only so many opportunities to play the nude card.) It's pretty entertaining, especially since it focuses on puppies. I am not kidding. It's almost like DC felt like it needed to atone for the nearly-nude scenes with, yes, puppies. So, in summary, come for the cheap thrills, stay for the puppies!

(P.S. DC, if you use that as a blurb, I'd at least like a free copy of the paperback.)

The "Barbarian Queen" scenes in Wonder Woman #21 (written by Gail Simone, pencilled by Aaron Lopresti, inked by Matt Ryan) are fine, but I want to mention the Sarge Steel/Tom Tresser bit which opens the issue. On its own it's good: a typical "walk with me" scene which sets up a few familiar conflicts and advances the plot. However, these are two well-established spy characters who, by virtue of their respective careers, should interact on a higher level. Tom "Nemesis" Tresser had his own backup series in The Brave and the Bold, teamed up with Batman a couple of times, and was in the Suicide Squad; and Sarge Steel was Charlton Comics' answer to Nick Fury. So if this scene involved, say, Dirk Anger and Jimmy Olsen, it'd be easier to take.

As for Wonder Woman, her posse of '70s DC barbarians continues to grow, along with the savagery of her fights. "Losing her grip" is, I think, a fairly radical direction for the character, because it seems like most writers want to portray her as always in control, diplomatic, etc. However, it's still a valid direction; and I think Simone has presented it well. Diana's finding out what she's like without the fundamental sources of her strength. The art in the "barbarian" section is also tighter and darker, with more attention paid to the blacks and a more washed-out color palette (credit colorist Brad Anderson for that). Add a couple of callbacks to Simone's first arc and it makes for a good issue.

Green Lantern Corps #25 (written by Peter J. Tomasi, pencilled by Patrick Gleason, inked by Drew Geraci) presents the origin of the Black Mercy plant. It's a sensible, space-opera-y origin which maybe brings in Mongul a little too neatly, but it sends the story in a very Star Trek direction. New inker Geraci fits well with Gleason's pencils, giving them a little more definition in places and even putting a "cartoony" sheen on some of the figures. There's a misplaced word balloon on page 2, and there's more foreshadowing about different-color lanterns, but other than that it's pretty good.

About half of Green Arrow And Black Canary #9 (written by Judd Winick, pencilled by Mike Norton, inked by Wayne Faucher) features Plastic Man, with the other half showing Speedy and the British guy fighting super-powered bad guys. Thanks to Norton and Faucher, it's all portrayed with a light, breezy tone, which certainly makes some of Speedy's quips easier to take. Norton and Faucher draw a good Plastic Man too -- perhaps even nicer than what cover artist Cliff Chiang might have done. The issue builds to a couple of Dramatic Reveals: the bad guys' employer (which is pretty obvious) and the next guest-star (also not unexpected, but not unwelcome either). I continue to like this book.

Action Comics #866 (written by Geoff Johns, pencilled by Gary Frank, inked by Jon Sibal) is a heck of a start to the latest Brainiac storyline. The Daily Planet newsroom welcomes Steve Lombard, sports brute; and welcomes back noted innuendophile Cat Grant. Frank and Sibal really lay on the Christopher Reeve and Margot Kidder references for Clark and Lois, but it's all good. (Cat looks like she had a familiar model too, but I can't place her.) However, the showpiece of the issue is Brainiac's abduction of Kandor, shown in flashback (naturally) with references to General Zod and Brainiac's Kryptonian origins. To say that Brainiac now = Borg + Alien wouldn't do it justice. It's cold, scary stuff which sets up his threat level very well. Still, there is a bit of Borg plotting in place: Superman defeats a pawn, but the "king" is still out there....

Trinity #2 (written by Kurt Busiek, pencilled by Mark Bagley, inked by Art Thibert) finds the Trinitarians battling personalized threats: rogue solar systems, giant robots, and a mystical metropolis. It's nice to see each handle their own in the space of a few pages or so. Meanwhile, in the second story (written by Busiek and Fabian Nicieza, pencilled by Tom Derenick, inked by Wayne Faucher), Green Lantern John Stewart fights Konvikt and Graak in a sleepy Massachusetts town square. So far Trinity looks like superhero comfort food, and if it continues like this I suspect I won't have too many bad things to say about it.

