This post about the end of Grant Morrison's Batman, or more specifically his second run on Batman Incorporated, is months behind the fact mostly for one reason:
I didn't like how it ended.
In case you haven't read or heard about that, Batman Incorporated #13 basically ends on a cliffhanger, the return of Ra's al Ghul. A cliffhanger, really? After seven years? So that was basically my reaction. I was disappointed. Here was the conclusion of a great comics run within an iconic character and arguably the best writer of this generation. And it wasn't really a conclusion at all.
Or so it seemed.
Morrison had warned readers that they probably wouldn't be happy, that they wouldn't be pleased with the conclusion he ultimately reached about Batman. And I guess I just failed to understand what he meant. Part of the problem was Chris Burnham's art. Burnham was on the title since its relaunch in the wake of the New 52. It was immediately evocative of Frank Miller's work from The Dark Knight Returns, just as Greg Capullo has been in Scott Snyder's Batman. But whereas Capullo took the challenge seriously, Burnham's always looked like a parody. Great on Damian. Not so much Batman.
But maybe that was the point.
Morrison's conclusion, as I'm now interpreting it, may have been very pointedly the opposite of Miller's Dark Knight Returns philosophy. Miller envisioned Batman as an eternal warrior, impossible to defeat, even if the enemy is old age and retirement. His is an ultimately triumphal story for the character, trumping even Superman himself. Morrison seems to have said something differently entirely.
To reach Ra's al Ghul, to reach his return, Morrison used every other key member of the family, who at this point were as close to a family as they ever got. Batman the father, Damian the son, Talia the mother. Batman and Talia finally duel, with Damian caught quite literally in the cross-hairs, as exemplified in the best issue of the series, Batman Incorporated #8, the latest Death of Robin event. The war doesn't end until the series does, however.
And what the was the ultimate shape of this war? Batman creates the eponymous league of allies to combat Talia's Leviathan, its equal and opposite. And the orouboros finally eats its own tail. Batman's grand crusade becomes cyclical, even with a brand-new version of the "I shall become a bat!" epiphany. The allies cancel each other out. The would-be lovers reach their end at last, the dance concludes. Batman does not win.
Batman doesn't win??? Batman doesn't win.
Let me say it again. Batman doesn't win. That's not at all what Miller prophesied. Morrison came up in the comics scene in the midst of Batman's biggest creative boom. There was Miller, Morrison himself (the psychological masterpiece Arkham Asylum), and Alan Moore's The Killing Joke, with Morrison recently chiming in on the theory that Batman actually kills Joker at the end of it. Is he right about that? It doesn't matter. But it opens the door wide about what he really sees as the conclusion of the Batman story.
He doesn't see it ending ideally. He doesn't see the Dark Knight rising. He sees Batman fall. This whole epic run has been The Dark Knight Falls all along.
He said he'd put all the toys back in the toy box. The Incorporated allies are pretty much gone. Damian is dead. Talia is defeated. And other writers continue Batman's never-ending quest for vengeance against crime.
But he's already indicated how he sees it will end. The only way it can end. Whether he's an old man or in his prime, Batman doesn't win. And so he defeats his ultimate foe in the epic of all epics, and another villain just rises up to fill in the hole again.
This whole thing reminds me of the few issues he did after the fact following "R.I.P.," the last time we thought Morrison had concluded his Batman epic. In Batman #s 701 and 702, he explains the missing pieces, the hole in things, between the events of "R.I.P." and Final Crisis, where Batman "dies." They may be the finest issues he ever wrote in his Batman run.
Part of me is hoping he does something similar as a coda to Batman Incorporated, make his reasoning plain, explain the whole master plan. It's not likely. The one trademark of all Grant Morrison's stories is that he never spells them out.
Did I interpret it right? At any rate, I'm feeling far better about that ending now than a few months ago. Even if it doesn't paint Batman in the most flattering light. But then, maybe that was the point. Maybe Morrison was seeking to end the hero worship for a character who can be just as easily interpreted as a deviant and positively deranged as the ideal superhero who can overcome every obstacle. He did that in Morrison's epic and still lost. Maybe the cliffhanger itself is the message. Or maybe it was no cliffhanger at all.
We've gotten a lot of good from this run. We got Paul Cornell's Knight and Squire. We got Andy Kubert's Damian. We got Peter Tomasi and Patrick Gleason's Batman and Robin. And more. And hopefully more. And perhaps the definitive Batman story yet.
All of this is to say, thank you Grant Morrison.
Showing posts with label Batman Incorporated. Show all posts
Showing posts with label Batman Incorporated. Show all posts
Wednesday, November 6, 2013
Saturday, May 18, 2013
Reading Comics #114 "Rounding Toward Third"
Batman Incorporated #9 & 10 (DC)
The issues that follow the death of Damian Wayne are pretty interesting and speak to the significant impact of the event as well as how it fits into the rest of what Grant Morrison has been doing in his final Batman arc. #9 cuts between the immediate aftermath of Damian's death as Batman and Nightwing attempt to handle the other Damian (a clone matured to adulthood by proud mama Talia, who was nonetheless displeased that one killed the other) and the funeral, where Bruce lets Alfred know that he too is displeased in the butler's tacit approval of his late son's last caper. That's probably the best moment of the issue. The former Squire also decides to replace the late Knight (the two were the most prominent members of Batman Inc., featured in an excellent and very British mini-series by Paul Cornell). The city of Gotham, meanwhile, gives in to Leviathan a.k.a. Talia's demands and officially outlaws Batman, the agent provocateur. #10 sees Morrison circle back to his earliest issues in this run, where Manbats were flying about. It's also a direct evocation of Batman's origins, as Bruce decides that the only way to defeat Talia is to literally become a bat, thanks to the Manbat serum. It's a powerful, meaning-filled development. There are three issues left, plus a jam issue a month later featuring the international heroes technically represented in the title of this series.
Batman: Li'l Gotham #1 (DC)
I've been following the blog of Derek Fridolfs for a while now, and by extension his Facebook posts, and it's always been a little weird because Fridolfs is mostly a digital-first creator, his stories originally appearing on the DC website and then being printed later. He's best known for his comics based on the Arkham City games (and as such that was the basis of the excellent Endgame Joker story I read last year) and Batman Beyond landscape, though recently he's been collaborating with the great Dustin Nguyen on Li'l Gotham. This issue is a collection of the holiday specials that served as the introduction of these incredibly fun tales. Fridolfs is clearly a fan of continuity, and he's always finding new ways to explore it, mindful that for some readers, especially in these fringe adventures, it could very well be their first exposures. Since he doesn't write New 52 material, Fridolfs can do whatever he wants. Li'l Gotham is technically considered a young readers title, but it can easily be enjoyed by anyone strictly as a humor series.
Before Watchmen: Comedian #6 (DC)
The conclusion of this mini-series and the whole Before Watchmen event, I've been waiting months for this. Comedian became the only part of the event I tracked for every issue of original publication thanks to Brian Azzarello's masterful character study of Edward Blake and his relation both to the Vietnam War and the John/Robert Kennedy saga. Azzarello made a few changes to Blake's classic arc; for instance the infamous face scarring that forced him to wear a mask doesn't occur in this comic. The lead character in this series remains more of a hero than antihero, though certainly stained by the events of his times. Edward and Bobby end the issue trying to make the best of a bad situation and not really succeeding. Bobby, of course, is assassinated. Edward's demons are more psychological, but they're impactful. I read someone's assessment of the Before Watchmen project, and they labeled Comedian as one of the disappointments. I still contend it was the best of the whole thing, and I think history will side with me, just as anyone who read Watchmen itself ended up thinking a lot differently about Edward at the end of it than they did at the beginning (or...every other point). That's the magic of the character.
Django Unchained #3 (Vertigo)
Now that I've actually seen the movie, it's a different experience reading the comic book adaptation of Quentin Tarantino's complete script. With the first two issues, I was discovering the story outside of the movie's direct influence. Now it's harder to separate the two, although the adaptation is still making the story its own, retaining all the distinct advantages of the comic book format, and new artist Denys Cowan continues to keep the art equally distinctive, evocative and yet unique. The series is halfway through, and on the final page introduces Calvin Candie, the character portrayed by Leonardo DiCaprio in the film.
Justice League #18 (DC)
This will probably be my final issue of the series. While Geoff Johns continues work on Justice League (and its spin-off I'll be talking about next) and is gearing up for "Trinity War," the event that he's been working toward since the start of the New 52 and introduction of the mysterious Pandora (very soon to be featured in her own series), I'm not really in the financial means to continuing reading new comics on a regular basis. I've been in the position to have a much smoother conclusion than in 1999 (known as cold turkey) or my abortive efforts in 2011 (when Flashpoint and the start of the New 52 sabotaged a similar design). Grant Morrison concludes his Superman and Batman stories this year, and Johns is stepping down from Green Lantern. I couldn't ask for a better exit. Justice League has been consistently excellent, and this of all issues is a fine place to stop (and just as well to begin for readers in a different situation than me). It's the customary recruitment issue. Morrison did something similar in his JLA run, and it's been a staple for subsequent writers like Brad Meltzer. Lots of new faces are here. The issue also features the tenth installment of the Shazam! backup feature from Johns and Gary Frank, where the erstwhile Captain Marvel and always-kid Billy Batson finds it increasingly difficult to avoid the inevitable confrontation with Black Adam.
Justice League of America #2 (DC)
Another comics blog I follow, Crisis on Earth Prime, found this Hawkman/Vibe moment pretty memorable: Vibe says "Are you okay?," to which Hawkman responds "Why?" Vibe next says "You're covered in blood," and Hawkman says "It's not my blood." Vibe spends the next two panels putting some distance between them, and there are no words. They're not necessary. Johns wrote Hawkman both in the pages of JSA and his own title for years, but this may be the best scene he's ever done with the character. There's also a pretty interesting Catwoman moment where she realizes how similar she is to Steve Trevor in the department of being spurned by giants. This is the strength of the series, that Johns is able to write characters who aren't necessarily icons. He actually writes both his League books in much the same way, but this one just feels more intimate. These characters all have something to prove and they know it. There's a backup feature in this series, too, featuring Martian Manhunter, who gets my vote as the best character too many people don't really care about. He would make for an excellent movie.
The Mice Templar, Volume IV: Legend #1 (Image)
The series featuring fuzzy rodents that everyone who cares knows about is Mouse Guard, but Mice Templar has always had my vote for the better of them. It's an iconic new take on the traditional hero's journey, always taking original twists and turns. After a considerable absence, I'm glad to see it return. I started reading these adventures in 2007.
Nova #2 (Marvel)
I loved the first issue of this new Jeph Loeb series, an integral element of Marvel's renewed Guardians of the Galaxy push (seeing that there's going to be a movie and all). I didn't just love it, I adored it, one of the best single issues I've ever read. You may have guessed at this point that I wasn't so wild about the second issue. That's okay.
Saucer Country #13 (Vertigo)
The penultimate issue of this series (although Paul Cornell contends that he will attempt to revive it elsewhere) busts one of the key bits of mythology. The previous issue had a distraught Professor Kidd apparently about to commit suicide, which turned out to be a ruse in order to get the "Pioneer space probe couple" stand revealed as a hoax. The whole series has been about perception and reality in the world of alien abduction, following the presidential campaign of Arcadia Alvarado, who has been trying to come to grips with her own apparent abduction, which has only been complicated by the fact that she shared it with her estranged husband Michael. It's been a fascinating ride.
Star Trek: The Next Generation - Hive #4 (IDW)
The conclusion of this Borg epic that represents Brannon Braga's ultimate vision for the Collective and the roles Jean-Luc Picard and Seven of Nine (featured in Voyager) play in it. In a lot of ways, it's a rephrasing of Voyager's final episode "Endgame." There's also a little of a Star Trek Nemesis hangover involved as Future Data reveals how he returned (and not because as fans thought simply reborn as B4), which serves as an excellent ending after an emotional farewell to another character. Pretty good stuff, although it would certainly be interesting to watch as filmed material.
Star Trek #19 (IDW)
This series is based in the rebooted continuity of the 2009 J.J. Abrams film and was originally set up to adapt classic episodes from the original series with the new interpretations of the familiar characters. I don't know how many issues have deviated from this mission, but this one in particular certainly does and it's well worth enjoying for it. Simply put, this is the secret origin of Scotty, from his family heritage to the incident with Admiral Archer's beagle (evoking similar characters from Enterprise but not the exact ones, because that was a hundred years in the past). Good stuff.
(Justice League of America's) Vibe #1 (DC)
I had to go back and catch this one after initially skipping it. Both spin-offs of the new series look like they're well worth checking out, this one and Katana. What's intriguing about Vibe is that it follows a character who in his previous incarnation was all but a punchline, more famous as a casualty of a forgettable League lineup than anything he did or represented personally. As with Earth 2, this is another series that builds on the initial Darkseid arc of Justice League, and brilliantly at that. Departing Earth 2 writer James Robinson is still most famous for Starman, a series he cleverly hinged around legacy, but in a twist that no one would have seen coming when Jack Knight quickly replaced his more traditional brother David as successor to their father Ted. Geoff Johns does something very similar here with the new Vibe, who is also notable for having the ability to see beyond the regular limits of this particular reality. It's Geoff revising his own Booster Gold revision, the also-ran who became a multiverse champion following the breakthrough 52 experiment. I don't know how long this series will last, but to my mind Vibe has everything to gain from all of this. He's just become one of the most fascinating characters in DC.
The issues that follow the death of Damian Wayne are pretty interesting and speak to the significant impact of the event as well as how it fits into the rest of what Grant Morrison has been doing in his final Batman arc. #9 cuts between the immediate aftermath of Damian's death as Batman and Nightwing attempt to handle the other Damian (a clone matured to adulthood by proud mama Talia, who was nonetheless displeased that one killed the other) and the funeral, where Bruce lets Alfred know that he too is displeased in the butler's tacit approval of his late son's last caper. That's probably the best moment of the issue. The former Squire also decides to replace the late Knight (the two were the most prominent members of Batman Inc., featured in an excellent and very British mini-series by Paul Cornell). The city of Gotham, meanwhile, gives in to Leviathan a.k.a. Talia's demands and officially outlaws Batman, the agent provocateur. #10 sees Morrison circle back to his earliest issues in this run, where Manbats were flying about. It's also a direct evocation of Batman's origins, as Bruce decides that the only way to defeat Talia is to literally become a bat, thanks to the Manbat serum. It's a powerful, meaning-filled development. There are three issues left, plus a jam issue a month later featuring the international heroes technically represented in the title of this series.
Batman: Li'l Gotham #1 (DC)
I've been following the blog of Derek Fridolfs for a while now, and by extension his Facebook posts, and it's always been a little weird because Fridolfs is mostly a digital-first creator, his stories originally appearing on the DC website and then being printed later. He's best known for his comics based on the Arkham City games (and as such that was the basis of the excellent Endgame Joker story I read last year) and Batman Beyond landscape, though recently he's been collaborating with the great Dustin Nguyen on Li'l Gotham. This issue is a collection of the holiday specials that served as the introduction of these incredibly fun tales. Fridolfs is clearly a fan of continuity, and he's always finding new ways to explore it, mindful that for some readers, especially in these fringe adventures, it could very well be their first exposures. Since he doesn't write New 52 material, Fridolfs can do whatever he wants. Li'l Gotham is technically considered a young readers title, but it can easily be enjoyed by anyone strictly as a humor series.
Before Watchmen: Comedian #6 (DC)
The conclusion of this mini-series and the whole Before Watchmen event, I've been waiting months for this. Comedian became the only part of the event I tracked for every issue of original publication thanks to Brian Azzarello's masterful character study of Edward Blake and his relation both to the Vietnam War and the John/Robert Kennedy saga. Azzarello made a few changes to Blake's classic arc; for instance the infamous face scarring that forced him to wear a mask doesn't occur in this comic. The lead character in this series remains more of a hero than antihero, though certainly stained by the events of his times. Edward and Bobby end the issue trying to make the best of a bad situation and not really succeeding. Bobby, of course, is assassinated. Edward's demons are more psychological, but they're impactful. I read someone's assessment of the Before Watchmen project, and they labeled Comedian as one of the disappointments. I still contend it was the best of the whole thing, and I think history will side with me, just as anyone who read Watchmen itself ended up thinking a lot differently about Edward at the end of it than they did at the beginning (or...every other point). That's the magic of the character.
Django Unchained #3 (Vertigo)
Now that I've actually seen the movie, it's a different experience reading the comic book adaptation of Quentin Tarantino's complete script. With the first two issues, I was discovering the story outside of the movie's direct influence. Now it's harder to separate the two, although the adaptation is still making the story its own, retaining all the distinct advantages of the comic book format, and new artist Denys Cowan continues to keep the art equally distinctive, evocative and yet unique. The series is halfway through, and on the final page introduces Calvin Candie, the character portrayed by Leonardo DiCaprio in the film.
Justice League #18 (DC)
This will probably be my final issue of the series. While Geoff Johns continues work on Justice League (and its spin-off I'll be talking about next) and is gearing up for "Trinity War," the event that he's been working toward since the start of the New 52 and introduction of the mysterious Pandora (very soon to be featured in her own series), I'm not really in the financial means to continuing reading new comics on a regular basis. I've been in the position to have a much smoother conclusion than in 1999 (known as cold turkey) or my abortive efforts in 2011 (when Flashpoint and the start of the New 52 sabotaged a similar design). Grant Morrison concludes his Superman and Batman stories this year, and Johns is stepping down from Green Lantern. I couldn't ask for a better exit. Justice League has been consistently excellent, and this of all issues is a fine place to stop (and just as well to begin for readers in a different situation than me). It's the customary recruitment issue. Morrison did something similar in his JLA run, and it's been a staple for subsequent writers like Brad Meltzer. Lots of new faces are here. The issue also features the tenth installment of the Shazam! backup feature from Johns and Gary Frank, where the erstwhile Captain Marvel and always-kid Billy Batson finds it increasingly difficult to avoid the inevitable confrontation with Black Adam.
Justice League of America #2 (DC)
Another comics blog I follow, Crisis on Earth Prime, found this Hawkman/Vibe moment pretty memorable: Vibe says "Are you okay?," to which Hawkman responds "Why?" Vibe next says "You're covered in blood," and Hawkman says "It's not my blood." Vibe spends the next two panels putting some distance between them, and there are no words. They're not necessary. Johns wrote Hawkman both in the pages of JSA and his own title for years, but this may be the best scene he's ever done with the character. There's also a pretty interesting Catwoman moment where she realizes how similar she is to Steve Trevor in the department of being spurned by giants. This is the strength of the series, that Johns is able to write characters who aren't necessarily icons. He actually writes both his League books in much the same way, but this one just feels more intimate. These characters all have something to prove and they know it. There's a backup feature in this series, too, featuring Martian Manhunter, who gets my vote as the best character too many people don't really care about. He would make for an excellent movie.
The Mice Templar, Volume IV: Legend #1 (Image)
The series featuring fuzzy rodents that everyone who cares knows about is Mouse Guard, but Mice Templar has always had my vote for the better of them. It's an iconic new take on the traditional hero's journey, always taking original twists and turns. After a considerable absence, I'm glad to see it return. I started reading these adventures in 2007.