Finally, here's Titans #3 (written by Judd Winick, pencilled by Joe Benitez, inked by various people), a frustrating installment of a series which has yet to define itself. Benitez' art has personality, but he doesn't have a handle on these characters. I hate to go all fanboy, but in an early pedeconference scene, all the characters are the same height. At the very least Starfire should be the tallest, but in a long shot she looks shorter than the Flash. Likewise, Beast Boy and Raven should probably be the shortest. These aren't just stylistic choices, they inform the characters' personalities.

The plot of the issue involves the Titans pairing off, with unfortunate results. While there's an in-story explanation, the sad thing is that the book has already established its willingness to "push the envelope" with regard to these characters, so we don't know how much of their behavior was provoked. I'm not saying the Titans should always be hugging, but Winick hasn't done much to lay a foundation for their normal behavior. I'd like to think this book will find its equilibrium sooner rather than later, but it might not happen for a few more months.
Full Post

Tuesday, May 20, 2008

New comics 5/14/08

I wasn't planning on buying any more of Secret Invasion than I had to, but I was intrigued by the last page of Secret Invasion: Fantastic Four #1 (written by Roberto Aguirre-Sacasa, pencilled by Barry Kitson, inked by Mick Gray). I won't spoil it for you, but it is a callback to an era I didn't think Marvel was in a mood to revisit. The rest of the issue is standard FF fare, following a Skrull infiltrator's sabotage of the Baxter Building. That's not the real story, though; and that's where the last page comes in. I've not read Aguirre-Sacasa's FF work before, but he does a good job here, getting through exposition about the sabotage and SI generally in an efficient manner. Barry Kitson's work is less cluttered than, say, his Legion pencils, and although Mick Gray has inked him before, the work doesn't seem as rigid. Overall, it's a nice-looking book that will probably work well as a standalone Skrull adventure.

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.
Full Post

Tuesday, May 06, 2008

New comics 4/30/08

For some reason DC Universe #0 (written by Grant Morrison and Geoff Johns, drawn by committee) felt more Johnsian than Morrisonian. It struck me as a collection of preview pages from a half-dozen upcoming arcs, tied together by vague narration from a Certain Familiar Someone. I responded most favorably to the George Perez pages and the Final Crisis tease.

The blow-up-the-base story currently running in Star Wars: Rebellion (#13 written by Jeremy Barlow, drawn by Colin Wilson) is starting to feel padded by about an issue, and this is that issue. Most of it follows a Rebel soldier as she tries to escape a sadistic Imperial officer and the requisite stormtrooper squads. There's some narration about her coming to grips with the meaning of being a Rebel, but that was lost on me somewhat because I've never gotten too invested in this character. A promising sequence at the end makes a good case for our heroine blowing up half the base with a single grenade (not unprecedented in Star Wars, I think you'll agree). Overall, some good stuff, and my opinion may change after next issue, but for now it still seems a bit long.

Teen Titans Year One #4 (written by Amy Wolfram, pencilled by Karl Kerschl, inked by Serge LaPointe) is, as the cover indicates, a Kid Flash spotlight, but it continues the Batman/Robin storyline which has run through the book so far. The issue doesn't quite put Flasher in the "I should be the leader" slot, but it does give him an ego to go with his considerable powers. Wolfram and Kerschl root for him regardless, so that he's never really unsympathetic. Also, Aqualad gets more of a personality, although he still doesn't do a whole lot. Wolfram and Kerschl's simple storytelling comes across as very matter-of-fact, and it leaves room for Kerschl's stylized, expressive designs to work. I'm looking forward to the rest of the series and wishing it could go on longer.

Back in the current Teen Titans (#58 written by Sean McKeever, pencilled by Carlos Rodriguez, and inked by various people), this month Miss Martian must fight not only the Terror Titans, but also her evil conscience. (I've been reading too many solicitations.) Not knowing much about the character, I thought this was a good way to highlight her inner turmoil. I was a little confused at first, thinking that her Evil Self was somehow connected to her Evil Future Self from a few issues back, but that was cleared up soon enough. The art was decent: not too far from the book's normal style, not too flashy, but adequate for the job at hand.

I get the feeling I should like "Secret Origin," part 2 of which appears in Green Lantern #30 (written by Geoff Johns, pencilled by Ivan Reis, inked by Oclair Albert), but it keeps falling flat for me. I shouldn't fault it for changing Hal's origin so that only he (and not the little training capsule) is yanked out of the hangar by Abin Sur's ring. Working classic GL characters into the background is also acceptable, as is tying it into "The Blackest Night" and the Ysmault prophecies. Maybe I just have a problem with Ivan Reis drawing Hal to look 17 years old; or with Johns having Hal cause a rival to crash. Otherwise, "Secret Origin" is appropriately reverent, which is nice. I don't dislike this storyline, but I like it less than Johns' and Reis' other GL work.

Johns does better with Action Comics #864 (pencilled by Joe Prado, inked by Jon Sibal), a bridge between Countdown and Legion of Three Worlds which plays like a standalone murder mystery. Basically, Batman and Lightning Lad (of the "Earth-1 Legion") clash over the corpses of Karate Kid and Una. Batman also makes the point that he's met three different versions of the Legion, so naturally he's not inclined to trust any of them. The mystery isn't solved -- it's a teaser for the aforementioned LO3W, after all -- but the issue is tied together by a Mysterious Narrator revealed on the last page. Suspenseful! (Also, this week, redundant!) The art is okay -- a little too chunky, but not to the point of Liefeldism. I can't get used to a Grunge-like Lightning Lad, though.
Full Post

Monday, April 14, 2008

New comics 4/9/08

You might already have seen my lengthy (shocking!) post about Titans #1 and Batman Confidential #16 over at Blog@Newsarama. Regardless, there's still a truckload of new books to go through here.

First I want to mention Green Arrow And Black Canary #7 (written by Judd Winick, pencilled by Mike Norton, inked by Wayne Faucher). When I saw that Cliff Chiang would be leaving this title, I announced loudly that he was one of the big reasons I was buying the book. If he went, I might just follow him; and how would you like them apples, DC?

Well, as it happens, new artists Mike Norton and Wayne Faucher do their darndest to replicate Chiang's endearing thick-lined style, which is nice. It also doesn't hurt that there's a touch of Mike Parobeck in their work. So, well done all. As long as Norton and Faucher are on the book, I'll be getting it.

As for the story, it may not please readers who think that longtime Justice Leaguers shouldn't comport themselves like they've OD'ed on "Alias" reruns; but hey, I liked it. After Ollie, Dinah, and Mia interrogate the guys they captured last issue, it's off to England for more hijinx in a pub. The story seems to have gotten padded out by at least an issue, but that may be so that Winick can introduce the guy our heroes meet this issue. Anyway, the trail leads back to one of Dinah's old flames, which should be interesting....

I liked a lot of things about The Last Defenders #2 (script by Joe Casey, breakdowns by Keith Giffen, pencils by Jim Muniz, inks by Cam Smith), but it's hard to describe why. The book isn't so much about this weird little group of "Defenders" as it is about the idea of the Defenders, and I suppose the sense that you can't impose too much organization upon it or it all falls apart. This issue is divided essentially in two: the opening fight scene which picks up from last issue, and the "infiltration" scene which sets up the cliffhanger. Running through the book is a jaunty, smart-aleck attitude where Joe Casey (by his own admission) essentially becomes Giffen's Justice League scripter, following in the keystrokes of J.M. DeMatteis, Bill Messner-Loebs, and Gerard Jones. It's that kind of attitude, and it actually ends up propelling the overall plot. Accordingly, the somewhat chunky, Ed McGuinness-y figures Jim Muniz pencils sometimes seem out of place -- too macho where they should be more comical -- but once we get past an Iron Man whose head seems to be shrinking as we watch, the effect becomes negligible. Revealing the book's villains as a couple of obscure Jack Kirby creations from the '70s doesn't hurt either.