Nova #2 (Marvel)
I loved the first issue of this new Jeph Loeb series, an integral element of Marvel's renewed Guardians of the Galaxy push (seeing that there's going to be a movie and all). I didn't just love it, I adored it, one of the best single issues I've ever read. You may have guessed at this point that I wasn't so wild about the second issue. That's okay.
Saucer Country #13 (Vertigo)
The penultimate issue of this series (although Paul Cornell contends that he will attempt to revive it elsewhere) busts one of the key bits of mythology. The previous issue had a distraught Professor Kidd apparently about to commit suicide, which turned out to be a ruse in order to get the "Pioneer space probe couple" stand revealed as a hoax. The whole series has been about perception and reality in the world of alien abduction, following the presidential campaign of Arcadia Alvarado, who has been trying to come to grips with her own apparent abduction, which has only been complicated by the fact that she shared it with her estranged husband Michael. It's been a fascinating ride.
Star Trek: The Next Generation - Hive #4 (IDW)
The conclusion of this Borg epic that represents Brannon Braga's ultimate vision for the Collective and the roles Jean-Luc Picard and Seven of Nine (featured in Voyager) play in it. In a lot of ways, it's a rephrasing of Voyager's final episode "Endgame." There's also a little of a Star Trek Nemesis hangover involved as Future Data reveals how he returned (and not because as fans thought simply reborn as B4), which serves as an excellent ending after an emotional farewell to another character. Pretty good stuff, although it would certainly be interesting to watch as filmed material.
Star Trek #19 (IDW)
This series is based in the rebooted continuity of the 2009 J.J. Abrams film and was originally set up to adapt classic episodes from the original series with the new interpretations of the familiar characters. I don't know how many issues have deviated from this mission, but this one in particular certainly does and it's well worth enjoying for it. Simply put, this is the secret origin of Scotty, from his family heritage to the incident with Admiral Archer's beagle (evoking similar characters from Enterprise but not the exact ones, because that was a hundred years in the past). Good stuff.
(Justice League of America's) Vibe #1 (DC)
I had to go back and catch this one after initially skipping it. Both spin-offs of the new series look like they're well worth checking out, this one and Katana. What's intriguing about Vibe is that it follows a character who in his previous incarnation was all but a punchline, more famous as a casualty of a forgettable League lineup than anything he did or represented personally. As with Earth 2, this is another series that builds on the initial Darkseid arc of Justice League, and brilliantly at that. Departing Earth 2 writer James Robinson is still most famous for Starman, a series he cleverly hinged around legacy, but in a twist that no one would have seen coming when Jack Knight quickly replaced his more traditional brother David as successor to their father Ted. Geoff Johns does something very similar here with the new Vibe, who is also notable for having the ability to see beyond the regular limits of this particular reality. It's Geoff revising his own Booster Gold revision, the also-ran who became a multiverse champion following the breakthrough 52 experiment. I don't know how long this series will last, but to my mind Vibe has everything to gain from all of this. He's just become one of the most fascinating characters in DC.
Tuesday, April 23, 2013
Batman Incorporated #8 (DC)
writer: Grant Morrison
artist: Chris Burnham
Frankly, when this was released I was more surprised to learn that most people weren't reading Batman Incorporated already. Then again, not so surprised. Most people only care about something when it's been proven that lots of other people already do.
Anyway, this is "the" issue. You know, the one where Morrison kills off Damian Wayne. (Oh, wait! SPOILER ALERT!)
The really interesting part about all of this is that there are five issues (originally four, but like Action Comics another one was added, to be released this July) to go and this event came about well before the end. Technically, this second run of the title has been the end from the very start. Batman Incorporated began as a series before the New 52 was launched, and ended with a Leviathan Strikes! special issue. The second one launched last summer, months after the New 52 debuted, and because everyone was focused on Scott Snyder's Batman (because of his Detective Comics in previous continuity) apparently the last of Morrison was easy to overlook. An issue of Batman Incorporated was delayed because of the Aurora shootings at a premiere of The Dark Knight Rises, and that was the last time anyone talked about the series before this one.
The fact that Damian has been put back into the box (as Morrison has been saying) is only appropriate, especially with this timing. The majority of Morrison's Batman has in fact been about Batman, naturally, including the "R.I.P." arc and The Return of Bruce Wayne. Damian really only entered the discussion with the launch of the original Batman and Robin, in which it was Dick Grayson and not Bruce Wayne who wore the cowl. When Wayne returned, Batman Incorporated 1.0 launched, but Damian wasn't important until 2.0, when suddenly his father grew concerned about a future we'd previously seen in the landmark Batman #666. Damian's mother is Talia Head, daughter of Ra's al Ghul, and also the Big Bad at the end of Morrison's run. In the New 52, Damian also starred in the rebooted Batman and Robin, receiving some excellent character work from Peter J. Tomasi (working alongside artist Patrick Gleason).
This has been Morrison's plan all along, and he has been teasing it since the start of the reboot. Perhaps ironically, the title of the issue is "The Boy Wonder Returns," possibly an ode to Frank Miller's classic, which featured the concept of Robin as a kind of afterthought (though Carrie Kelley in fact saves Batman's life in that story to earn the role, which she could very well assume again in New 52 continuity). Anyone who was already reading the series would have seen this coming.
The issue features a reunion between Damian and Dick Grayson, another appropriate nod, this time to Morrison's own work. When Damian meets his ultimate opponent, it's an alternate version of himself. It was probably easy to assume his brash personality and seeming answer to everything meant he could survive any challenge...but he was still a boy, and Robin basically exists in a zero sum game, which is why there have been so many of them. If you survive the experience, you move on to another role. Batman doesn't have adult allies in his regular beat. There's a reason for that. His very nature negates the basic need. He only needs support, but the trick is to always know when that support is needed and when you've become cannon fodder. Batman knew that Damian should stay out of this fight. Damian's hubris refused to believe that.
Anyway, it should be interesting to see how Batman deals with this for the remaining issues. Morrison's whole arc was about Batman trying to convince himself that he didn't need to work alone, that he could amass all the allies he wanted. It seemed like such an affirmative, positive development. Turns out Morrison's own conclusions are very much different. There may be a reason why he's always been presented the way he's been.
That's what you get if you have an idea what was going on the whole time. I wonder what everyone else thought about the issue...
artist: Chris Burnham
Frankly, when this was released I was more surprised to learn that most people weren't reading Batman Incorporated already. Then again, not so surprised. Most people only care about something when it's been proven that lots of other people already do.
Anyway, this is "the" issue. You know, the one where Morrison kills off Damian Wayne. (Oh, wait! SPOILER ALERT!)
The really interesting part about all of this is that there are five issues (originally four, but like Action Comics another one was added, to be released this July) to go and this event came about well before the end. Technically, this second run of the title has been the end from the very start. Batman Incorporated began as a series before the New 52 was launched, and ended with a Leviathan Strikes! special issue. The second one launched last summer, months after the New 52 debuted, and because everyone was focused on Scott Snyder's Batman (because of his Detective Comics in previous continuity) apparently the last of Morrison was easy to overlook. An issue of Batman Incorporated was delayed because of the Aurora shootings at a premiere of The Dark Knight Rises, and that was the last time anyone talked about the series before this one.
The fact that Damian has been put back into the box (as Morrison has been saying) is only appropriate, especially with this timing. The majority of Morrison's Batman has in fact been about Batman, naturally, including the "R.I.P." arc and The Return of Bruce Wayne. Damian really only entered the discussion with the launch of the original Batman and Robin, in which it was Dick Grayson and not Bruce Wayne who wore the cowl. When Wayne returned, Batman Incorporated 1.0 launched, but Damian wasn't important until 2.0, when suddenly his father grew concerned about a future we'd previously seen in the landmark Batman #666. Damian's mother is Talia Head, daughter of Ra's al Ghul, and also the Big Bad at the end of Morrison's run. In the New 52, Damian also starred in the rebooted Batman and Robin, receiving some excellent character work from Peter J. Tomasi (working alongside artist Patrick Gleason).
This has been Morrison's plan all along, and he has been teasing it since the start of the reboot. Perhaps ironically, the title of the issue is "The Boy Wonder Returns," possibly an ode to Frank Miller's classic, which featured the concept of Robin as a kind of afterthought (though Carrie Kelley in fact saves Batman's life in that story to earn the role, which she could very well assume again in New 52 continuity). Anyone who was already reading the series would have seen this coming.
The issue features a reunion between Damian and Dick Grayson, another appropriate nod, this time to Morrison's own work. When Damian meets his ultimate opponent, it's an alternate version of himself. It was probably easy to assume his brash personality and seeming answer to everything meant he could survive any challenge...but he was still a boy, and Robin basically exists in a zero sum game, which is why there have been so many of them. If you survive the experience, you move on to another role. Batman doesn't have adult allies in his regular beat. There's a reason for that. His very nature negates the basic need. He only needs support, but the trick is to always know when that support is needed and when you've become cannon fodder. Batman knew that Damian should stay out of this fight. Damian's hubris refused to believe that.
Anyway, it should be interesting to see how Batman deals with this for the remaining issues. Morrison's whole arc was about Batman trying to convince himself that he didn't need to work alone, that he could amass all the allies he wanted. It seemed like such an affirmative, positive development. Turns out Morrison's own conclusions are very much different. There may be a reason why he's always been presented the way he's been.
That's what you get if you have an idea what was going on the whole time. I wonder what everyone else thought about the issue...
Thursday, March 14, 2013
Quick Hits: Batman Incorporated #7 (DC)
The issue before the one everyone knows about, where Damian a.k.a. until his death the current Robin uh dies, in which events that have been the culmination not just of this second Batman Incorporated series or even the first but rather the entire run start to really build momentum. It's been strange, since at one point Grant Morrison was unquestionably the Batman writer, and his stories were events even when they didn't have titles or crossovers. By the way, this concept is the reason there's a book called Batwing in the New 52. With Scott Snyder's "Death of the Family" letting everyone down who expected a major development, we may know now why that was, and why he'll soon be launching "Zero Year," thereby allowing him to do exactly what he's always wanted to do without anyone confusing his intentions again, playing with the continuity, which in a lot of ways is what Morrison has been doing, except with all the elements no one else knew what to do with, like making Talia al Ghul Batman's ultimate villain even before The Dark Knight Rises.
Saturday, February 2, 2013
Batman Incorporated #6 (DC)
writer: Grant Morrison
artist: Chris Burnham
To most fans at the moment, Scott Snyder is the Batman writer of record. I won't begrudge them that, because he's the one driving the crossover arcs. I've struggled with this in the past. I still don't particularly think Snyder rates as high as fans think, but he's at least kept Batman in high profile stories that his fans will probably remember.
However, I will have a problem with the instant crisis the Court of Owls provided the Dark Knight, just something that appeared and proved in Snyder's mind to be a defining struggle. I don't necessarily believe that Batman should have a problem like that come about so easily. It's akin to what Grant Morrison has been doing in Batman Incorporated, and in this issue particularly, which features a climactic battle whose impact is probably cheapened by the stuff Snyder has been doing.
Batman's final duel with Leviathan, the culmination of Morrison's 2006-2013 run with the character, ought to be a pretty big deal. I guess it's cool that Morrison doesn't mind being upstaged, because he was certainly in the spotlight previously with stories like "Batman, R.I.P," which is echoed so directly in this end game that it may be exactly what Morrison wants, because it's not really about Batman and his final confrontation with Talia al Ghul, but their son, Damian, and where he ultimately ends up.
The most shocking thing to me in the issue is the apparent demise of Knight, the English Batman that Morrison brought back starting with the Club of Heroes arc prior to "Batman R.I.P." It's a sequence that puts Knight's Robin, Squire, in mortal jeopardy, allowing Knight a heroic rescue that sees him replace her in the cross-hairs of the juggernaut who by the end of the issue has bested Batman himself. Damian, the current Robin on probation for his own safety, is on the sidelines trying to make the decision to intervene. Earlier in the rebooted series, Morrison teased Damian's death, so he's certainly not above doing whatever he wants in this book, because he knows he can pretty much get away with anything, and that's because of the Snyder effect. The focus is elsewhere. Fans will only take notice again probably with the final issue, to see how Morrison concludes his epic.
Six issues remaining.
artist: Chris Burnham
(via dccomics.com)
To most fans at the moment, Scott Snyder is the Batman writer of record. I won't begrudge them that, because he's the one driving the crossover arcs. I've struggled with this in the past. I still don't particularly think Snyder rates as high as fans think, but he's at least kept Batman in high profile stories that his fans will probably remember.
However, I will have a problem with the instant crisis the Court of Owls provided the Dark Knight, just something that appeared and proved in Snyder's mind to be a defining struggle. I don't necessarily believe that Batman should have a problem like that come about so easily. It's akin to what Grant Morrison has been doing in Batman Incorporated, and in this issue particularly, which features a climactic battle whose impact is probably cheapened by the stuff Snyder has been doing.
Batman's final duel with Leviathan, the culmination of Morrison's 2006-2013 run with the character, ought to be a pretty big deal. I guess it's cool that Morrison doesn't mind being upstaged, because he was certainly in the spotlight previously with stories like "Batman, R.I.P," which is echoed so directly in this end game that it may be exactly what Morrison wants, because it's not really about Batman and his final confrontation with Talia al Ghul, but their son, Damian, and where he ultimately ends up.
The most shocking thing to me in the issue is the apparent demise of Knight, the English Batman that Morrison brought back starting with the Club of Heroes arc prior to "Batman R.I.P." It's a sequence that puts Knight's Robin, Squire, in mortal jeopardy, allowing Knight a heroic rescue that sees him replace her in the cross-hairs of the juggernaut who by the end of the issue has bested Batman himself. Damian, the current Robin on probation for his own safety, is on the sidelines trying to make the decision to intervene. Earlier in the rebooted series, Morrison teased Damian's death, so he's certainly not above doing whatever he wants in this book, because he knows he can pretty much get away with anything, and that's because of the Snyder effect. The focus is elsewhere. Fans will only take notice again probably with the final issue, to see how Morrison concludes his epic.
Six issues remaining.
Friday, January 4, 2013
Batman Incorporated #5 (DC)
writer: Grant Morrison
artist: Chris Burnham
The most memorable single issue of Dark Knight adventures that Grant Morrison has written to date is Batman #666, which flashes forward to the future, where Damian Wayne has assumed the famous mantle. In many ways it's a preview of how Morrison would later write both incarnations of Batman Incorporated, having fun writing as normal a Dark Knight adventure as he can. This was more evident in the first volume, because in the second it's become more apparent that all of this is leading somewhere.
So it's only appropriate that we finally revisit that world of tomorrow. The twist this time is that it's a manifestation of Bruce Wayne's, the current and iconic Batman, fears of the future, specifically of Damian, the current Robin, inheriting the cowl. Much like the post-Crisis on Infinite Earths version of Jason Todd (who ended up being killed off in "Death in the Family" but later returned as the new Red Hood, a role he still inhabits), Bruce sees a bad future for Robin, and as much as he's been motivated since the events of "R.I.P." to expand his legacy to include the more active participation of others, he now seems just as concerned to make sure that his own son doesn't bring things back full circle, a Batman who functions alone, and thus more dangerously.
It's a great spin on Batman #666, and as I've suggested is a strong indication that Morrison has been deliberately unfolding the story begun with his introduction of Damian from the start, even when it's seemed like the story has gone off in other directions. That's a good argument for the Batman Incorporated reboot that occurred last year, because it allowed Morrison an opportunity to begin a fresh statement without undoing what he'd previously done, much as the transition to Batman and Robin helped put the focus back on Damian in the first place.
Batman Incorporated #5 may not be standalone essential like Batman #666, but in the grand scheme, it's essential to the greater arc Morrison has been weaving since Batman #655 in 2006.
artist: Chris Burnham
(via dccomics.com)
The most memorable single issue of Dark Knight adventures that Grant Morrison has written to date is Batman #666, which flashes forward to the future, where Damian Wayne has assumed the famous mantle. In many ways it's a preview of how Morrison would later write both incarnations of Batman Incorporated, having fun writing as normal a Dark Knight adventure as he can. This was more evident in the first volume, because in the second it's become more apparent that all of this is leading somewhere.
So it's only appropriate that we finally revisit that world of tomorrow. The twist this time is that it's a manifestation of Bruce Wayne's, the current and iconic Batman, fears of the future, specifically of Damian, the current Robin, inheriting the cowl. Much like the post-Crisis on Infinite Earths version of Jason Todd (who ended up being killed off in "Death in the Family" but later returned as the new Red Hood, a role he still inhabits), Bruce sees a bad future for Robin, and as much as he's been motivated since the events of "R.I.P." to expand his legacy to include the more active participation of others, he now seems just as concerned to make sure that his own son doesn't bring things back full circle, a Batman who functions alone, and thus more dangerously.
It's a great spin on Batman #666, and as I've suggested is a strong indication that Morrison has been deliberately unfolding the story begun with his introduction of Damian from the start, even when it's seemed like the story has gone off in other directions. That's a good argument for the Batman Incorporated reboot that occurred last year, because it allowed Morrison an opportunity to begin a fresh statement without undoing what he'd previously done, much as the transition to Batman and Robin helped put the focus back on Damian in the first place.
Batman Incorporated #5 may not be standalone essential like Batman #666, but in the grand scheme, it's essential to the greater arc Morrison has been weaving since Batman #655 in 2006.
Monday, November 12, 2012
Batman Incorporated #4 (DC)
writer: Grant Morrison
artist: Chris Burnham
Those who worry about the continuity issues between the New 52 version of DC and what came before must still have a problem with Batman Incorporated, which in its original incarnation was Grant Morrison's concluding arc in his grand vision of the Dark Knight. The series relaunched as part of the second wave of the New 52, and as such is about a year behind the average numbering for the publisher's books.
This is fine, because in any incarnation the series has always been the most accessible Batman from Morrison, even if certain elements demand that you know a few things, such as who all those allies are that've been featured in recent issues. They're actually the manifestation of the title cooperative, formally known as the Club of Heroes but now so mainstream that Batwing has his own book. Still most of them have only made sporadic appearances, and the focus remains on Batman and his current Robin, who happens to be his son by way of Talia Head, daughter of Ra's al Ghul. Talia is the main villain in Morrison's endgame, and is reshaping Gotham in much the way Dr. Hurt attempted to in "Batman R.I.P.," but in that instance mostly in the Dark Knight's head.
Robin, Damian Wayne, has reshaped himself into Redbird (as far as I know a name last known in the franchise as Red Robin Tim Drake's one-time version of the famed Batmobile), who's on the cover alongside Wingman (not a reference, sadly, to How I Met Your Mother), one of the several aliases sported by Bruce Wayne in the issue.
The dynamic between the two, whatever they happen to be calling themselves, is something that has proven crucial to Morrison's Batman. He previously worked on the first incarnation of Batman and Robin (which actually originally featured Damian and the first Robin, Dick Grayson, who is currently known as Nightwing; clearly identity has been pigeon-holed, correctly, as the dominant theme of this franchise), but it hasn't always been obvious that this would be how he ended his run, even though he's made one visit (and will again) to a point in the future where Damian has accepted the mantle of Batman for himself (must-read: Batman #666).
The series will run for twelve issues (Morrison is withdrawing from Action Comics sooner), which makes it almost sad that we have less than a year to go until it's all over. Some fans are excited by the return of the Joker (in Scott Snyder's latest crossover event, "Death of the Family"). To me, Batman is still defined by Grant Morrison. This is an issue that will make you dread the end of this era.
artist: Chris Burnham
Those who worry about the continuity issues between the New 52 version of DC and what came before must still have a problem with Batman Incorporated, which in its original incarnation was Grant Morrison's concluding arc in his grand vision of the Dark Knight. The series relaunched as part of the second wave of the New 52, and as such is about a year behind the average numbering for the publisher's books.
This is fine, because in any incarnation the series has always been the most accessible Batman from Morrison, even if certain elements demand that you know a few things, such as who all those allies are that've been featured in recent issues. They're actually the manifestation of the title cooperative, formally known as the Club of Heroes but now so mainstream that Batwing has his own book. Still most of them have only made sporadic appearances, and the focus remains on Batman and his current Robin, who happens to be his son by way of Talia Head, daughter of Ra's al Ghul. Talia is the main villain in Morrison's endgame, and is reshaping Gotham in much the way Dr. Hurt attempted to in "Batman R.I.P.," but in that instance mostly in the Dark Knight's head.
Robin, Damian Wayne, has reshaped himself into Redbird (as far as I know a name last known in the franchise as Red Robin Tim Drake's one-time version of the famed Batmobile), who's on the cover alongside Wingman (not a reference, sadly, to How I Met Your Mother), one of the several aliases sported by Bruce Wayne in the issue.
The dynamic between the two, whatever they happen to be calling themselves, is something that has proven crucial to Morrison's Batman. He previously worked on the first incarnation of Batman and Robin (which actually originally featured Damian and the first Robin, Dick Grayson, who is currently known as Nightwing; clearly identity has been pigeon-holed, correctly, as the dominant theme of this franchise), but it hasn't always been obvious that this would be how he ended his run, even though he's made one visit (and will again) to a point in the future where Damian has accepted the mantle of Batman for himself (must-read: Batman #666).
The series will run for twelve issues (Morrison is withdrawing from Action Comics sooner), which makes it almost sad that we have less than a year to go until it's all over. Some fans are excited by the return of the Joker (in Scott Snyder's latest crossover event, "Death of the Family"). To me, Batman is still defined by Grant Morrison. This is an issue that will make you dread the end of this era.
Wednesday, October 3, 2012
Robbin'
Batman and Robin #0 (DC)
writer: Peter J. Tomasi
artist: Pat Gleason
One of the things I absolutely loved about the idea of Zero Month (Version 2) was the chance for creative teams to refocus their attention on the characters who star in their books, and one of the great beneficiaries was Tomasi and Gleason's Damian. Introduced in 2006 by Grant Morrison as the son of Batman and Talia al Ghul (spinning off from an earlier graphic novel, Son of the Demon, which had previously given Mark Waid a totally different interpretation in his Kingdom Come stories), the newest Robin is easily the most inspired one in franchise history. The series was hottest this year when focusing directly on Damian, and so this issue was a no-brainer. Exploring his relationship with Talia before being introduced to his father, Damian must prove his worth, a little Alexander the Great (most comics fan will here think of Ozymandias, but I prefer to think more directly on Alexander himself, and the underrated movie Alexander). Though only Morrison's own Batman Incorporated deals with the current Talia storyline, the issue also serves as a good primer on what you need to know about that.
Batman Incorporated #0 (DC)
writer: Grant Morrison, Chris Burnham
artist: Frazer Irving
Well, speaking of the series, its own Zero Month contribution finally brings the concept of the book back to the forefront. Let me go back a step or two. This incarnation of Batman Inc. follows a previous one that did feature the Batmen of the world concept pretty heavily, but eventually started to emphasize the concept of Grant Morrison's concluding Dark Knight arc, featuring the threat of Leviathan, who turned out to be Talia as explored in the first issues of the relaunch. All the Batmen were previously introduced in earlier eras, and were recently reclaimed by Morrison, first as the Club of Heroes and then as members of the organization Batman put together to tackle the threat of Leviathan, realizing after his return from a journey through time that he's never been alone and should probably stop thinking of himself as so isolated. (This is a point reiterated in the issue as well.) The most famous members of Batman Inc. are Knight and Squire, who had their own mini-series from Paul Cornell (well worth checking out). Hopefully there will be more from this element of the series in future issues. Another interesting aspect of the issue is that Morrison works on the script with Chris Burnham, who has been the artist on Batman Inc., and this is interesting because another artist Morrison collaborated with during his Dark Knight run, Tony Daniel, has since gone off to a successful career as writer-artist, and is rumored to be assuming these duties on Justice League when Geoff Johns departs.
Before Watchmen: Comedian #3 of 6 (DC)
writer: Brian Azzarello
artist: J.G. Jones
Recently I've been modifying my comic-buying decisions, and one of the things that means is that I will not be reading individual issues of the whole Before Watchmen project. I realized that my favorite so far has been Comedian, and so here I am with another issue, in which Edward Blake has a conversation with Bobby Kennedy concerning events that transpired when Blake came back to the States from Vietnam, and was shocked to discover that hostile reaction to the war extends even to him, creating a sticky situation. Which he compounds by actually aiding a riot to help end it, logic that only he seems to appreciate. Makes sense, if you're the Comedian, or understand his psychology, which Azzarello clearly does. I suppose what this one's helping me realize is that Comedian was my favorite character from the original Watchmen, even though he was technically dead throughout the present-day events, more of a catalyst for pretty much everything that happens. What happens when he gets to carry the story? Apparently still the best of the project.
Cobra #17 (IDW)
writer: Mike Costa
artist: Werther Dell'Edera
A patented piece of the Cobra experience is the character study, and that's what this issue does with Major Bludd, exploring his origins and what they mean for the present. Costa and his collaborators perfected this long ago (to the point that Chuck Dixon copied the formula for this year's Annual that had a look at the new Cobra Commander), and still know how to use it. As with Comedian, Cobra is a book that respects psychology, which Bludd is careful to employ in trying to explain how a man of his comparatively lowly origins was able to become a trusted and valued member of the organization, with interesting insights for characters the series (and its predecessors) have been following, including the Paoli twins (Tomax and his late brother Xamot). And if that's not enough for you, or not traditional enough, the end of the issue promises the return of the Oktober Guard!
Happy! #1 of 4 (Image)
writer: Grant Morrison
artist: Darick Robertson
I've been waiting for this one (not as long as fans have been waiting for Multiversity, but that's a whole different story!), so it seemed like it was something like a miracle to finally see it released. Once again, Grant Morrison takes a side project to another publisher (see also: 18 Days, Dinosaurs vs. Aliens, the latter of which I'll be writing about in the coming weeks), and perhaps part of Happy! is something Vertigo wouldn't have touched even in its woollier days, with a good chunk of its debut issue very reminiscent of artist Darick Robertson's more famous collaborator Garth Ennis (as in The Boys), foul-mouthed and featuring nasty characters looking for nothing good in relation to each other. And yet Morrison pulls yet another rabbit out of his hat with the introduction of Happy, a tiny blue horse who comes to Nick Sax in his hour of need, when he's about to be brutally tortured for information. It's this glimmer of the bizarre and the push against the boundaries of reality (best demonstrated in Morrison's own favorite work, The Filth) that elevates this book past shock value and novelty to something that in the next three issues will once again redefine comic book storytelling as we know it.
Justice League #0 (DC)
writer: Geoff Johns
artist: Gary Frank
Since the seventh issue of the series Johns and Frank have been exploring a new origin for the hero once known as Captain Marvel, following a rebellious orphan called Billy Batson as he struggles to find a new home with a family whose belief in mankind contradicts everything he's come to experience in his short life. This issue he finally meets the wizard who gives him the power to become Shazam, and Johns takes the opportunity to reinvent the character, defining him first and foremost as a practitioner of magic. Previously he was all but a version of Superman with a few quirks, not the least being the famous (and since oft-duplicated) transformation from boy to man. There's so much potential in all of this, it's almost disappointing to know that in the near future we're simply going to see Billy figure out what to do with his new powers. But he's a boy, after all. A backup story from Johns and Green Lantern collaborator Ethan Van Sciver features New 52 newbie Pandora, who's still trying to live down sins of her past, while the Question makes his debut in the new continuity.
Nightwing #0 (DC)
writer: Kyle Higgins, Tom DeFalco
artist: Eddy Barrows
The exact character of Dick Grayson has always been a little difficult to define. For much of his existence, he was simply the second orphan in Batman mythos, the acrobat whose parents were murdered by a mobster and became Robin as a result, and later Nightwing. What motivated him, other than the presence of Bruce Wayne, to take on these roles? This Zero Month effort posits that it was an essential part of him long before his life changed, that Dick always had the instinct to look before he leaped, even though he always possessed the ability to know exactly where he was headed. His problem is that he didn't always consider the consequences. Like most youths, he was impulsive. What made him different was what happened to him. Higgins has been doing a good job grounding Dick back into his own particulars, and apparently now has Marvel veteran Tom DeFalco to assist him. Since the New 52 relaunch was all about getting back to the basics, Zero Month was necessary to remind fans where those basics began, to ground the new stories after a year's worth of development back to what it was all about. In some cases, I think this was as important to fans as it was for the creators, and Nightwing (and I'd say Batman and Robin, too) benefits a great deal from this issue.
Punk Rock Jesus #3 of 6 (Vertigo)
writer/artist: Sean Murphy
I became a fan of Sean Murphy after Joe the Barbarian, his epic collaboration with Grant Morrison. When Punk Rock Jesus was first advertised, I knew it was a project worthy of Murphy's talent and ambition, and now that I've had a chance to experience it for myself, I can say that he's absolutely nailed it. The first thing to note for those who may now be intrigued is that it's a rare black-and-white book from a major publisher. Not that it matters. Murphy's art is easily strong enough to sustain itself without color. The story is sort of like the Jim Carrey movie The Truman Show if it featured a clone of Jesus Christ (as PRJ actually does). As I like to say, the strength of any story is proven if you can come into the middle of it and still completely appreciate what's being done. This is definitely the case here. This issue handles the relationship between Chris, star of the unorthodox reality series "J2," and his troubled mother, who has grown increasingly wary of the affect of her son, who to her is simply her son, being trapped in the confines of a manipulative environment. She has very different ideas than the producers on how to raise Chris, but the producers have all the power, and by the end of the issue, prove it. This is brilliant, brilliant material, even if you only view it as a variation on The Truman Show and ignore its religious connections, and a revelation on the full impact of Murphy's talent.
Red Hood and the Outlaws #0 (DC)
writer: Scott Lobdell
artist: Pasqual Ferry
Completing my survey of Robin origins in the New 52 (technically Tim Drake gets his due in Teen Titans #0, but I didn't know that last Wednesday or Muse simply didn't have the issue, as it was missing several of the comics I was looking for, including that issue of The Ultimates that makes Captain America president of the United States), Jason Todd as star of this book is featured in the Zero Month issue. Though comparatively recently much of this story has already been retold (when Jason originally came back as the Red Hood), it's worth exploring the full story again, how he was a troubled youth even before Batman rethought his decision to name him the second Robin. I'd been waiting for Jason to get his own book for the past few years, so I was always going to be excited to see it in the line-up last fall. It didn't hurt subsequently when Lobdell proved that he understand exactly what to do with the character, or to surround him with characters who instantly had more chemistry with him than Dick Grayson, whom Starfire and Roy Harper had more history with (which is to say any history at all). Neither of them appears in this issue, however (I suspect they're in the book at all because some people in the DC offices questioned whether Jason could or even should have his own series). The truly brilliant element of the issue, however, is the backup feature wherein the Joker explains how he manipulated all the events of Jason Todd's life, except his resurrection. Just how much will that affect the "Death of the Family" event, which clearly calls to mind Jason's bloody death at the hands of the Clown Prince of Crime?
Road to Oz #1 of 6 (Marvel)
writer: Eric Shanower
artist: Skottie Young
Following their work in four previous L. Frank Baum adaptations (The Wonderful Wizard of Oz, The Marvelous Land of Oz, Ozma of Oz, and Dorothy and the Wizard in Oz), Shanower and Young continue their efforts to remind modern audiences of the true character of Baum's legacy, distorted for years by the Judy Garland film as almost nothing but a series of memorable songs. Baum was an incredibly clever and playful writer, and together Shanower and Young have perfectly embodied that spirit. I haven't read all of their work (though at some point I will correct that), but arguably it's more important than the ambitious Stephen King projects (the Dark Tower franchise, The Stand cycle) Marvel has been doing concurrently in the past few years, more essential. In this one, Dorothy is back once again, and the Shaggy Man is her somewhat dubious guide to Oz. (It should be noted that even in Young's depiction he seems little better than a pedophile in the making.)
Star Trek: The Next Generation - Hive #1 (IDW)
writer: Brannon Braga, Terry Matalas, Travis Fickett
artist: Joe Corroney
For a lot of Star Trek fans, Brannon Braga was a chief architect of the franchise's destruction, driving it into the ground with one too many series and one too many ill-advised ideas. It's an historical irony that he gets another shot, in the comics, to bring his vision to the public. Conceiving a new Borg story (especially after all the work in Voyager and that one episode in Enterprise) seems to be one of the things you'd least expect from him, but perhaps it's worth remembering that he co-wrote Star Trek: First Contact, the one Next Generation movie that everyone loved that happened to introduce a major new element to Borg Collective lore, the Borg Queen. The movies never returned to the Borg, though, and Voyager was consumed by the Seven of Nine arc and Captain Janeway's efforts to survive and take advantage of the Collective (ultimately use its technology to get home in the final episode). Hive presents a version of what might have been, returning the Borg story to Jean-Luc Picard and his "Best of Both Worlds" alter ego, Locutus, the human representative (fully assimilated) of the Collective. It's a truly epic vision, one if executed on the screen may have totally revolutionized the popular conception of Star Trek's ability to present an expansive saga. To be completely honest, I was always a fan of Braga, and this only further confirms my respect for him.
Thanos: The Final Threat (Marvel)
writer/artist: Jim Starlin
Another reprint one-shot, this time from still earlier in Marvel lore, 1977 (there's a ton of Star Wars influences here, although some references seem to look forward as well as backward, interestingly enough), as Thanos presents a sufficient threat to unite his natural foe Adam Warlock with Captain Marvel (Marvel's version, who would famously die of cancer in a story that also features Thanos), the Avengers, as well as Spider-Man and the Fantastic Four's Thing. The story reads like an earlier version of later epics (and seems to contradict Starlin's own efforts in the Thanos Quest reprint from some thirteen years later), including the definitive Infinity Gauntlet that in all likelihood inspired this summer's The Avengers to include the character in the end credits. This one's far more conventional than Thanos Quest, but that only means it's easier to see what Thanos is like in context. I suspect a lot of exclamation points were edited out of the dialogue, however, because that was the style at the time, and they're notably (mercifully!) absent. More reprints should do this. It would make it so much easier to appreciate older material.
Westward #1 (Kinetic)
writer/artist: Ken Krekeler
It's always worth checking out some of the smaller press efforts on the market, and always nice to find these things at my local comic book store (in this case Muse in Colorado Springs), and this is probably one of the more random ones, though very welcome, to have available, from a very small press indeed (currently soliciting Kickstarter support for future issues). If you haven't caught on to my predilections by now, rest assured that Westward has a strong emphasis on character (and like Punk Rock Jesus also features black-and-white art), specifically Victor West, who wakes up in a hospital with barely even a vague idea on how he got there. In a previous life, he was the spoiled son of a visionary who angered his father with irresponsibility. As Victor stumbles into the new truths of his life, we receive clues about what's been done to him, the secrets of the West family, and the unease of the world around them, which takes into account how us folks in the real world are living. It's impressive storytelling, hugely intriguing, even before the big reveal at the end.
writer: Peter J. Tomasi
artist: Pat Gleason
One of the things I absolutely loved about the idea of Zero Month (Version 2) was the chance for creative teams to refocus their attention on the characters who star in their books, and one of the great beneficiaries was Tomasi and Gleason's Damian. Introduced in 2006 by Grant Morrison as the son of Batman and Talia al Ghul (spinning off from an earlier graphic novel, Son of the Demon, which had previously given Mark Waid a totally different interpretation in his Kingdom Come stories), the newest Robin is easily the most inspired one in franchise history. The series was hottest this year when focusing directly on Damian, and so this issue was a no-brainer. Exploring his relationship with Talia before being introduced to his father, Damian must prove his worth, a little Alexander the Great (most comics fan will here think of Ozymandias, but I prefer to think more directly on Alexander himself, and the underrated movie Alexander). Though only Morrison's own Batman Incorporated deals with the current Talia storyline, the issue also serves as a good primer on what you need to know about that.
Batman Incorporated #0 (DC)
writer: Grant Morrison, Chris Burnham
artist: Frazer Irving
Well, speaking of the series, its own Zero Month contribution finally brings the concept of the book back to the forefront. Let me go back a step or two. This incarnation of Batman Inc. follows a previous one that did feature the Batmen of the world concept pretty heavily, but eventually started to emphasize the concept of Grant Morrison's concluding Dark Knight arc, featuring the threat of Leviathan, who turned out to be Talia as explored in the first issues of the relaunch. All the Batmen were previously introduced in earlier eras, and were recently reclaimed by Morrison, first as the Club of Heroes and then as members of the organization Batman put together to tackle the threat of Leviathan, realizing after his return from a journey through time that he's never been alone and should probably stop thinking of himself as so isolated. (This is a point reiterated in the issue as well.) The most famous members of Batman Inc. are Knight and Squire, who had their own mini-series from Paul Cornell (well worth checking out). Hopefully there will be more from this element of the series in future issues. Another interesting aspect of the issue is that Morrison works on the script with Chris Burnham, who has been the artist on Batman Inc., and this is interesting because another artist Morrison collaborated with during his Dark Knight run, Tony Daniel, has since gone off to a successful career as writer-artist, and is rumored to be assuming these duties on Justice League when Geoff Johns departs.
Before Watchmen: Comedian #3 of 6 (DC)
writer: Brian Azzarello
artist: J.G. Jones
Recently I've been modifying my comic-buying decisions, and one of the things that means is that I will not be reading individual issues of the whole Before Watchmen project. I realized that my favorite so far has been Comedian, and so here I am with another issue, in which Edward Blake has a conversation with Bobby Kennedy concerning events that transpired when Blake came back to the States from Vietnam, and was shocked to discover that hostile reaction to the war extends even to him, creating a sticky situation. Which he compounds by actually aiding a riot to help end it, logic that only he seems to appreciate. Makes sense, if you're the Comedian, or understand his psychology, which Azzarello clearly does. I suppose what this one's helping me realize is that Comedian was my favorite character from the original Watchmen, even though he was technically dead throughout the present-day events, more of a catalyst for pretty much everything that happens. What happens when he gets to carry the story? Apparently still the best of the project.
Cobra #17 (IDW)
writer: Mike Costa
artist: Werther Dell'Edera
A patented piece of the Cobra experience is the character study, and that's what this issue does with Major Bludd, exploring his origins and what they mean for the present. Costa and his collaborators perfected this long ago (to the point that Chuck Dixon copied the formula for this year's Annual that had a look at the new Cobra Commander), and still know how to use it. As with Comedian, Cobra is a book that respects psychology, which Bludd is careful to employ in trying to explain how a man of his comparatively lowly origins was able to become a trusted and valued member of the organization, with interesting insights for characters the series (and its predecessors) have been following, including the Paoli twins (Tomax and his late brother Xamot). And if that's not enough for you, or not traditional enough, the end of the issue promises the return of the Oktober Guard!