Who wants to bet that Marvel does a "Special Rough Cut!" of Fantastic Four #556 (written by Mark Millar, pencilled by Bryan Hitch, inked by Hitch and Andrew Currie) where the stupid "blizzard" effects are removed? If you've seen the issue you know the problem. If not ... well, let's just say there are probably a half-dozen better ways to depict a snowstorm via sequential art, but obviously none of them looked as "realistic" as just putting random white splotches all over the panels. Especially when said panels depict dozens of tiny superheroes attacking a big red-white-and-blue robot. Thanks, Marvel, for making Hitch's work unreadable. The rest of the book is about like you'd expect; namely, very pleased with itself. I didn't think FF could test my patience any more than the JMS run did, but maybe I was wrong.

Superman Confidential comes to an end with #14 (written by B. Clay Moore, pencilled by Phil Hester, inked by Ande Parks), the conclusion of the Jimmy Olsen/Toyman story. I liked it well enough. I like Hester and Parks' work generally, and this issue hit all the right Toyman, Jimmy, and Superman beats. The story itself wasn't anything special, but it wasn't egregiously bad either.

It was good to see the regular team of Peter Tomasi (writer) Patrick Gleason (penciller) and Prentis Rollins (inker) back in Green Lantern Corps #23. The Boodikka story was only two issues, but it felt like an eternity. However, we're now looking at a few months with Mongul, the Sinestro rings, and a garden full of Black Mercy. This issue introduces that arc, with most of it devoted to summoning Guy, Kyle, Dr. Natu, et al. to Oa for their mission to round up the aforesaid yellow rings. I liked it pretty well. Tomasi has a better handle on the dialogue here than he does in Nightwing, by which I mean that he doesn't seem to be trying as hard to make the characters sound cool. Gleason and Rollins have long since settled into a comfortable groove on this title. The Black Mercy might be getting overexposed of late, but I still have high hopes for this story.

Another Green Lantern shows up in Wonder Woman #19 (written by Gail Simone, pencilled by Bernard Chang, inked by Jon Holdridge), but since he's unfamiliar to us, Diana spends most of the issue fighting him. It's a good illustration of the "fighting shows the value of not fighting" philosophy that informs the modern take on Wonder Woman, and it has the added advantage of letting Diana go one-on-one with a Green Lantern. Meanwhile, Etta Candy and a couple of Khunds have their own roles to play in deciding the fate of the planet. The art is good, but I still can't put my finger on who Chang's WW looks like. I was also pleasantly surprised at the ending, which I hope has repercussions down the line.

Speaking of repercussions, Booster Gold #8 (written by Geoff Johns and Jeff Katz, pencilled by Dan Jurgens, inked by Norm Rapmund) finds the death-cheating Blue Beetle and Booster Gold teaming up with a motley crew of superheroes to invade Max Lord's headquarters and maybe try to free Superman from Max's mental control. Yeah, good luck with that. Johns and Katz's script is good as usual, and I notice this issue how much more fluid Dan Jurgens' figures have gotten over the course of this series. It's another solid issue of a title which might just make DC's labyrinthine history accessible to (and, more importantly, fun for) the casual reader.

On the other hand, there's Countdown #3 (written by Paul Dini and Sean McKeever, story consultant Keith Giffen, drawn by Freddie Williams II), a Superman/Darkseid fight involving Dark Mary Marvel, a Kryptonite-powered Jimmy Olsen, and the Atom. There's 40-odd pages left in this monster storyline, and they'll pick up on Wednesday with Jimmy Vs. Darkseid. I can't make that sound any better. Freddie Williams, bless his heart, isn't quite the right artist for this throwdown either -- his characters look just a little too goofy for what's obviously meant to be serious business. Well, except for the last page, but I think that on some level that's meant to be serious too ... and if so, that's just sad.

The serious/funny thing is handled much better, of course, in the concluding issue of Groo: Hell On Earth (#4 produced by Sergio Aragones, with help from Mark Evanier, Tom Luth, and Stan Sakai), in which the Sage manages to get everyone lined up so that war is averted and environmental catastrophe is at least mitigated. It's been a fun little story -- somewhat obvious as an allegory, but it's not like Groo has ever been subtle.