Happy! #1 of 4 (Image)
writer: Grant Morrison
artist: Darick Robertson
I've been waiting for this one (not as long as fans have been waiting for Multiversity, but that's a whole different story!), so it seemed like it was something like a miracle to finally see it released. Once again, Grant Morrison takes a side project to another publisher (see also: 18 Days, Dinosaurs vs. Aliens, the latter of which I'll be writing about in the coming weeks), and perhaps part of Happy! is something Vertigo wouldn't have touched even in its woollier days, with a good chunk of its debut issue very reminiscent of artist Darick Robertson's more famous collaborator Garth Ennis (as in The Boys), foul-mouthed and featuring nasty characters looking for nothing good in relation to each other. And yet Morrison pulls yet another rabbit out of his hat with the introduction of Happy, a tiny blue horse who comes to Nick Sax in his hour of need, when he's about to be brutally tortured for information. It's this glimmer of the bizarre and the push against the boundaries of reality (best demonstrated in Morrison's own favorite work, The Filth) that elevates this book past shock value and novelty to something that in the next three issues will once again redefine comic book storytelling as we know it.
Justice League #0 (DC)
writer: Geoff Johns
artist: Gary Frank
Since the seventh issue of the series Johns and Frank have been exploring a new origin for the hero once known as Captain Marvel, following a rebellious orphan called Billy Batson as he struggles to find a new home with a family whose belief in mankind contradicts everything he's come to experience in his short life. This issue he finally meets the wizard who gives him the power to become Shazam, and Johns takes the opportunity to reinvent the character, defining him first and foremost as a practitioner of magic. Previously he was all but a version of Superman with a few quirks, not the least being the famous (and since oft-duplicated) transformation from boy to man. There's so much potential in all of this, it's almost disappointing to know that in the near future we're simply going to see Billy figure out what to do with his new powers. But he's a boy, after all. A backup story from Johns and Green Lantern collaborator Ethan Van Sciver features New 52 newbie Pandora, who's still trying to live down sins of her past, while the Question makes his debut in the new continuity.
Nightwing #0 (DC)
writer: Kyle Higgins, Tom DeFalco
artist: Eddy Barrows
The exact character of Dick Grayson has always been a little difficult to define. For much of his existence, he was simply the second orphan in Batman mythos, the acrobat whose parents were murdered by a mobster and became Robin as a result, and later Nightwing. What motivated him, other than the presence of Bruce Wayne, to take on these roles? This Zero Month effort posits that it was an essential part of him long before his life changed, that Dick always had the instinct to look before he leaped, even though he always possessed the ability to know exactly where he was headed. His problem is that he didn't always consider the consequences. Like most youths, he was impulsive. What made him different was what happened to him. Higgins has been doing a good job grounding Dick back into his own particulars, and apparently now has Marvel veteran Tom DeFalco to assist him. Since the New 52 relaunch was all about getting back to the basics, Zero Month was necessary to remind fans where those basics began, to ground the new stories after a year's worth of development back to what it was all about. In some cases, I think this was as important to fans as it was for the creators, and Nightwing (and I'd say Batman and Robin, too) benefits a great deal from this issue.
Punk Rock Jesus #3 of 6 (Vertigo)
writer/artist: Sean Murphy
I became a fan of Sean Murphy after Joe the Barbarian, his epic collaboration with Grant Morrison. When Punk Rock Jesus was first advertised, I knew it was a project worthy of Murphy's talent and ambition, and now that I've had a chance to experience it for myself, I can say that he's absolutely nailed it. The first thing to note for those who may now be intrigued is that it's a rare black-and-white book from a major publisher. Not that it matters. Murphy's art is easily strong enough to sustain itself without color. The story is sort of like the Jim Carrey movie The Truman Show if it featured a clone of Jesus Christ (as PRJ actually does). As I like to say, the strength of any story is proven if you can come into the middle of it and still completely appreciate what's being done. This is definitely the case here. This issue handles the relationship between Chris, star of the unorthodox reality series "J2," and his troubled mother, who has grown increasingly wary of the affect of her son, who to her is simply her son, being trapped in the confines of a manipulative environment. She has very different ideas than the producers on how to raise Chris, but the producers have all the power, and by the end of the issue, prove it. This is brilliant, brilliant material, even if you only view it as a variation on The Truman Show and ignore its religious connections, and a revelation on the full impact of Murphy's talent.
Red Hood and the Outlaws #0 (DC)
writer: Scott Lobdell
artist: Pasqual Ferry
Completing my survey of Robin origins in the New 52 (technically Tim Drake gets his due in Teen Titans #0, but I didn't know that last Wednesday or Muse simply didn't have the issue, as it was missing several of the comics I was looking for, including that issue of The Ultimates that makes Captain America president of the United States), Jason Todd as star of this book is featured in the Zero Month issue. Though comparatively recently much of this story has already been retold (when Jason originally came back as the Red Hood), it's worth exploring the full story again, how he was a troubled youth even before Batman rethought his decision to name him the second Robin. I'd been waiting for Jason to get his own book for the past few years, so I was always going to be excited to see it in the line-up last fall. It didn't hurt subsequently when Lobdell proved that he understand exactly what to do with the character, or to surround him with characters who instantly had more chemistry with him than Dick Grayson, whom Starfire and Roy Harper had more history with (which is to say any history at all). Neither of them appears in this issue, however (I suspect they're in the book at all because some people in the DC offices questioned whether Jason could or even should have his own series). The truly brilliant element of the issue, however, is the backup feature wherein the Joker explains how he manipulated all the events of Jason Todd's life, except his resurrection. Just how much will that affect the "Death of the Family" event, which clearly calls to mind Jason's bloody death at the hands of the Clown Prince of Crime?
Road to Oz #1 of 6 (Marvel)
writer: Eric Shanower
artist: Skottie Young
Following their work in four previous L. Frank Baum adaptations (The Wonderful Wizard of Oz, The Marvelous Land of Oz, Ozma of Oz, and Dorothy and the Wizard in Oz), Shanower and Young continue their efforts to remind modern audiences of the true character of Baum's legacy, distorted for years by the Judy Garland film as almost nothing but a series of memorable songs. Baum was an incredibly clever and playful writer, and together Shanower and Young have perfectly embodied that spirit. I haven't read all of their work (though at some point I will correct that), but arguably it's more important than the ambitious Stephen King projects (the Dark Tower franchise, The Stand cycle) Marvel has been doing concurrently in the past few years, more essential. In this one, Dorothy is back once again, and the Shaggy Man is her somewhat dubious guide to Oz. (It should be noted that even in Young's depiction he seems little better than a pedophile in the making.)
Star Trek: The Next Generation - Hive #1 (IDW)
writer: Brannon Braga, Terry Matalas, Travis Fickett
artist: Joe Corroney
For a lot of Star Trek fans, Brannon Braga was a chief architect of the franchise's destruction, driving it into the ground with one too many series and one too many ill-advised ideas. It's an historical irony that he gets another shot, in the comics, to bring his vision to the public. Conceiving a new Borg story (especially after all the work in Voyager and that one episode in Enterprise) seems to be one of the things you'd least expect from him, but perhaps it's worth remembering that he co-wrote Star Trek: First Contact, the one Next Generation movie that everyone loved that happened to introduce a major new element to Borg Collective lore, the Borg Queen. The movies never returned to the Borg, though, and Voyager was consumed by the Seven of Nine arc and Captain Janeway's efforts to survive and take advantage of the Collective (ultimately use its technology to get home in the final episode). Hive presents a version of what might have been, returning the Borg story to Jean-Luc Picard and his "Best of Both Worlds" alter ego, Locutus, the human representative (fully assimilated) of the Collective. It's a truly epic vision, one if executed on the screen may have totally revolutionized the popular conception of Star Trek's ability to present an expansive saga. To be completely honest, I was always a fan of Braga, and this only further confirms my respect for him.
Thanos: The Final Threat (Marvel)
writer/artist: Jim Starlin
Another reprint one-shot, this time from still earlier in Marvel lore, 1977 (there's a ton of Star Wars influences here, although some references seem to look forward as well as backward, interestingly enough), as Thanos presents a sufficient threat to unite his natural foe Adam Warlock with Captain Marvel (Marvel's version, who would famously die of cancer in a story that also features Thanos), the Avengers, as well as Spider-Man and the Fantastic Four's Thing. The story reads like an earlier version of later epics (and seems to contradict Starlin's own efforts in the Thanos Quest reprint from some thirteen years later), including the definitive Infinity Gauntlet that in all likelihood inspired this summer's The Avengers to include the character in the end credits. This one's far more conventional than Thanos Quest, but that only means it's easier to see what Thanos is like in context. I suspect a lot of exclamation points were edited out of the dialogue, however, because that was the style at the time, and they're notably (mercifully!) absent. More reprints should do this. It would make it so much easier to appreciate older material.
Westward #1 (Kinetic)
writer/artist: Ken Krekeler
It's always worth checking out some of the smaller press efforts on the market, and always nice to find these things at my local comic book store (in this case Muse in Colorado Springs), and this is probably one of the more random ones, though very welcome, to have available, from a very small press indeed (currently soliciting Kickstarter support for future issues). If you haven't caught on to my predilections by now, rest assured that Westward has a strong emphasis on character (and like Punk Rock Jesus also features black-and-white art), specifically Victor West, who wakes up in a hospital with barely even a vague idea on how he got there. In a previous life, he was the spoiled son of a visionary who angered his father with irresponsibility. As Victor stumbles into the new truths of his life, we receive clues about what's been done to him, the secrets of the West family, and the unease of the world around them, which takes into account how us folks in the real world are living. It's impressive storytelling, hugely intriguing, even before the big reveal at the end.
Wednesday, August 22, 2012
Catching Up On Some Recent Comics
Action Comics #12 (DC)
Grant Morrison rounds out the first year of the New 52 Action Comics by pitting Superman against Captain Comet, one of DC's cosmic superheroes, in an epic showdown. Hey, it's the most relevant Comet's been in years!
Aquaman #11 (DC)
Geoff Johns continues the saga he may be only spending a little while longer on, if recent reports are to be believed. Still, if it's true, he's still done far more to make Aquaman a vital character than anyone in the dozens of attempts over the years. If nothing else, this will make an epic, massive collection, and be put right alongside Brightest Day, where Johns and Peter S. Tomasi previously worked on the character.
Atomic Robo and the Flying She-Devils of the Pacific #2 of 5 (Red 5)
A better issue than the previous one, filled with Brian Clevinger's trademark wit, and Robo's hapless reactions to the insanity around him.
Atomic Robo Presents Real Science Adventures #5 (Red 5)
The latest issue of this anthology series is highlighted by Robo's confrontation with the man who killed Nikola Tesla (in this comics iteration), who was the creator of Atomic Robo (in the comics).
Batman: Earth One - Special Preview Edition (DC)
Yes, I bought and reviewed the full graphic novel last month, but I thought it'd be fun to see what it might feel like as a monthly-installment-sized edition. Yes, this only covers the first fifteen pages, but it really does have a different feel. There's a bonus preview of Scott Snyder's New 52, but the provided content is practically impenetrable, and certainly doesn't sell the Court of Owls concept, even though that's the name of the collection the preview is hawking.
Batman Incorporated #3 (DC)
The horrific shooting in Aurora, CO, delayed release of this book, though not necessarily shipments. Morrison brings back Matches Malone, Bruce Wayne's underworld alter ego, while we learn what's really going on with Damian, who has for now assumed the identity of Redbird (which was also the name of Tim Drake's Robin-mobile).
Batman and Robin #12 (DC)
Tomasi concludes his Terminus arc with a big bang, which is a little disappointing in that Terminus didn't quite receive enough time to develop as a villain. Long story short, the series was better earlier this year.
Before Watchmen: Comedian #2 of 6 (DC)
I read elsewhere that Edward Blake's introduction to Vietnam seemed a little generic. I guess I haven't saturated myself with enough Vietnam fiction, since I found it to be pretty fascinating. On the one hand, the Comedian considers this battlefield to be just another battlefield. On the other hand, this is a guy whose best friend was just assassinated. He has a right to be a little cynical, have an impulse to let loose a little. That's my perspective, anyway. Brian Azzarello also provides a fascinating insight into the possible origins of the emerging drug culture we still live in today, playing along the same notes as the second issue of Silk Spectre. (If you need a little perspective on it, Before Watchmen is an unlikely but certainly welcome forum.)
Before Watchmen: Nite Owl #2 of 4 (DC)
Whatever else I might have had to say about this issue is kind of overshadowed by the recent passing of comics legend Joe Kubert, who inked this series over son Andy's art. I'm not a historian of the craft, but I can certainly appreciate Kubert's huge legacy, and it's a shame that he had to die in the middle of his last great contribution. As I said in my thoughts for the first issue, Joe's inking made a definite impact on Andy's art in this book, one that spoke to the generational nature of the project. Where some people have only been able to view Before Watchman through the Alan Moore controversy, I've relished it as a chance to view comic books in their most pure and relevant form, something creators like Kurt Busiek and James Robinson have been trying to do ever since, well, Watchmen. Comics have, for better or worse, come to be defined by superheroes and legacies, and that's something Before Watchmen fully embraced, what the original stories were all about, in fact. And Joe Kubert had a huge role in developing that. Sorry to see you go.
Before Watchmen: Ozymandias #2 of 6 (DC)
The genius of Before Watchmen can also be explained this way: we're finally going to see Ozymandias and Comedian on equal terms. That's something the original stories surprisingly avoided. At the end of this particular issue, we begin to see a rectification.
Creator-Owned Heroes #1 (Image)
Image has slowly become the go-to home for every conceivable comic book project, and while the founders envisioned a forum to create superheroes that would contend with the popularity of the books they left behind, the projects that've come along over the past decade have redefined the company as a catch-all for creators who would otherwise look for a place in small presses. Which has in essence made Image a large small press. Sometimes a book like The Walking Dead can happen, but that's very much the exception to the rule. Jimmy Palmiotti and Justin Gray, regular writing partners who regularly work for the Big Two, join forces with Steve Niles (best known for his horror efforts) in launching a new anthology format, almost magazine-like offering, working on dream projects. The problem is that the format short-changes those dreams. To be frank, the examples in this debut issue don't feel like they were worth the effort. But maybe they're better with commitment.
Demon Knights #12 (DC)
Paul Cornell may be writing this series for the trades. I think that's the best thing to say about it. I love Demon Knights, and I also wish it could be something more. It's a rolling, sometimes rollicking adventure, but every time it seems like we're finally getting somewhere...it's the end of the issue. So, Cornell may be writing for the trades. This is not a complaint.
Earth 2 #4 (DC)
James Robinson continues his chronicle of the alternate Justice Society, in which everything old is new again. This now includes Al Pratt, the original Atom, who in this version of events is a soldier in the world army that sprang up in response to the Apokolips apocalypse.
Green Lantern #11 (DC)
Black Hand puts together a creepy family reunion and Sinestro brings Hal Jordan to his own personal Batcave, allowing us our first glimpse of the next Green Lantern. Seriously, Geoff Johns could write this franchise forever.
National Comics: Eternity (DC)
The first of a series of one-shots reimagining various DC properties ("National Comics" is what the company was before it embraced the Detective in one of its flagship titles). Jeff Lemire sees Kid Eternity basically as a Ghost Whisperer. That's as much as there is to see here.
Peter Parker, Spider-Man #156.1 (Marvel)
I guess Marvel is releasing Point One issues of cancelled Spider-Man series to celebrate the 50th anniversary of the web-slinger. This one is written by Roger Stern, a veteran I know best from 1990s Superman (but he's been around!).
RASL #15 (Cartoon)
The final issue of Jeff Smith's second comic book opus (his first being, of course, Bone), and finally an explanation for the title (an acronym for Romance at the Speed of Light, which was also the name of the third collection, and title of the eighth issue). Things've boiled down to Rob's need to destroy the journals of Nikola Tesla (yes, the same dude as the comics creator of Atomic Robo) in order to save the universe, lest they be used to destroy it (which in fairness to Rob is a process that was already started across several alternate realities). The big problem Rob gets to overcome in the finale is the revelation that Maya, the source of the eponymous tattoo and motivating factor in so many ways for Rob's journey throughout the series, is also his biggest threat. He's been running the whole time toward this moment. It's still disappointing that the series only lasted fifteen issues, but as Smith himself pointed out elsewhere, that still adds up to a lot of pages for any collection, and one way or another, this will sit proudly next to Bone on any discerning reader's shelf. Perhaps like Demon Knights, it will read better and last longer in the memory in trade format.
Red Hood and the Outlaws #11 (DC)
Again, I have to say how different this series is from just about anything else, not just because of the distinctive art from Kenneth Rocafort, but because of Scott Lobdell's writing, which moves along at its own pace, a little like Grant Morrison's. It is, then, any wonder that Lobdell and Rocafort have been tapped as the latest replacements in Superman? Perhaps this will solve two issues. This is a book that deserves to stand out, but it's also one that can be alienating (much like the heroes in the book themselves, who are all alienated), as has been proven since its launch last fall. Perhaps more a little more convention will help readers discover how awesome it is. This issue, by the way, features some familiar and unfamilar backstory for Koriand'r, better known as Stargirl. Apparently she has some Farscape in her.
Grant Morrison rounds out the first year of the New 52 Action Comics by pitting Superman against Captain Comet, one of DC's cosmic superheroes, in an epic showdown. Hey, it's the most relevant Comet's been in years!
Aquaman #11 (DC)
Geoff Johns continues the saga he may be only spending a little while longer on, if recent reports are to be believed. Still, if it's true, he's still done far more to make Aquaman a vital character than anyone in the dozens of attempts over the years. If nothing else, this will make an epic, massive collection, and be put right alongside Brightest Day, where Johns and Peter S. Tomasi previously worked on the character.
Atomic Robo and the Flying She-Devils of the Pacific #2 of 5 (Red 5)
A better issue than the previous one, filled with Brian Clevinger's trademark wit, and Robo's hapless reactions to the insanity around him.
Atomic Robo Presents Real Science Adventures #5 (Red 5)
The latest issue of this anthology series is highlighted by Robo's confrontation with the man who killed Nikola Tesla (in this comics iteration), who was the creator of Atomic Robo (in the comics).
Batman: Earth One - Special Preview Edition (DC)
Yes, I bought and reviewed the full graphic novel last month, but I thought it'd be fun to see what it might feel like as a monthly-installment-sized edition. Yes, this only covers the first fifteen pages, but it really does have a different feel. There's a bonus preview of Scott Snyder's New 52, but the provided content is practically impenetrable, and certainly doesn't sell the Court of Owls concept, even though that's the name of the collection the preview is hawking.
Batman Incorporated #3 (DC)
The horrific shooting in Aurora, CO, delayed release of this book, though not necessarily shipments. Morrison brings back Matches Malone, Bruce Wayne's underworld alter ego, while we learn what's really going on with Damian, who has for now assumed the identity of Redbird (which was also the name of Tim Drake's Robin-mobile).
Batman and Robin #12 (DC)
Tomasi concludes his Terminus arc with a big bang, which is a little disappointing in that Terminus didn't quite receive enough time to develop as a villain. Long story short, the series was better earlier this year.
Before Watchmen: Comedian #2 of 6 (DC)
I read elsewhere that Edward Blake's introduction to Vietnam seemed a little generic. I guess I haven't saturated myself with enough Vietnam fiction, since I found it to be pretty fascinating. On the one hand, the Comedian considers this battlefield to be just another battlefield. On the other hand, this is a guy whose best friend was just assassinated. He has a right to be a little cynical, have an impulse to let loose a little. That's my perspective, anyway. Brian Azzarello also provides a fascinating insight into the possible origins of the emerging drug culture we still live in today, playing along the same notes as the second issue of Silk Spectre. (If you need a little perspective on it, Before Watchmen is an unlikely but certainly welcome forum.)
Before Watchmen: Nite Owl #2 of 4 (DC)
Whatever else I might have had to say about this issue is kind of overshadowed by the recent passing of comics legend Joe Kubert, who inked this series over son Andy's art. I'm not a historian of the craft, but I can certainly appreciate Kubert's huge legacy, and it's a shame that he had to die in the middle of his last great contribution. As I said in my thoughts for the first issue, Joe's inking made a definite impact on Andy's art in this book, one that spoke to the generational nature of the project. Where some people have only been able to view Before Watchman through the Alan Moore controversy, I've relished it as a chance to view comic books in their most pure and relevant form, something creators like Kurt Busiek and James Robinson have been trying to do ever since, well, Watchmen. Comics have, for better or worse, come to be defined by superheroes and legacies, and that's something Before Watchmen fully embraced, what the original stories were all about, in fact. And Joe Kubert had a huge role in developing that. Sorry to see you go.
Before Watchmen: Ozymandias #2 of 6 (DC)
The genius of Before Watchmen can also be explained this way: we're finally going to see Ozymandias and Comedian on equal terms. That's something the original stories surprisingly avoided. At the end of this particular issue, we begin to see a rectification.
Creator-Owned Heroes #1 (Image)
Image has slowly become the go-to home for every conceivable comic book project, and while the founders envisioned a forum to create superheroes that would contend with the popularity of the books they left behind, the projects that've come along over the past decade have redefined the company as a catch-all for creators who would otherwise look for a place in small presses. Which has in essence made Image a large small press. Sometimes a book like The Walking Dead can happen, but that's very much the exception to the rule. Jimmy Palmiotti and Justin Gray, regular writing partners who regularly work for the Big Two, join forces with Steve Niles (best known for his horror efforts) in launching a new anthology format, almost magazine-like offering, working on dream projects. The problem is that the format short-changes those dreams. To be frank, the examples in this debut issue don't feel like they were worth the effort. But maybe they're better with commitment.
Demon Knights #12 (DC)
Paul Cornell may be writing this series for the trades. I think that's the best thing to say about it. I love Demon Knights, and I also wish it could be something more. It's a rolling, sometimes rollicking adventure, but every time it seems like we're finally getting somewhere...it's the end of the issue. So, Cornell may be writing for the trades. This is not a complaint.
Earth 2 #4 (DC)
James Robinson continues his chronicle of the alternate Justice Society, in which everything old is new again. This now includes Al Pratt, the original Atom, who in this version of events is a soldier in the world army that sprang up in response to the Apokolips apocalypse.
Green Lantern #11 (DC)
Black Hand puts together a creepy family reunion and Sinestro brings Hal Jordan to his own personal Batcave, allowing us our first glimpse of the next Green Lantern. Seriously, Geoff Johns could write this franchise forever.
National Comics: Eternity (DC)
The first of a series of one-shots reimagining various DC properties ("National Comics" is what the company was before it embraced the Detective in one of its flagship titles). Jeff Lemire sees Kid Eternity basically as a Ghost Whisperer. That's as much as there is to see here.
Peter Parker, Spider-Man #156.1 (Marvel)
I guess Marvel is releasing Point One issues of cancelled Spider-Man series to celebrate the 50th anniversary of the web-slinger. This one is written by Roger Stern, a veteran I know best from 1990s Superman (but he's been around!).
RASL #15 (Cartoon)
The final issue of Jeff Smith's second comic book opus (his first being, of course, Bone), and finally an explanation for the title (an acronym for Romance at the Speed of Light, which was also the name of the third collection, and title of the eighth issue). Things've boiled down to Rob's need to destroy the journals of Nikola Tesla (yes, the same dude as the comics creator of Atomic Robo) in order to save the universe, lest they be used to destroy it (which in fairness to Rob is a process that was already started across several alternate realities). The big problem Rob gets to overcome in the finale is the revelation that Maya, the source of the eponymous tattoo and motivating factor in so many ways for Rob's journey throughout the series, is also his biggest threat. He's been running the whole time toward this moment. It's still disappointing that the series only lasted fifteen issues, but as Smith himself pointed out elsewhere, that still adds up to a lot of pages for any collection, and one way or another, this will sit proudly next to Bone on any discerning reader's shelf. Perhaps like Demon Knights, it will read better and last longer in the memory in trade format.
Red Hood and the Outlaws #11 (DC)
Again, I have to say how different this series is from just about anything else, not just because of the distinctive art from Kenneth Rocafort, but because of Scott Lobdell's writing, which moves along at its own pace, a little like Grant Morrison's. It is, then, any wonder that Lobdell and Rocafort have been tapped as the latest replacements in Superman? Perhaps this will solve two issues. This is a book that deserves to stand out, but it's also one that can be alienating (much like the heroes in the book themselves, who are all alienated), as has been proven since its launch last fall. Perhaps more a little more convention will help readers discover how awesome it is. This issue, by the way, features some familiar and unfamilar backstory for Koriand'r, better known as Stargirl. Apparently she has some Farscape in her.
Wednesday, July 11, 2012
Unbeatable Comics: Batman Incorporated #2
writer: Grant Morrison
artist: Chris Burnham
The thrust of Batman Incorporated in both of its incarnations has been that Grant Morrison would finally conclude his run on the Dark Knight, and reveal who Leviathan was. In the first volume, there was a lot of exploring the reach of Leviathan. In the second volume, we learn who Leviathan is in the first issue, and so in this effort, Morrison gets to explain why exactly Talia Head, the daughter of Ra's al Ghul and mother of Damian, the current Robin and son of Batman, took on this identity and decided once and for all to deal with the problem of her ex-lover.
I've heard the issue described as an unnecessary wikipedia retread, basically a lot of information fans already knew. If that's what it actually was, I doubt Morrison would have written it. Instead, it's a character study, something Morrison doesn't ordinarily do, at least not outright, and so it's interesting to read strictly in that regard. Talia's mother has usually been glossed over, because her father is one of Batman's most infamous foes, and how can you compete with that? Here we get an idea of the impact of being separated from her mother has on Talia, and being considered a pawn by her father, never being good enough, the product of the parenting skills that say simply getting everything you ask for is good enough. She's perhaps turned into a version of Batman whose parents weren't killed when he was a child, only one of them, and the surviving one shaped her into a weapon he had no idea what to do with. Most writers have neglected Talia as much as her father. Until the romantic liaison with Batman and the conception of Damian, she was superfluous, and continued to be until Morrison brought Damian back.
Now we see that Talia may truly be the biggest threat Batman has ever faced, a product of a continuing legacy and a writer who knows what to do with it, and that's why an issue like this is necessary, to explain all of this, and to move past it, so Morrison can continue with the story he's really working on, much as he has dipped back into the R.I.P./Final Crisis timeline a few times to fill in some gaps. This is exactly like that, except in the middle of the story he's telling. It's a crucial issue to Morrison's entire tenure with Batman.
artist: Chris Burnham
The thrust of Batman Incorporated in both of its incarnations has been that Grant Morrison would finally conclude his run on the Dark Knight, and reveal who Leviathan was. In the first volume, there was a lot of exploring the reach of Leviathan. In the second volume, we learn who Leviathan is in the first issue, and so in this effort, Morrison gets to explain why exactly Talia Head, the daughter of Ra's al Ghul and mother of Damian, the current Robin and son of Batman, took on this identity and decided once and for all to deal with the problem of her ex-lover.
I've heard the issue described as an unnecessary wikipedia retread, basically a lot of information fans already knew. If that's what it actually was, I doubt Morrison would have written it. Instead, it's a character study, something Morrison doesn't ordinarily do, at least not outright, and so it's interesting to read strictly in that regard. Talia's mother has usually been glossed over, because her father is one of Batman's most infamous foes, and how can you compete with that? Here we get an idea of the impact of being separated from her mother has on Talia, and being considered a pawn by her father, never being good enough, the product of the parenting skills that say simply getting everything you ask for is good enough. She's perhaps turned into a version of Batman whose parents weren't killed when he was a child, only one of them, and the surviving one shaped her into a weapon he had no idea what to do with. Most writers have neglected Talia as much as her father. Until the romantic liaison with Batman and the conception of Damian, she was superfluous, and continued to be until Morrison brought Damian back.
Now we see that Talia may truly be the biggest threat Batman has ever faced, a product of a continuing legacy and a writer who knows what to do with it, and that's why an issue like this is necessary, to explain all of this, and to move past it, so Morrison can continue with the story he's really working on, much as he has dipped back into the R.I.P./Final Crisis timeline a few times to fill in some gaps. This is exactly like that, except in the middle of the story he's telling. It's a crucial issue to Morrison's entire tenure with Batman.
Wednesday, May 30, 2012
Predator or Prey?
BATMAN INCORPORATED #1 (DC)
Grant Morrison’s vision of the Dark Knight finally
returns. For those unfamiliar with this
saga, it began in 2006, with BATMAN #655, when Damian was first introduced into
the mythos (having been conceived in SON OF THE BAT), adding a ripple of
complication into Bruce Wayne’s life.
Damian is his child with Talia Head, daughter of Ra’s al Ghul. Morrison previously put Batman through the
ringer in “R.I.P.,” FINAL CRISIS, and THE RETURN OF BRUCE WAYNE, though he
developed the budding Damian in BATMAN AND ROBIN, and brought Bruce back up to
speed the original volume of BATMAN INC.
The culmination of Morrison’s run has concerned the emerging threat of
Leviathan, who has necessitated the building of an alliance around the world of
Batmen (including Batwing, who stars in his own New 52 series). This issue is the beginning of the end, and
reveals the identity of Leviathan, but doesn’t miss an opportunity for another
rollicking (as has been the pattern for every issue of BATMAN, INC.) adventure,
this time centering around a would-be assassin obsessed over his own son, even
as he puts Robin in the crosshairs.
There’s a thousand things that would help you better understand exactly
what’s going on, but Morrison helpfully frames most of it in pithy moments that
ground the action, and leaves you begging for more. Well, hopefully at least eleven more issues.
COBRA #13 (IDW)
Mike Costa and Antonio Fuso have been doing some of the best
comics around for a few years now, and now they’ve folded both the villains and
the heroes under their auspices. I haven’t
been able to read COBRA regularly for some time now, but clearly they haven’t
missed a beat. Ever since Cobra Civil
War began (which, by the way, was an event initiated by these guys), the series
has been able to dive still deeper in the rich psychology available with
existing characters these stories have mastered. The best example from this issue involves the
confrontations Chameleon (who used to work for Cobra) has with defector (by
matter of elimination in choices) Tomax Paoli (yes, the surviving brother of
the two Cobras who seemed to exist to have silly names in some previous life)
and other Joes who try and walk her through this process. She has a violent reaction, but the situation
plays out beautifully, as does ever other moment in the issue, and the series,
in its several incarnations at this point.
If you’ve never read any of it, you owe it to yourself to correct this
omission. This is one of the best comics
being published today, and that has been true for years now.
RED HOOD AND THE OUTLAWS #9 (DC)
This is the first issue where Jason Todd might once again be
considered the villain he was when he first returned as the Red Hood, back from
the dead and menacing Batman. There’s
good reason for that, because he’s back in Gotham for “Night of the Owls” in a
story that seems like Scott Lobdell was both rushed into this moment and
therefore wasn’t entirely prepared for it, and what he embraces it like he has
the whole challenge of this series. None
of this should have worked. After “Under
the Hood,” no one really seemed to know what to do with Jason (COUNTDOWN TO
FINAL CRISIS seemed like just another in the series of missteps, including an
awkward stint in NIGHTWING), but suddenly the New 52 fresh start seemed like an
excellent way to start over. This is a
series about a team that’s not really a team, just three characters running
around together, and Jason happens to be at the center, and it’s Lobdell’s
narrations for him that really makes everything work so well, what keeps me
coming back. Although it seems like
barely the surface of the book’s potential has been scratched so far, it’s one
of the best books to come out of the reboot.
I’m hoping Lobdell and Kenneth Rocafort stick together for a long
time. Then they can get around to
telling that story where Jason gets to confront these Batman family
chuckleheads on his own terms. Except
this time he’ll really get to make his point.
THE WALKING DEAD #97 (Image)
I’ve been meaning to read another issue of this
one ever since discovering what a wonderful series the TV show has become. I read a handful of issues fairly regularly a
few years ago, but have never become a devotee.
It just never caught my imagination as something that needed to be read
regularly to have processed and understood as a worthy enterprise. Basically, it’s the same thing every issue,
these survivors struggling to survive, without a lot of progress being made one
way or the other. This issue, it seems
they’re finally at the point where they must decide whether they’re the
predator or the prey. Maybe that’s what
Robert Kirkman has been driving toward.
You’d think after a hundred issues he’d have gotten around to something
else, too, but maybe that’s what he really wants his fans to think about, the
act of survival, how it changes you.
Maybe the title of this thing is more ironic than you’d think.
Thursday, January 5, 2012
Batman Incorporated: Leviathan Strikes!
writer: Grant Morrison
artists: Chris Burnham, Cameron Stewart
To my surprise, Batman, Inc. was another book that didn't exactly receive high marks from the greater Interweb community, even though those who rated it lower than I did (in the 2011 QB50) admitted there were some brilliants issues released in the past year. I suspect Morrison's marks were lower than his efforts in Batman or Batman and Robin because it's more difficult to see how individual episodes impact the greater story, now that Batman's back and basically falling back into the same web of intrigue that culminated in "R.I.P." That the Dark Knight has yet another genius mastermind after him shouldn't be a surprise, especially since this catch-up volume finally reveals just who that mastermind is (I won't spoil it for you here), which should actually be more satisfying to long-term readers than the nefarious Dr. Hurt. This special also includes a complete breakdown of the story to date from the series, in case you weren't, like me, primarily enjoying the innovative and refreshing superhero standalone adventures that were subtly building toward this moment.
artists: Chris Burnham, Cameron Stewart
To my surprise, Batman, Inc. was another book that didn't exactly receive high marks from the greater Interweb community, even though those who rated it lower than I did (in the 2011 QB50) admitted there were some brilliants issues released in the past year. I suspect Morrison's marks were lower than his efforts in Batman or Batman and Robin because it's more difficult to see how individual episodes impact the greater story, now that Batman's back and basically falling back into the same web of intrigue that culminated in "R.I.P." That the Dark Knight has yet another genius mastermind after him shouldn't be a surprise, especially since this catch-up volume finally reveals just who that mastermind is (I won't spoil it for you here), which should actually be more satisfying to long-term readers than the nefarious Dr. Hurt. This special also includes a complete breakdown of the story to date from the series, in case you weren't, like me, primarily enjoying the innovative and refreshing superhero standalone adventures that were subtly building toward this moment.
Thursday, September 1, 2011
Quarter Bin #16/the life story of the Flash
On this special occasion, this flashpoint, I’m bending the rules a little, talking about back issues and new comics at the same time, and while the New 52 is technically the impetus, the subject, once again, is really Geoff Johns, a man whose impact on comics is still only emerging.
The Quarter Bin contribution (which for the record actually set me back two bucks in this particular instance) is AVENGERS #58 (473) from November 2002, as well as STARS AND S.T.R.I.P.E. #12 from July 2000. These are among his earliest notable titles, relatively speaking (Johns actually began writing comics in 1999), but both adequately demonstrate the penchant he’d pursue into 2011. As I’ve detailed previously, I was not actively reading comics during this period, so early Geoff Johns has always been something of a wash for me. I wasn’t even totally sold on him after GREEN LANTERN: REBIRTH, so what exactly am I supposed to say I know?
STARS AND S.T.R.I.P.E. is the first ongoing series Johns launched, a sort of pastiche to the Golden Age that dragged it kicking and screaming into the 21st century, updating a couple of obscure characters who might otherwise have deserved to be consigned to comics limbo. Combined with the relaunch of the Justice Society, STARS was an indication that Geoff had no qualms looking to the past for inspiration, even if he wasn’t slavishly devoted to the specifics of what he looked at. By the time he worked for Marvel, however, I had a much different impression of what kind of creator he actually was.
In short, there was one particular moment that got noticed by the Internet community circa 2003, and if you know what I’m talking about, great, because otherwise I don’t want to confuse the matter here. Suffice it to say, but my first real impression of Geoff Johns boiled down to the opinion that he was a new breed of writer that equated salacious and immature material as an appropriate way to write modern comics. I’ve never been much of a Marvel fan (though I’ve worked on that in recent years), and so combined with the fact that I wasn’t actually reading comics at the time, I took it for granted that this was still the case, and that I wanted nothing to do with the career of Geoff Johns.
All of this is to say, at least in the case of AVENGERS #58, I probably couldn’t have been farther from the mark. Even with the big movie and all the momentum headed into next summer, I will probably never be much of an Avengers fan (a bad experience with a much-hyped Kurt Busiek relaunch probably didn’t help), but I know enough about the team and its importance to Marvel lore (especially under the auspices of Brian Michael Bendis, who’s done everything in his power to elevate the team to the level of the X-Men franchise). There’s definitely a core team of all-star Avengers, but most of its membership seems to have consisted of the same general mediocrity that the Justice League regularly devolves into, despite the perennial efforts to concentrate on the heavy hitters.
Periodically, the Avengers get that same kind of treatment (now would not be one of those times, since everyone and their mother has been a member in the modern era of one incarnation or another). At least as far as my impression of AVENGERS #58 and Geoff’s overall ambitions seem to have been, it would seem Geoff Johns was very much a proponent of the all-star iteration. This particular comic is part of a greater epic which sees the world on the brink of a fantastic crisis, with the team called on to lead the world in a very overt manner, with most of the onus falling on Captain America, something he seems incredibly reluctant about (in fact, prior to Ed Brubaker, Steve Rogers was very much a Hal Jordan kind of guy, bucking authority; CIVIL WAR was his last great, or perhaps greatest, moment in that regard).
It makes me wonder what kind of impact Geoff might have had at Marvel if he’d made a stronger commitment. Don’t get me wrong; I’m extremely glad that he’s basically become the face of DC. The thing is, his departure from the House of Ideas left the door open for Bendis to swoop in and assume control of the Avengers, which has become a series of crossover events that have arguably done nothing but weaken the concept of the Avengers Geoff apparently worked hard to strengthen, including the moment I will continually refer to as the most infamous moment of modern comics, “No more mutants,” the most gratuitous and backward development that still has yet to be untangled (and even the Young Avengers’ efforts in that regard has since been overlooked, since Bendis has done such a great job of obscuring the message).