Serenity: Better Days #2 (written by Joss Whedon & Brett Matthews, drawn by Will Conrad) finds the crew imagining what they'll do when they're rich, which turns out to be quite entertaining whether presented in single-panel gags or more extended sequences. The art is fine, and Conrad captures the look of the show and its cast well. As was the case last issue, the mechanics of one scene still don't make sense to me after multiple readings, but again, maybe I am slow. Also, the cliffhanger seems a little confusing. I was entertained, but maybe the book isn't technically as good as I thought.

Finally, I did buy Batman: Death Mask #1 (by Yoshinori Natsume), the "look! Bat-Manga!" miniseries, because I try to keep an open mind. I don't read manga, and I don't watch much anime, mostly because I am too busy with other things to give those media any significant attention. However, I will say that this Batman manga doesn't seem very innovative either for Batman or for manga. It certainly doesn't have the energy that a rookie like me might have expected. Instead, it's a black-and-white Batman story told from right to left. Maybe the speed lines and hyperactivity have been toned down for us entry-level readers? That would be understandable, but unfortunately the story isn't much to recommend either. The titular death mask kills people, there's a mysterious woman from Bruce Wayne's past, and Bruce is having strange dreams. But for the format, it'd be an average arc from Legends Of The Dark Knight. I'll keep getting the miniseries to see how it turns out, and to support this kind of cross-pollenization, but so far it looks like a missed opportunity.
Full Post

Monday, March 31, 2008

New comics 3/26/08

Countdown #5 (written by Paul Dini and Adam Beechen, story consultant Keith Giffen, pencilled by Jim Starlin, inked by Rodney Ramos) continues the apocalyptic doings from last issue, with the ominous Buddy Blank narration, the expected trip to the bunker, and the also-expected departure of "our" heroes back to the main DC-Earth. It's a harrowing issue, but in the great scheme of things it's hard to say where it fits. I mean, we don't yet know how important Earth-Kamandi will be to the series as a whole; and if the point of these few issues was to show that Earth's origin, and leave it at that, like a Paul Harvey story, well ... it seems kinda perfunctory. I guess if any series can make the end of the world feel like a side trip, Countdown can. (In fact, it already has -- remember the Earth Superboy-Prime destroyed, a few months back?) Accordingly, I'm not sure why it took Jim Starlin to draw this issue, and why we needed to see a Legionnaire devoured by rats.

Countdown To Adventure #8's lead story (written by Adam Beechen, pencilled by Allan Goldman, inked by Julio Ferreira) concludes about how you'd expect, but it's still fun to see Ellen Baker team up with Adam Strange. On its own it's a lot of fighting and shooting and heroic poses, and overall the arc has been pretty good. I can't say the same for the Forerunner story (written by Justin Gray, drawn by Fabrizio Fiorentino and Adam DeKraker), which might make more sense if I ever decide to revisit it, but which does end on a somewhat unexpected note. The story and art have improved over the past few months, but I didn't have much interest in Forerunner before, and I don't appear to now.

Teen Titans #57 (written by Sean McKeever, pencilled by Eddy Barrows, inked by Jimmy Palmiotti and Ruy Jose) continues the "Terror Titans" arc. This issue focuses on Ravager's fight against a couple of Terror Titans, juxtaposed against Robin's attempts at making up with Wonder Girl. I liked the issue pretty well. I thought it was paced well, I liked Barrows' storytelling, I think Palmiotti and Jose improve on his pencils, and I liked how Ravager was written. So, good job, all; and see you next month!

Green Lantern #29 (written by Geoff Johns, pencilled by Ivan Reis, inked by Oclair Albert) begins "Secret Origin," yet another look at Hal Jordan's life. Apparently Hal did just about anything he wanted to from a very early age. The End. Oh, okay, this issue goes into Hal's combative relationships with his mother and brothers, which in turn are based in his hero-worship of his dad, who you'll remember crashed his jet as young Hal watched. If you've been following Johns' work on the character, there won't be too many surprises here, except maybe for the details about his mom. As for the art, I found myself wondering if maybe Reis and Albert might have stepped aside for the flashback scenes. They're quite good on the regular sci-fi superhero material, but somehow their work felt a little too meticulous for this kind of coming-of-age story.