I’m not here to argue the top writer between DC and Marvel. I’m not a Marvel guy, so maybe Brian Bendis really is awesome, and his work is worthy of being at the forefront of the industry’s top publisher. All I know for sure is, I infinitely prefer Geoff Johns, and I have new reasons every year to affirm that belief. FLASHPOINT has lately confirmed it all over again.
As with any success story, there’s always a backlash that seeks to undermine that popular by saying it’s not actually earned (and so, you might say, my opinion of Bendis). The critics will say Johns milks Silver Age nostalgia, and writes in generalities, barely covering the minimum requirements for storytelling by glossing biographical material for entire issues at a time. To me, that kind of writing is endlessly fascinating. Any writer who can get inside the head of a fictional character has more than done their job by my book. I don’t just want to follow a lot of action, or some twisting adventure. I don’t care if I’m reading something I’m infinitely familiar with, or something brand-new. It takes a great fool to imagine something new, after all, but a greater fool not to acknowledge something that already exists.
FLASHPOINT, ultimately, isn’t really about some flashy event with an alternate reality or launching some bold new era, but rather the culmination of the story Geoff has been telling with Barry Allen since FLASH: REBIRTH. Where most fans saw only a character who’d met a noble end two decades ago, a favorite member of a distinguished superhero lineage, Geoff saw potential. He didn’t just see the man who’d idolized Jay Garrick, the Golden Age Flash, but a figure who could live out the fantasy so many other comic book superheroes could never touch, someone who could revisit the greatest tragedy of his past, and find out the consequences of interfering.
I honestly don’t know if the death of his mother was a touchstone event for Barry prior to Geoff Johns, because the reference material I have readily available doesn’t even mention it, but that’s what Geoff has been meditating on since Barry’s return, his extreme guilt, and incredible rage upon learning the truth, that it was his mortal enemy, the Reverse Flash, who caused it. No other writer has shaped a whole crossover event on such a personal story, and stuck with it (there was Hal Jordan’s insane quest in ZERO HOUR, and the Scarlet Witch in HOUSE OF M, but mostly, it’s usually just everyone reacting against some inciting event). I would argue that FLASHPOINT #5 is ultimately the most emotionally satisfying denouement for such an event.
I’ve been seeing a parallel with the TV show FRINGE throughout FLASHPOINT, perhaps even its very nature (as Barry and Thomas Wayne would themselves argue, given the chance), and for this, this is a very good thing. A great story will always take inspiration from the most appropriate sources, no matter the original medium. FLASHPOINT is a different kind of comics event because it tells a different kind of story, and without Geoff Johns, that wouldn’t have been possible. He understood that Barry Allen had at least one other great story in him, and it had nothing to do with all the things others had previously believed were obvious. He took a look at Barry himself, and never looked back.
The more I read FLASHPOINT, the more I realized I would have to read the whole thing. I really wasn’t supposed to. As I’ve been trying to make clear throughout the year, 2011 is supposed to represent a break in reading comics for me. I’ve come to blame FLASHPOINT for the zip line that has strung me along the last few months. I know the New 52 is upon us, but in many ways, I’ve now reached the break line (if I can manage it). Barry’s back in the blocks. Here’s the rest of the stuff I should not have bought:
MYTHICA
This is a “rough cut” preview for a local indy project Escape Velocity had on display on its counter, from the mind of Matt Campbell. Its concept is actually not that bad, but I worry that Matt might be confusing the actual storytelling with a more generic adventure narrative than he really needs. Anyway, worth a look.
RETROACTIVE 1990s – GREEN LANTERN (DC)
Ron Marz and Darryl Banks back together is a reunion I’m very happy to experience, even if it’s patently nostalgic. Kyle Rayner very much became my Green Lantern, and this is the team that helped make that possible. Coupled with a flashback to Kyle’s relationship with Donna Troy (how’s it she has never had her own series?), one of his many failed relationships (which also include Jade and Soranik Natu). Even the cover was absolutely classic!
RETROACTIVE 1990s – THE FLASH (DC)
Brian Augustyn, who was a regular collaborator on the book during the decade, was tapped for this one mostly because Mark Waid is engaged elsewhere these days, but this is an interesting look at what he might have done on his own (then again, my blackout from just about the end of that period might have overlooked Brian’s brief solo run, apparently alluded to in a note). There’s also a Mark Millar flashback, for the record.
RETROACTIVE 1990s – SUPERMAN (DC)
I couldn’t possibly be happier that the SUPERMAN: THE MAN OF STEEL team of Louise Simonson and Jon Bogdanove, rather than Dan Jurgens (who otherwise would have been the obvious choice) was tapped for this one. I always felt they didn’t receive the recognition they deserved. This tale more than demonstrates that neither has lost a step. How about a comeback?
JUSTICE LEAGUE #1 (DC)
The book I’ve been calling a de facto All Star series was not a disappointment, and hey, is also written by Geoff Johns, featuring Jim Lee on art. A sort of answer to Lee’s more official All Star effort with Frank Miller, we get to enjoy the often-overlooked dynamic between Batman and Hal Jordan (with some terrific insights, I might add), plus the reintroduction of Cyborg, Vic Stone, whom Johns has been itching to use more extensively for a while (if the FLASH OMNIBUS was any indication), and a really unusual look at Superman, too. I may have to officially call this a can’t-miss book.
RETROACTIVE 1990s – JUSTICE LEAGUE AMERICA (DC)
The infamous team of Keith Giffen/J.M. DeMatteis/Kevin Maguire is back together again! (Remember all the nostalgia tours last decade?) Also, please note Multi-Man, also seen in CHALLENGERS OF THE UNKNOWN MUST DIE!
RETROACTIVE 1980s – SUPERMAN (DC)
I was extremely confused why a bunch of ’90s elements were featured in this one, until I actually read it. Pretty clever, Marv Wolfman (though, really, who would argue that John Byrne didn’t deserve this one?). I’d been avoiding the older decades in these retro specials mostly because I was less familiar with them (and thus reading them would have been less enjoyable), but that was a clever ploy to trick me into this one, I must admit. Worth it.
FLASHPOINT – ABIN SUR: THE GREEN LANTERN #3 of 3 (DC)
I don’t know much the conclusions to these individual books will affect the New 52, but wouldn’t it be awesome if White Lantern Abin Sur actually did pop up?
FLASHPOINT – DEADMAN AND THE FLYING GRAYSONS #3 of 3 (DC)
I love the conclusion to this one, just so horribly appropriate.
FLASHPOINT – CITIZEN COLD #3 of 3 (DC)
As the event itself progressed, it became easy for me to forget that Cold was originally one of my motivating factors to be interested, because Geoff spent almost his exclusive focus in the main book on Barry Allen, with most of the rest on Thomas Wayne (which again, made that ending so powerful). Not surprisingly, our good Citizen doesn’t get away with his deception, but reading a Rogues book is always fun. Shouldn’t there be an ongoing by now?
FLASHPOINT – HAL JORDAN #3 of 3 (DC)
What a poignant and tragic ending. That was another benefit, for sure. I didn’t read the Wonder Woman or Aquaman titles, but I have to figure theirs were appropriate, too. I took a look at the conclusion to PROJECT SUPERMAN, and that one had a similar conclusion. This whole event was good for that whole Elseworlds vibe. Wouldn’t it be nice if Elseworlds came back?
FLASHPOINT – KID FLASH LOST #3 of 3 (DC)
This is another one I wish I knew how much the conclusion actually affects the New 52. Do I consider this the death of Bart Allen? I guess we’ll just have to find out. I like the nod Max Mercury receives, though. I still hope for more sustained Max goodness!
WAR OF THE GREEN LANTERNS AFTERMATH #2 of 2 (DC)
Tony Bedard concludes one era of Green Lantern lore with a cliffhanger! Still, it was fun to see the dynamics of the Corps at a climactic occasion, and there were some clever developments and moments. What’s to become of Ganthet?!?
BATMAN INC. #8 (DC)
Almost overlooked this one (for some reason the latest issue was a shelf below the other one), but I made a vow to read every issue of this book, and so was glad that I finally spotted it. Clever digital shenanigans and a demonstration of Bruce Wayne’s business sense, something that was necessary for the whole Batman Inc. concept that the character has made integral to both aspects of his life. Only Grant Morrison could have told a story like this.
ACTION COMICS #904 (DC)
The last issue (before the first one, as Mike pointed out on the other side of the counter!), written by Paul Cornell, ostensibly wrapping up the latest Doomsday story, but really making a final statement on the Man of Steel in this particular era, plus revisiting Lois & Clark, perhaps for one last time, at least for now!
The Quarter Bin contribution (which for the record actually set me back two bucks in this particular instance) is AVENGERS #58 (473) from November 2002, as well as STARS AND S.T.R.I.P.E. #12 from July 2000. These are among his earliest notable titles, relatively speaking (Johns actually began writing comics in 1999), but both adequately demonstrate the penchant he’d pursue into 2011. As I’ve detailed previously, I was not actively reading comics during this period, so early Geoff Johns has always been something of a wash for me. I wasn’t even totally sold on him after GREEN LANTERN: REBIRTH, so what exactly am I supposed to say I know?
STARS AND S.T.R.I.P.E. is the first ongoing series Johns launched, a sort of pastiche to the Golden Age that dragged it kicking and screaming into the 21st century, updating a couple of obscure characters who might otherwise have deserved to be consigned to comics limbo. Combined with the relaunch of the Justice Society, STARS was an indication that Geoff had no qualms looking to the past for inspiration, even if he wasn’t slavishly devoted to the specifics of what he looked at. By the time he worked for Marvel, however, I had a much different impression of what kind of creator he actually was.
In short, there was one particular moment that got noticed by the Internet community circa 2003, and if you know what I’m talking about, great, because otherwise I don’t want to confuse the matter here. Suffice it to say, but my first real impression of Geoff Johns boiled down to the opinion that he was a new breed of writer that equated salacious and immature material as an appropriate way to write modern comics. I’ve never been much of a Marvel fan (though I’ve worked on that in recent years), and so combined with the fact that I wasn’t actually reading comics at the time, I took it for granted that this was still the case, and that I wanted nothing to do with the career of Geoff Johns.
All of this is to say, at least in the case of AVENGERS #58, I probably couldn’t have been farther from the mark. Even with the big movie and all the momentum headed into next summer, I will probably never be much of an Avengers fan (a bad experience with a much-hyped Kurt Busiek relaunch probably didn’t help), but I know enough about the team and its importance to Marvel lore (especially under the auspices of Brian Michael Bendis, who’s done everything in his power to elevate the team to the level of the X-Men franchise). There’s definitely a core team of all-star Avengers, but most of its membership seems to have consisted of the same general mediocrity that the Justice League regularly devolves into, despite the perennial efforts to concentrate on the heavy hitters.
Periodically, the Avengers get that same kind of treatment (now would not be one of those times, since everyone and their mother has been a member in the modern era of one incarnation or another). At least as far as my impression of AVENGERS #58 and Geoff’s overall ambitions seem to have been, it would seem Geoff Johns was very much a proponent of the all-star iteration. This particular comic is part of a greater epic which sees the world on the brink of a fantastic crisis, with the team called on to lead the world in a very overt manner, with most of the onus falling on Captain America, something he seems incredibly reluctant about (in fact, prior to Ed Brubaker, Steve Rogers was very much a Hal Jordan kind of guy, bucking authority; CIVIL WAR was his last great, or perhaps greatest, moment in that regard).
It makes me wonder what kind of impact Geoff might have had at Marvel if he’d made a stronger commitment. Don’t get me wrong; I’m extremely glad that he’s basically become the face of DC. The thing is, his departure from the House of Ideas left the door open for Bendis to swoop in and assume control of the Avengers, which has become a series of crossover events that have arguably done nothing but weaken the concept of the Avengers Geoff apparently worked hard to strengthen, including the moment I will continually refer to as the most infamous moment of modern comics, “No more mutants,” the most gratuitous and backward development that still has yet to be untangled (and even the Young Avengers’ efforts in that regard has since been overlooked, since Bendis has done such a great job of obscuring the message).
I’m not here to argue the top writer between DC and Marvel. I’m not a Marvel guy, so maybe Brian Bendis really is awesome, and his work is worthy of being at the forefront of the industry’s top publisher. All I know for sure is, I infinitely prefer Geoff Johns, and I have new reasons every year to affirm that belief. FLASHPOINT has lately confirmed it all over again.
As with any success story, there’s always a backlash that seeks to undermine that popular by saying it’s not actually earned (and so, you might say, my opinion of Bendis). The critics will say Johns milks Silver Age nostalgia, and writes in generalities, barely covering the minimum requirements for storytelling by glossing biographical material for entire issues at a time. To me, that kind of writing is endlessly fascinating. Any writer who can get inside the head of a fictional character has more than done their job by my book. I don’t just want to follow a lot of action, or some twisting adventure. I don’t care if I’m reading something I’m infinitely familiar with, or something brand-new. It takes a great fool to imagine something new, after all, but a greater fool not to acknowledge something that already exists.
FLASHPOINT, ultimately, isn’t really about some flashy event with an alternate reality or launching some bold new era, but rather the culmination of the story Geoff has been telling with Barry Allen since FLASH: REBIRTH. Where most fans saw only a character who’d met a noble end two decades ago, a favorite member of a distinguished superhero lineage, Geoff saw potential. He didn’t just see the man who’d idolized Jay Garrick, the Golden Age Flash, but a figure who could live out the fantasy so many other comic book superheroes could never touch, someone who could revisit the greatest tragedy of his past, and find out the consequences of interfering.
I honestly don’t know if the death of his mother was a touchstone event for Barry prior to Geoff Johns, because the reference material I have readily available doesn’t even mention it, but that’s what Geoff has been meditating on since Barry’s return, his extreme guilt, and incredible rage upon learning the truth, that it was his mortal enemy, the Reverse Flash, who caused it. No other writer has shaped a whole crossover event on such a personal story, and stuck with it (there was Hal Jordan’s insane quest in ZERO HOUR, and the Scarlet Witch in HOUSE OF M, but mostly, it’s usually just everyone reacting against some inciting event). I would argue that FLASHPOINT #5 is ultimately the most emotionally satisfying denouement for such an event.
I’ve been seeing a parallel with the TV show FRINGE throughout FLASHPOINT, perhaps even its very nature (as Barry and Thomas Wayne would themselves argue, given the chance), and for this, this is a very good thing. A great story will always take inspiration from the most appropriate sources, no matter the original medium. FLASHPOINT is a different kind of comics event because it tells a different kind of story, and without Geoff Johns, that wouldn’t have been possible. He understood that Barry Allen had at least one other great story in him, and it had nothing to do with all the things others had previously believed were obvious. He took a look at Barry himself, and never looked back.
The more I read FLASHPOINT, the more I realized I would have to read the whole thing. I really wasn’t supposed to. As I’ve been trying to make clear throughout the year, 2011 is supposed to represent a break in reading comics for me. I’ve come to blame FLASHPOINT for the zip line that has strung me along the last few months. I know the New 52 is upon us, but in many ways, I’ve now reached the break line (if I can manage it). Barry’s back in the blocks. Here’s the rest of the stuff I should not have bought:
MYTHICA
This is a “rough cut” preview for a local indy project Escape Velocity had on display on its counter, from the mind of Matt Campbell. Its concept is actually not that bad, but I worry that Matt might be confusing the actual storytelling with a more generic adventure narrative than he really needs. Anyway, worth a look.
RETROACTIVE 1990s – GREEN LANTERN (DC)
Ron Marz and Darryl Banks back together is a reunion I’m very happy to experience, even if it’s patently nostalgic. Kyle Rayner very much became my Green Lantern, and this is the team that helped make that possible. Coupled with a flashback to Kyle’s relationship with Donna Troy (how’s it she has never had her own series?), one of his many failed relationships (which also include Jade and Soranik Natu). Even the cover was absolutely classic!
RETROACTIVE 1990s – THE FLASH (DC)
Brian Augustyn, who was a regular collaborator on the book during the decade, was tapped for this one mostly because Mark Waid is engaged elsewhere these days, but this is an interesting look at what he might have done on his own (then again, my blackout from just about the end of that period might have overlooked Brian’s brief solo run, apparently alluded to in a note). There’s also a Mark Millar flashback, for the record.
RETROACTIVE 1990s – SUPERMAN (DC)
I couldn’t possibly be happier that the SUPERMAN: THE MAN OF STEEL team of Louise Simonson and Jon Bogdanove, rather than Dan Jurgens (who otherwise would have been the obvious choice) was tapped for this one. I always felt they didn’t receive the recognition they deserved. This tale more than demonstrates that neither has lost a step. How about a comeback?
JUSTICE LEAGUE #1 (DC)
The book I’ve been calling a de facto All Star series was not a disappointment, and hey, is also written by Geoff Johns, featuring Jim Lee on art. A sort of answer to Lee’s more official All Star effort with Frank Miller, we get to enjoy the often-overlooked dynamic between Batman and Hal Jordan (with some terrific insights, I might add), plus the reintroduction of Cyborg, Vic Stone, whom Johns has been itching to use more extensively for a while (if the FLASH OMNIBUS was any indication), and a really unusual look at Superman, too. I may have to officially call this a can’t-miss book.
RETROACTIVE 1990s – JUSTICE LEAGUE AMERICA (DC)
The infamous team of Keith Giffen/J.M. DeMatteis/Kevin Maguire is back together again! (Remember all the nostalgia tours last decade?) Also, please note Multi-Man, also seen in CHALLENGERS OF THE UNKNOWN MUST DIE!
RETROACTIVE 1980s – SUPERMAN (DC)
I was extremely confused why a bunch of ’90s elements were featured in this one, until I actually read it. Pretty clever, Marv Wolfman (though, really, who would argue that John Byrne didn’t deserve this one?). I’d been avoiding the older decades in these retro specials mostly because I was less familiar with them (and thus reading them would have been less enjoyable), but that was a clever ploy to trick me into this one, I must admit. Worth it.
FLASHPOINT – ABIN SUR: THE GREEN LANTERN #3 of 3 (DC)
I don’t know much the conclusions to these individual books will affect the New 52, but wouldn’t it be awesome if White Lantern Abin Sur actually did pop up?
FLASHPOINT – DEADMAN AND THE FLYING GRAYSONS #3 of 3 (DC)
I love the conclusion to this one, just so horribly appropriate.
FLASHPOINT – CITIZEN COLD #3 of 3 (DC)
As the event itself progressed, it became easy for me to forget that Cold was originally one of my motivating factors to be interested, because Geoff spent almost his exclusive focus in the main book on Barry Allen, with most of the rest on Thomas Wayne (which again, made that ending so powerful). Not surprisingly, our good Citizen doesn’t get away with his deception, but reading a Rogues book is always fun. Shouldn’t there be an ongoing by now?
FLASHPOINT – HAL JORDAN #3 of 3 (DC)
What a poignant and tragic ending. That was another benefit, for sure. I didn’t read the Wonder Woman or Aquaman titles, but I have to figure theirs were appropriate, too. I took a look at the conclusion to PROJECT SUPERMAN, and that one had a similar conclusion. This whole event was good for that whole Elseworlds vibe. Wouldn’t it be nice if Elseworlds came back?
FLASHPOINT – KID FLASH LOST #3 of 3 (DC)
This is another one I wish I knew how much the conclusion actually affects the New 52. Do I consider this the death of Bart Allen? I guess we’ll just have to find out. I like the nod Max Mercury receives, though. I still hope for more sustained Max goodness!