For some reason that I only noticed with this issue, Jim Gordon looks like Captain Kangaroo (with glasses) all throughout Batman Confidential #15 (written by Tony Bedard, pencilled by Rags Morales, inked by Mark Farmer). It's Part 3 of "Wrath Child," in which we learn the origin of the original Wrath and the startling secret of the current one. I like this story because it's high-concept: a supervillain who's the evil duplicate of Batman, fighting Batman and the newly-emancipated Nightwing. It provides a few fun touches: a flashback reveals a '60s-TV-show-style Batcopter and Batboat, and at one point Dick slams fist into palm a la Burt Ward, exclaiming "Holy--!" to boot. Morales' and Farmer's work is dynamic and clean, and I note approvingly that Morales draws this Nightwing to look appropriately younger than the Nightwing he currently draws in the eponymous book. Looking forward to the end of this one, but wishing this team would do more of the same.

The Spirit #15 (written by Sergio Aragones and Mark Evanier, drawn by Paul Smith) presents a diamond-smuggling switcheroo farce. It wants to be witty and nimble, but sadly comes up short. Although Paul Smith is an able cartoonist who apes Eisner's character designs well, he doesn't go in for the storytelling or layout flourishes that helped distinguish Darwyn Cooke's work. As for the story, Aragones and Evanier are normally very witty on Groo, but many of the gags here seem forced and/or familiar.

The mostly-prose Star Trek spinoff, New Frontier, gets another comic-book story with the new miniseries "Turnaround" (issue #1 written by Peter David and drawn by Stephen Thompson). I haven't read a New Frontier story in a few years, and it looks from this issue that there have been some changes to the cast. Of course, that assumes you're familiar with the cast in the first place. Otherwise, the story doesn't do much to introduce the players. Essentially, an experimental starship goes missing, Captain Calhoun and the USS Excalibur investigate, there's unrelated political intrigue featuring an ex-officer, and another ex-officer is now one of Trek's ubiquitous omnipotent beings. Oh, and there's another familiar-looking person on Excalibur who can pop in, EMH-like, when the story requires. The art is decent enough -- everything and everyone look appropriately Trek-y, and there aren't too many likenesses to worry about. It's not the worst Trek comic art I've seen, but not the best either. I will admit to being intrigued enough by the setup to come back for issue #2, but part of that is the hope that various subplots will start to knit together.

Finally, All-Star Superman #10 (written by Grant Morrison, drawn by Frank Quitely) is a poignant look at the last days of Superman ... at least on his particular Earth. I'm sure you've read about the synchronicity of this issue's conclusion with the Siegel heirs' legal victory, but even before I learned about that I was struck by Morrison's ability to evoke Superman. Morrison and Quitely use the image of Superman's literary creation as a touchstone for the character as ideal, which is a little ironic considering that they're working on an "ideal" version of the character.

But it's only an ideal from our perspective, isn't it? We're used to Superman as a commodity -- as copyright maintenance, as trademark material. We see Superman used as a sales-goosing guest star, as the center of a mythology that expands or contracts with the times, as a paragon of virtue challenged endlessly by fans who want something darker and more realistic.

All-Star Superman #10 speaks instead to "Superman's" power to lead by example. It's about inspiration, creation, and imitation in an endless cycle ("neverending," per the story's title). The hero of this story may be dying, but his legacy lives; just as the hero created by Jerry Siegel and Joe Shuster all those years ago has produced a body of work full of its own entertainment and inspiration. I don't mean to evangelize in such a purple way, and the image of a dying Superman is certainly not the hardest way to create sympathy in a reader -- but this issue pulls together the thematic threads of the series so well, and sets up its climax so effectively.

Morrison and Quitely's Superman speaks in simple, declarative sentences. He wears a costume which looks homemade, but not undignified. He's the center of his world, and this issue shows him preparing that world for his departure. Whether the series will actually end with his death seems immaterial at this point.
Full Post