WAR OF THE GREEN LANTERNS AFTERMATH #2 of 2 (DC)
Tony Bedard concludes one era of Green Lantern lore with a cliffhanger! Still, it was fun to see the dynamics of the Corps at a climactic occasion, and there were some clever developments and moments. What’s to become of Ganthet?!?
BATMAN INC. #8 (DC)
Almost overlooked this one (for some reason the latest issue was a shelf below the other one), but I made a vow to read every issue of this book, and so was glad that I finally spotted it. Clever digital shenanigans and a demonstration of Bruce Wayne’s business sense, something that was necessary for the whole Batman Inc. concept that the character has made integral to both aspects of his life. Only Grant Morrison could have told a story like this.
ACTION COMICS #904 (DC)
The last issue (before the first one, as Mike pointed out on the other side of the counter!), written by Paul Cornell, ostensibly wrapping up the latest Doomsday story, but really making a final statement on the Man of Steel in this particular era, plus revisiting Lois & Clark, perhaps for one last time, at least for now!
Thursday, July 14, 2011
Capping The Cape
Maybe I don’t have a lot of right to do this, because I’ve been writing this blog throughout 2011, and THE CAPE had its brief run during this time, but I’d like to take this opportunity for another spirited defense of an overlooked superhero gem.
To understand how THE CAPE failed for NBC this past season, you probably have to understand how HEROES gradually became a failure, after starting with a bang back in 2006. HEROES was the next big genre TV hit after LOST became a sensation a few season earlier. You have to remember that by the 2006 season, LOST had started to grate on some viewers by refusing to give its answers quickly, and this was before the 2007 season, which was famously truncated by the writers’ strike. When HEROES came around, it seemed prepackaged with all the answers needed to retort the genre, big-concept questions LOST had raised, telling a complete arc over the course of its first season, which gained more buzz and acclaim as it went along. Exactly how that momentum was, ahem, lost over the course of the next three seasons is usually explained by a growing complacency and lack of genuine inspiration. Not being a partisan of usual public opinions, I’ve had other ideas. In fact, I grew to love the show more the longer it was on. But the fact remains, viewers became tired of this particular approach to superheroes on TV, and NBC’s thought process, by the time THE CAPE was announced, became a little obvious.
THE CAPE was basically the reverse of HEROES (just as HEROES had kind of been the reverse of LOST). Where the characters on HEROES never wore costumes and the villains were never permanently pegged as such (much to the chagrin of those who became tired of Sylar), THE CAPE had a costume almost from the start, and an archenemy sooner. In many ways, THE CAPE was less an answer to HEROES and more a continuation of the experiment begun by THE FLASH two decades earlier, an expertly conceived and produced superhero adventure, with most of the sensibilities most people think of from this particular genre. Like Dick Tracy and Batman, THE CAPE developed a rich rogues gallery, even within the abbreviated time it had, relying not just on the main heavy, but introducing many more, with varying roles.
How exactly this failed so utterly and swiftly is no real surprise. Like THE FLASH before it, THE CAPE asked a great deal of its audience, to accept tropes most of them had already avoided by not reading comics in the first place, asking for a commitment and to believe and accept certain leaps of faith that usually require something extraordinary, some spark either in casting or concept, that’s not necessarily related to the property itself. And even then, a cult following is needed almost instantaneously, or a convenient connection to the cultural zeitgeist. I could explain all that with examples, or simply say THE CAPE obviously had none of it. All NBC thought it needed was HEROES without the HEROES mindset, which is not exactly what Tim Kring was thinking when he saw the opportunity LOST created, just as SMALLVILLE didn’t come into existence simply because of “No Flights, No Tights.”
Anyway, I keep getting carried away. I like comparative analysis, obviously. The point is, THE CAPE is far better than its failure suggests, more nuanced, far cooler, entertaining almost to a fault. Sometimes it even takes itself a tad too flippantly. And the groundwork is laid in every episode for something greater, a rich tapestry that would have been something truly special, if the opportunity had been there.
I’m taking the liberty to talk about it because THE CAPE was released on DVD last week, and so those who overlooked it originally have a second chance, and this is a show that rewards dedicated viewing. You’ll see how the writers reveal that Orwell is Peter Fleming, a.k.a. Chess’s daughter well before they do (and well before the show ever had the chance to truly cash in on this connection). You’ll even see how Vince Faraday’s boy hangs out with Goggles’ son, without anyone ever calling attention to it. You’ll marvel at how awesome Vinnie Jones is as Scales. If this is the show’s legacy, then it is already a good one. Like THE FLASH before it, you won’t care that practically nobody cared about THE CAPE. Because you will. And it only means TV will have a chance to do it again, because now another fan will have something to work off of, a predecessor, a precedent.
To round out this week’s feature, I’ll discuss the comics I bought at Escape Velocity over the course of two visits. I get to talk about GREEN LANTERN, the movie, because DC has been supporting it a great deal, sometimes in ways that weren’t so obvious. Like THE CAPE, there’s success even in failure, so long as there are those willing to embrace material that rewards those who cared.
BATMAN INCORPORATED #s 6-7 (DC)
First, we visit with the one series I’ve tried to continue following in 2011, Grant Morrison’s continuing Bat-masterpiece. These particular issues continue to reward the long-time reader, with the first one being a kind of status marker for the whole journey, while the second is an exceptional example of the work Grant’s been doing with this series in particular; it’s like SCALPED on crack, or if you haven’t read that Vertigo series but have noted Native American writer Sherman Alexie, like a superhero version of THE LONE RANGER AND TONTO FIST-FIGHT IN HEAVEN. (It’s even more awesome than it sounds.)
BATMAN AND ROBIN #25 (DC)
Judd Winick doesn’t get a lot of respect, except from DC, which has not only retained him as a writer despite that, but cherished the groundbreaking work he’s done for the company, notably with the character of Jason Todd, whom he revisits for the conclusion of a three-issue guest stint in this title.
FLASHPOINT #s 2-3 (DC)
Gotta say, I’m really loving FLASHPOINT, Geoff Johns’ continually masterful grasp of character. We all know by now that this event book is basically his goodbye to Barry Allen, but he’s making up for whatever hard feelings that might have to those who wish he could’ve repeated his Hal Jordan magic by giving Barry’s his biggest-ever story. For a character who was killed off almost three decades ago, , was best known for ushering the Silver Age, a rogues gallery, and not even for an innovative trial that was well ahead of its time, this is perhaps more remarkable than anything Johns has done with the Green Lantern franchise. He’s succeeded in making Barry a compelling character with a story that is distinctively his own, whatever the context. And to then spin variations of known characters around this, especially the big revelation of what happened to Superman in this reality, that’s far more than anyone could have expected, no matter the hype.
FLASHPOINT: CITIZEN COLD #1 (DC)
The Rogues were well-established before Geoff Johns broke into comics, but it might be argued that no one has done as much for them as he has for the past decade, and FLASHPOINT seems designed to do even more, especially this book, which finally gives one to an individual member. Scott Kolins further proves his elevation as a creator on this one.
FLASHPOINT: DEADMAN AND THE FLYING GRAYSONS #1 (DC)
Given that Deadman, after starring in BRIGHTEST DAY, and Dick Grayson, after starring in half the Batman titles the past couple of years, are among the “losers” of the DC reboot, this one’s perhaps more important than it would have otherwise been, and maybe specifically intended to be a kind of consolation gifts for their fans.
FLASHPOINT: THE CANTERBURY CRICKET (DC)
I somehow knew from the moment I read about the Flashpoint titles, that I would find this one intriguing. I suspected, unless the character were somehow a variation of a character I hadn’t been thinking about at the time, that Cricket was a new creation for the event, and we know that I love to give new characters their due. “Canterbury Cricket” was beyond unusual. Well, Mike Carlin confirmed my faith, easily. Needless to say, I hope Cricket finds his way into the DC Universe proper.
FLASHPOINT: HAL JORDAN #1 (DC)
FLASHPOINT: ABIN SUR #2 (DC)
GREEN LANTERN MOVIE PREQUEL: HAL JORDAN (DC)
GREEN LANTERN MOVIE PREQUEL: ABIN SUR (DC)
Okay, so the titles are a little repetitive, but obviously these are the books I was talking about earlier. Two of them have a direct connection to the movie, while the others have an unexpected link, and serve as a testament both to the movie and Geoff Johns’ work with the franchise over the last five years. Before it, there’s no doubt Hal’s involvement would have been different, and it’s doubtful that Abin Sur would have been involved at all. You have things like Darwyn Cooke’s NEW FRONTIER that also embraced Hal’s character seriously, but otherwise Hal’s importance, and his backstory, have mostly been downplayed over the years. The movie prequel Hal book is as close to an adaptation as DC and Warner Brothers have apparently considered. That’s both the blessing and curse of the strong SECRET ORIGIN tie-in. I figure the movie’s success, as I’ve suggested, could’ve been greater if fans other than of comics could have seen the scope before walking into the movie theater. But there’s always next time.
SUPERMAN #712 (DC)
The more “Grounded” (and “Odyssey” over in WONDER WOMAN) dragged on, the less interesting it became. So it’s good that there’ve been interludes, even completely unscheduled ones like this issue, which resurrects a lost Kurt Busiek tale involving Krypto (who has a grizzly cameo in FLASHPOINT #3, by the way) and the aftermath of Superboy’s death during INFINITE CRISIS. I wasn’t the biggest fan of Busiek’s run on SUPERMAN from a few years back (though stories like “Third Kryptonian” were enough to convince me his take wasn’t completely alien to my Man of Steel sensibilities), but this is a nice reminder of the many things that’ve been missing from Superman comics recently.
That’s all for this time. I swear (I swear!) that this recovering comics addict hasn’t completely relapsed, that these trips to Escape Velocity really were basically anomalous (I really only want to read the final two issues of FLASHPOINT now, and hope that my finances are better in September so I don’t miss out on all the potential awesomeness).
In conclusion, let us also begin the hype for Frank Miller’s HOLY TERROR!
To understand how THE CAPE failed for NBC this past season, you probably have to understand how HEROES gradually became a failure, after starting with a bang back in 2006. HEROES was the next big genre TV hit after LOST became a sensation a few season earlier. You have to remember that by the 2006 season, LOST had started to grate on some viewers by refusing to give its answers quickly, and this was before the 2007 season, which was famously truncated by the writers’ strike. When HEROES came around, it seemed prepackaged with all the answers needed to retort the genre, big-concept questions LOST had raised, telling a complete arc over the course of its first season, which gained more buzz and acclaim as it went along. Exactly how that momentum was, ahem, lost over the course of the next three seasons is usually explained by a growing complacency and lack of genuine inspiration. Not being a partisan of usual public opinions, I’ve had other ideas. In fact, I grew to love the show more the longer it was on. But the fact remains, viewers became tired of this particular approach to superheroes on TV, and NBC’s thought process, by the time THE CAPE was announced, became a little obvious.
THE CAPE was basically the reverse of HEROES (just as HEROES had kind of been the reverse of LOST). Where the characters on HEROES never wore costumes and the villains were never permanently pegged as such (much to the chagrin of those who became tired of Sylar), THE CAPE had a costume almost from the start, and an archenemy sooner. In many ways, THE CAPE was less an answer to HEROES and more a continuation of the experiment begun by THE FLASH two decades earlier, an expertly conceived and produced superhero adventure, with most of the sensibilities most people think of from this particular genre. Like Dick Tracy and Batman, THE CAPE developed a rich rogues gallery, even within the abbreviated time it had, relying not just on the main heavy, but introducing many more, with varying roles.
How exactly this failed so utterly and swiftly is no real surprise. Like THE FLASH before it, THE CAPE asked a great deal of its audience, to accept tropes most of them had already avoided by not reading comics in the first place, asking for a commitment and to believe and accept certain leaps of faith that usually require something extraordinary, some spark either in casting or concept, that’s not necessarily related to the property itself. And even then, a cult following is needed almost instantaneously, or a convenient connection to the cultural zeitgeist. I could explain all that with examples, or simply say THE CAPE obviously had none of it. All NBC thought it needed was HEROES without the HEROES mindset, which is not exactly what Tim Kring was thinking when he saw the opportunity LOST created, just as SMALLVILLE didn’t come into existence simply because of “No Flights, No Tights.”
Anyway, I keep getting carried away. I like comparative analysis, obviously. The point is, THE CAPE is far better than its failure suggests, more nuanced, far cooler, entertaining almost to a fault. Sometimes it even takes itself a tad too flippantly. And the groundwork is laid in every episode for something greater, a rich tapestry that would have been something truly special, if the opportunity had been there.
I’m taking the liberty to talk about it because THE CAPE was released on DVD last week, and so those who overlooked it originally have a second chance, and this is a show that rewards dedicated viewing. You’ll see how the writers reveal that Orwell is Peter Fleming, a.k.a. Chess’s daughter well before they do (and well before the show ever had the chance to truly cash in on this connection). You’ll even see how Vince Faraday’s boy hangs out with Goggles’ son, without anyone ever calling attention to it. You’ll marvel at how awesome Vinnie Jones is as Scales. If this is the show’s legacy, then it is already a good one. Like THE FLASH before it, you won’t care that practically nobody cared about THE CAPE. Because you will. And it only means TV will have a chance to do it again, because now another fan will have something to work off of, a predecessor, a precedent.
To round out this week’s feature, I’ll discuss the comics I bought at Escape Velocity over the course of two visits. I get to talk about GREEN LANTERN, the movie, because DC has been supporting it a great deal, sometimes in ways that weren’t so obvious. Like THE CAPE, there’s success even in failure, so long as there are those willing to embrace material that rewards those who cared.
BATMAN INCORPORATED #s 6-7 (DC)
First, we visit with the one series I’ve tried to continue following in 2011, Grant Morrison’s continuing Bat-masterpiece. These particular issues continue to reward the long-time reader, with the first one being a kind of status marker for the whole journey, while the second is an exceptional example of the work Grant’s been doing with this series in particular; it’s like SCALPED on crack, or if you haven’t read that Vertigo series but have noted Native American writer Sherman Alexie, like a superhero version of THE LONE RANGER AND TONTO FIST-FIGHT IN HEAVEN. (It’s even more awesome than it sounds.)
BATMAN AND ROBIN #25 (DC)
Judd Winick doesn’t get a lot of respect, except from DC, which has not only retained him as a writer despite that, but cherished the groundbreaking work he’s done for the company, notably with the character of Jason Todd, whom he revisits for the conclusion of a three-issue guest stint in this title.
FLASHPOINT #s 2-3 (DC)
Gotta say, I’m really loving FLASHPOINT, Geoff Johns’ continually masterful grasp of character. We all know by now that this event book is basically his goodbye to Barry Allen, but he’s making up for whatever hard feelings that might have to those who wish he could’ve repeated his Hal Jordan magic by giving Barry’s his biggest-ever story. For a character who was killed off almost three decades ago, , was best known for ushering the Silver Age, a rogues gallery, and not even for an innovative trial that was well ahead of its time, this is perhaps more remarkable than anything Johns has done with the Green Lantern franchise. He’s succeeded in making Barry a compelling character with a story that is distinctively his own, whatever the context. And to then spin variations of known characters around this, especially the big revelation of what happened to Superman in this reality, that’s far more than anyone could have expected, no matter the hype.
FLASHPOINT: CITIZEN COLD #1 (DC)
The Rogues were well-established before Geoff Johns broke into comics, but it might be argued that no one has done as much for them as he has for the past decade, and FLASHPOINT seems designed to do even more, especially this book, which finally gives one to an individual member. Scott Kolins further proves his elevation as a creator on this one.
FLASHPOINT: DEADMAN AND THE FLYING GRAYSONS #1 (DC)
Given that Deadman, after starring in BRIGHTEST DAY, and Dick Grayson, after starring in half the Batman titles the past couple of years, are among the “losers” of the DC reboot, this one’s perhaps more important than it would have otherwise been, and maybe specifically intended to be a kind of consolation gifts for their fans.
FLASHPOINT: THE CANTERBURY CRICKET (DC)
I somehow knew from the moment I read about the Flashpoint titles, that I would find this one intriguing. I suspected, unless the character were somehow a variation of a character I hadn’t been thinking about at the time, that Cricket was a new creation for the event, and we know that I love to give new characters their due. “Canterbury Cricket” was beyond unusual. Well, Mike Carlin confirmed my faith, easily. Needless to say, I hope Cricket finds his way into the DC Universe proper.
FLASHPOINT: HAL JORDAN #1 (DC)
FLASHPOINT: ABIN SUR #2 (DC)
GREEN LANTERN MOVIE PREQUEL: HAL JORDAN (DC)
GREEN LANTERN MOVIE PREQUEL: ABIN SUR (DC)
Okay, so the titles are a little repetitive, but obviously these are the books I was talking about earlier. Two of them have a direct connection to the movie, while the others have an unexpected link, and serve as a testament both to the movie and Geoff Johns’ work with the franchise over the last five years. Before it, there’s no doubt Hal’s involvement would have been different, and it’s doubtful that Abin Sur would have been involved at all. You have things like Darwyn Cooke’s NEW FRONTIER that also embraced Hal’s character seriously, but otherwise Hal’s importance, and his backstory, have mostly been downplayed over the years. The movie prequel Hal book is as close to an adaptation as DC and Warner Brothers have apparently considered. That’s both the blessing and curse of the strong SECRET ORIGIN tie-in. I figure the movie’s success, as I’ve suggested, could’ve been greater if fans other than of comics could have seen the scope before walking into the movie theater. But there’s always next time.
SUPERMAN #712 (DC)
The more “Grounded” (and “Odyssey” over in WONDER WOMAN) dragged on, the less interesting it became. So it’s good that there’ve been interludes, even completely unscheduled ones like this issue, which resurrects a lost Kurt Busiek tale involving Krypto (who has a grizzly cameo in FLASHPOINT #3, by the way) and the aftermath of Superboy’s death during INFINITE CRISIS. I wasn’t the biggest fan of Busiek’s run on SUPERMAN from a few years back (though stories like “Third Kryptonian” were enough to convince me his take wasn’t completely alien to my Man of Steel sensibilities), but this is a nice reminder of the many things that’ve been missing from Superman comics recently.
That’s all for this time. I swear (I swear!) that this recovering comics addict hasn’t completely relapsed, that these trips to Escape Velocity really were basically anomalous (I really only want to read the final two issues of FLASHPOINT now, and hope that my finances are better in September so I don’t miss out on all the potential awesomeness).
In conclusion, let us also begin the hype for Frank Miller’s HOLY TERROR!
Wednesday, May 11, 2011
I'm Having My Own Flashpoint, Here!
Okay, so for the record, I am no longer technically reading comics, nor all that interested in regularly reading them.
Now, would somebody please remind me?
Oh, and damn Free Comic Book Day. The annual event that, well, hands out free comic books, was this past Saturday (and hopefully you knew that already), and as I have, well, annually, I paid homage to the event, visiting Escape Velocity in downtown Colorado Springs during a very small window before work that day. I got there early. I hoped the store might be open at 10, so yeah, I got there early, and after wasting a good chunk of time elsewhere (the main branch of the local library does in fact carry a good selection of my favorite authors, as it turns out!), still came back in time to be first in line (yay me!) and so I could say that I was the first patron to enjoy the day (oh the ironies of a “former” comic book nerd claiming such an honor!). Because I lingered at the entrance near the counter, however (collecting FEAR ITSELF #2), I was not the first to the free comics table, however (though big props to Mike and/or whoever else decided we could take three comics this year, rather than two, even though I was able to take as many as I wanted when I enjoyed FCBD at Newbury Comics in Burlington, MA years earlier).
This sentence has no parenthical phrase. I grabbed the usual suspects, a DC, Marvel, and Atomic Robo. I’ll talk more about my selections a bit later, but suffice it to say, that was pretty much the extent of my visit that day. I had made a small list of titles to make sure I wouldn’t forget from the regular racks, FEAR ITSELF being one of them, so I could finally take a look at Stuart Immonen’s work on the book, plus any new issues of BATMAN, INC. and, wildest of dreams, maybe a copy of ACTION COMICS #900 (y’know, the one where he “controversially” renounces US citizenship, but hopefully I will get to talk about this one later, when I actually have a copy). I made the list to limit myself, to make sure I hit the essentials, and yes, because I had very little time. I got out in about four minutes, which was considerably less time than my last visit (comics are just one of those things you can spend a good amount of time shopping). I felt pretty proud, only six comics in all, and three of them were free.
The problem is, I keep fretting that I’ve reacquired “the bug.” That I’ve fallen off the wagon. I’ve already made a commitment to go back when that second printing of ACTION #900 arrives. And I know I’ll have more time. And I really, really want to read the Flashpoint comics.
I’m not just talking about the event book itself. Actually, I’m less interested in FLASHPOINT itself than, say, FLASHPOINT: ABIN SUR - THE GREEN LANTERN. Or FLASHPOINT: CITIZEN COLD. Or FLASHPOINT: DEADMAN AND THE FLYING GRAYSONS. Or FLASHPOINT: CANTERBURY CRICKET (I’m damn curious). You get the point. I was one of the fans who went gaga over Tangent Comics. And, to a lesser extent, Amalgam Comics. I’ve never gotten around to reading a lot of them, especially some of the really famous ones like SUPERMAN: RED SON, but Elseworlds. The thing is, as much as I like a good bit of continuity, I like “alternuity” a lot more. I like when familiar facts are played around with, especially when, like Flashpoint is promising, familiar facts are played around with cleverly, in ways that have unexpected resonance with the facts as we know them.
Did I mention that I really, really want to read Flashpoint? Desperately. I suspect that these comics were be collected, in much the same way that every single scrap of BLACKEST NIGHT was eventually collected into massive hardcovers. Financially, I care. But as a fan, I really, really don’t care. I want to read this stuff. Badly. It’s one of those, I’m-convinced-they’ll-become-some-of-my-favorite-comics things. I really am.
So I’m in a bad place right now. I also want to read those Green Lantern movie tie-ins. Most of the time, any comic that is created to cash in on a movie, unless they’re a straight adaptation, are a waste of time and money. These seem different. Not just because Green Lantern, as Geoff Johns and the filmmakers have realized, has a ton of storytelling potential. The characters, though familiar, have so much more to say than even five years of Johns-inspired expansion have been able to tell. And there’s so much passion. These, too, will undoubtedly be collected. But c’mon. A fan is a fan is a fan. And a fan wants to read RIGHT NOW. Sorry. Usually save the caps for comics titles. But you get what I mean. That’s what reading comics tends to do. It makes people crazy.
So, damn you Free Comic Book Day. And here are the comics that were a part of this breakdown:
FREE COMIC BOOK DAY 2011 - THE AMAZING SPIDER-MAN (Marvel)
Dan Slott, so far as I can tell, has been doing, well, an amazing job with Spidey in “Big Time,” pushing all the work that was done during “Brand New Day” to the next level, and whereas that era was accomplished with multiple writers, Slott’s been going it alone, so I cannot give him enough props for that kind of accomplishment. This one’s basically a big advertisement for things that’ve been happening, and a tease for more things that will happen, but it’s a Spider-Man comic. A certain amount of the straight entertainment factor is to be expected. Also, really great to see Humberto Ramos, still riding high all these years after I enjoyed his work in IMPULSE. He’s the rare artist who doesn’t receive all the buzz and hype but who nonetheless maintains the steady awesome output and high profile assignments, year after year. I’m now dreaming of Ramos supplying the art for a Stuart Immonen-scripted adventure…
ATOMIC ROBO/FOSTER BROUSSARD/MOON GIRL (Red 5)
How many years has Robo been commanding Red 5’s Free Comic Book Day contributions now? It doesn’t matter. Not only is Robo the company’s biggest hit, he’s also still waiting to, well, actually hit, become a smash sensation, that is, explode, break out into the mainstream, the way Hellboy has, in other words, over at Dark Horse. And there’s no reason why Atomic Robo shouldn’t be huge. The work of Brian Clevinger and Scott Wegener has been consistently awesome from the beginning, and as creators they’ve finally been noticed by their peers, winning work from the likes of Marvel, but like Fred Van Lente without Herc and/or Cho and/or Ryan Dunlavey, they just aren’t the same without Robo. Sure, this particular FCBD effort includes previews for some other books, but it’s all about Robo! Robo! Robo!
BATMAN, INC. #5 (DC)
Now, I don’t know if there were other issues I should have had the opportunity to read (but let’s be honest, reading five issues of this comic when I’ve “stopped reading comics” is already pretty awesome); I’m just glad that I finished another Grant Morrison arc. And unlike previous issues, this one’s clearly, as it proves the arc has all along without anyone realizing it, on par with the massive storytelling structure Grant brought to THE RETURN OF BRUCE WAYNE, the Black Glove saga, and other epics. We learn just how big the threat of Doctor Dedalus really is, as we meet even more heroes, including the Hood (who looks a lot like the current Azrael), how insanely complicated his mechanics are (and no one outplots Grant Morrison, except maybe Geoff Johns), and that there really are challenges for Bruce Wayne, even now. Who else writes Batman so that he can meet seemingly every challenge, but still be challenged, and so that it comes off convincingly? It’s the kind of comic book that mocks every single bad connotation outsiders have toward the industry, and that’s the way Grant’s been writing since his career began, why he still seems hungry, when all his contemporaries have either retired or all but retired. He has nothing left to prove. And yet he just keeps proving himself, challenging himself, and challenging comic books themselves. How does he do it? The man’s a true creative dynamo.
FEAR ITSELF #1 & 2 (Marvel)
Matt Fraction is one of Marvel’s so-called Architects, one of the writers it has identified as being not only integral to the company now, but for its future, yet FEAR ITSELF counts as his first event book. Among the books for which he is known is IRON MAN, where he’s helped to bridge the gap between the comics and movie versions of Tony Stark. This event seems like Fraction’s version of that same effort for Thor, so that fans who are intrigued by the new movie might have something to look at afterward. Those who may not be familiar with SIEGE might still be interested to read about Odin’s return to Asgard, or the plans of comparatively ordinary mortals in helping Thor to reclaim his place on Earth. The rest of the story involves the legacy of the Red Skull, and therefore Steve Rogers, and therefore the new Captain American movie. I figure FEAR ITSELF will more or less be the reason Rogers claims his familiar mantle. It both surprises me and doesn’t that James “Bucky” Barnes has still be been embraced as his successor. Batman, Inc. this is not. Stuart Immonen, of course, is on art for this book, and most of it, as has been the norm for his work with Marvel, by design, is not all that familiar to what I knew from his days at DC. There are tiny glimpses, not terribly flattering actually, of what I used to enjoy, but otherwise, it’s not all that distinctive. It’s competent, and Stuart’s obviously dependable, unlike a great many of those who came after him, and became popular and famous, but he’s capable of so much better. So I probably won’t be reading more of this book. I wasn’t all that intrigued or interested. I don’t really care about anything that I’ve read in the first two issues. And Mr. Immonen continues to disappoint me. But I guess he doesn’t need me to be a fan. He’s entrenched at Marvel, something of a stalwart on staff, and is doing indy work that fulfills him otherwise. I just wish I could believe that he was making a difference, at least in the way I believe he did at DC. Maybe it’s just me.
FCBD 2011 GREEN LANTERN/FLASHPOINT (DC)
For those who haven’t already picked up a copy of the SECRET ORIGIN trade (either before or after the movie cover edition with a few extras that readers of the regular GREEN LANTERN comic will find familiar, beyond the Ryan Reynolds intro), most of this book is another plug for that arc, Geoff Johns’ version of EMERALD DAWN, with liberal allusions to BLACKEST NIGHT tossed in, which is said to have done much to inspire the filmmakers who will soon fulfill many dreams (at the very least, mine). It wisely skips over the first chapter, which revolves more around Hal Jordan’s background, and instead gives us the revision of the familiar origin, with Abin Sur crashing his ship and bequeathing his ring to Hal. There’s also the preview for FLASHPOINT, as much a reminder of who Barry Allen is as a tease for the strange new world he will soon encounter. It’s exactly the kind of thing Free Comic Book Day should be doing, giving fans what they think they want, and so much more. The Spidey comic also includes a tease for FEAR ITSELF, but I wonder if new readers will care as much about that as they will for the free Green Lantern intro, or old readers as much will the FLASHPOINT intro. As a fan, I relished reading me some Dan Slott, and he’s a perfect writer for readers to read a typical Spider-Man comic, and this is a perfect era for vintage Spider-Man. But it’s perhaps better to give the old and new readers something a little more interesting than that.
But the beauty of Free Comic Book Day is that you can have both, and for nothing at all. I often wonder what the new readers really think, based on these samples. I’ve never been one for as long as I’ve enjoyed this holiday (even if I have to work on it). Maybe, if a year from now and I’ve actually been able to maintain this almost-complete-break, I might better experience what that novice is feeling right now.
Or maybe I already know.
Now, would somebody please remind me?
Oh, and damn Free Comic Book Day. The annual event that, well, hands out free comic books, was this past Saturday (and hopefully you knew that already), and as I have, well, annually, I paid homage to the event, visiting Escape Velocity in downtown Colorado Springs during a very small window before work that day. I got there early. I hoped the store might be open at 10, so yeah, I got there early, and after wasting a good chunk of time elsewhere (the main branch of the local library does in fact carry a good selection of my favorite authors, as it turns out!), still came back in time to be first in line (yay me!) and so I could say that I was the first patron to enjoy the day (oh the ironies of a “former” comic book nerd claiming such an honor!). Because I lingered at the entrance near the counter, however (collecting FEAR ITSELF #2), I was not the first to the free comics table, however (though big props to Mike and/or whoever else decided we could take three comics this year, rather than two, even though I was able to take as many as I wanted when I enjoyed FCBD at Newbury Comics in Burlington, MA years earlier).
This sentence has no parenthical phrase. I grabbed the usual suspects, a DC, Marvel, and Atomic Robo. I’ll talk more about my selections a bit later, but suffice it to say, that was pretty much the extent of my visit that day. I had made a small list of titles to make sure I wouldn’t forget from the regular racks, FEAR ITSELF being one of them, so I could finally take a look at Stuart Immonen’s work on the book, plus any new issues of BATMAN, INC. and, wildest of dreams, maybe a copy of ACTION COMICS #900 (y’know, the one where he “controversially” renounces US citizenship, but hopefully I will get to talk about this one later, when I actually have a copy). I made the list to limit myself, to make sure I hit the essentials, and yes, because I had very little time. I got out in about four minutes, which was considerably less time than my last visit (comics are just one of those things you can spend a good amount of time shopping). I felt pretty proud, only six comics in all, and three of them were free.
The problem is, I keep fretting that I’ve reacquired “the bug.” That I’ve fallen off the wagon. I’ve already made a commitment to go back when that second printing of ACTION #900 arrives. And I know I’ll have more time. And I really, really want to read the Flashpoint comics.
I’m not just talking about the event book itself. Actually, I’m less interested in FLASHPOINT itself than, say, FLASHPOINT: ABIN SUR - THE GREEN LANTERN. Or FLASHPOINT: CITIZEN COLD. Or FLASHPOINT: DEADMAN AND THE FLYING GRAYSONS. Or FLASHPOINT: CANTERBURY CRICKET (I’m damn curious). You get the point. I was one of the fans who went gaga over Tangent Comics. And, to a lesser extent, Amalgam Comics. I’ve never gotten around to reading a lot of them, especially some of the really famous ones like SUPERMAN: RED SON, but Elseworlds. The thing is, as much as I like a good bit of continuity, I like “alternuity” a lot more. I like when familiar facts are played around with, especially when, like Flashpoint is promising, familiar facts are played around with cleverly, in ways that have unexpected resonance with the facts as we know them.
Did I mention that I really, really want to read Flashpoint? Desperately. I suspect that these comics were be collected, in much the same way that every single scrap of BLACKEST NIGHT was eventually collected into massive hardcovers. Financially, I care. But as a fan, I really, really don’t care. I want to read this stuff. Badly. It’s one of those, I’m-convinced-they’ll-become-some-of-my-favorite-comics things. I really am.
So I’m in a bad place right now. I also want to read those Green Lantern movie tie-ins. Most of the time, any comic that is created to cash in on a movie, unless they’re a straight adaptation, are a waste of time and money. These seem different. Not just because Green Lantern, as Geoff Johns and the filmmakers have realized, has a ton of storytelling potential. The characters, though familiar, have so much more to say than even five years of Johns-inspired expansion have been able to tell. And there’s so much passion. These, too, will undoubtedly be collected. But c’mon. A fan is a fan is a fan. And a fan wants to read RIGHT NOW. Sorry. Usually save the caps for comics titles. But you get what I mean. That’s what reading comics tends to do. It makes people crazy.
So, damn you Free Comic Book Day. And here are the comics that were a part of this breakdown:
FREE COMIC BOOK DAY 2011 - THE AMAZING SPIDER-MAN (Marvel)
Dan Slott, so far as I can tell, has been doing, well, an amazing job with Spidey in “Big Time,” pushing all the work that was done during “Brand New Day” to the next level, and whereas that era was accomplished with multiple writers, Slott’s been going it alone, so I cannot give him enough props for that kind of accomplishment. This one’s basically a big advertisement for things that’ve been happening, and a tease for more things that will happen, but it’s a Spider-Man comic. A certain amount of the straight entertainment factor is to be expected. Also, really great to see Humberto Ramos, still riding high all these years after I enjoyed his work in IMPULSE. He’s the rare artist who doesn’t receive all the buzz and hype but who nonetheless maintains the steady awesome output and high profile assignments, year after year. I’m now dreaming of Ramos supplying the art for a Stuart Immonen-scripted adventure…
ATOMIC ROBO/FOSTER BROUSSARD/MOON GIRL (Red 5)
How many years has Robo been commanding Red 5’s Free Comic Book Day contributions now? It doesn’t matter. Not only is Robo the company’s biggest hit, he’s also still waiting to, well, actually hit, become a smash sensation, that is, explode, break out into the mainstream, the way Hellboy has, in other words, over at Dark Horse. And there’s no reason why Atomic Robo shouldn’t be huge. The work of Brian Clevinger and Scott Wegener has been consistently awesome from the beginning, and as creators they’ve finally been noticed by their peers, winning work from the likes of Marvel, but like Fred Van Lente without Herc and/or Cho and/or Ryan Dunlavey, they just aren’t the same without Robo. Sure, this particular FCBD effort includes previews for some other books, but it’s all about Robo! Robo! Robo!
BATMAN, INC. #5 (DC)
Now, I don’t know if there were other issues I should have had the opportunity to read (but let’s be honest, reading five issues of this comic when I’ve “stopped reading comics” is already pretty awesome); I’m just glad that I finished another Grant Morrison arc. And unlike previous issues, this one’s clearly, as it proves the arc has all along without anyone realizing it, on par with the massive storytelling structure Grant brought to THE RETURN OF BRUCE WAYNE, the Black Glove saga, and other epics. We learn just how big the threat of Doctor Dedalus really is, as we meet even more heroes, including the Hood (who looks a lot like the current Azrael), how insanely complicated his mechanics are (and no one outplots Grant Morrison, except maybe Geoff Johns), and that there really are challenges for Bruce Wayne, even now. Who else writes Batman so that he can meet seemingly every challenge, but still be challenged, and so that it comes off convincingly? It’s the kind of comic book that mocks every single bad connotation outsiders have toward the industry, and that’s the way Grant’s been writing since his career began, why he still seems hungry, when all his contemporaries have either retired or all but retired. He has nothing left to prove. And yet he just keeps proving himself, challenging himself, and challenging comic books themselves. How does he do it? The man’s a true creative dynamo.
FEAR ITSELF #1 & 2 (Marvel)
Matt Fraction is one of Marvel’s so-called Architects, one of the writers it has identified as being not only integral to the company now, but for its future, yet FEAR ITSELF counts as his first event book. Among the books for which he is known is IRON MAN, where he’s helped to bridge the gap between the comics and movie versions of Tony Stark. This event seems like Fraction’s version of that same effort for Thor, so that fans who are intrigued by the new movie might have something to look at afterward. Those who may not be familiar with SIEGE might still be interested to read about Odin’s return to Asgard, or the plans of comparatively ordinary mortals in helping Thor to reclaim his place on Earth. The rest of the story involves the legacy of the Red Skull, and therefore Steve Rogers, and therefore the new Captain American movie. I figure FEAR ITSELF will more or less be the reason Rogers claims his familiar mantle. It both surprises me and doesn’t that James “Bucky” Barnes has still be been embraced as his successor. Batman, Inc. this is not. Stuart Immonen, of course, is on art for this book, and most of it, as has been the norm for his work with Marvel, by design, is not all that familiar to what I knew from his days at DC. There are tiny glimpses, not terribly flattering actually, of what I used to enjoy, but otherwise, it’s not all that distinctive. It’s competent, and Stuart’s obviously dependable, unlike a great many of those who came after him, and became popular and famous, but he’s capable of so much better. So I probably won’t be reading more of this book. I wasn’t all that intrigued or interested. I don’t really care about anything that I’ve read in the first two issues. And Mr. Immonen continues to disappoint me. But I guess he doesn’t need me to be a fan. He’s entrenched at Marvel, something of a stalwart on staff, and is doing indy work that fulfills him otherwise. I just wish I could believe that he was making a difference, at least in the way I believe he did at DC. Maybe it’s just me.
FCBD 2011 GREEN LANTERN/FLASHPOINT (DC)
For those who haven’t already picked up a copy of the SECRET ORIGIN trade (either before or after the movie cover edition with a few extras that readers of the regular GREEN LANTERN comic will find familiar, beyond the Ryan Reynolds intro), most of this book is another plug for that arc, Geoff Johns’ version of EMERALD DAWN, with liberal allusions to BLACKEST NIGHT tossed in, which is said to have done much to inspire the filmmakers who will soon fulfill many dreams (at the very least, mine). It wisely skips over the first chapter, which revolves more around Hal Jordan’s background, and instead gives us the revision of the familiar origin, with Abin Sur crashing his ship and bequeathing his ring to Hal. There’s also the preview for FLASHPOINT, as much a reminder of who Barry Allen is as a tease for the strange new world he will soon encounter. It’s exactly the kind of thing Free Comic Book Day should be doing, giving fans what they think they want, and so much more. The Spidey comic also includes a tease for FEAR ITSELF, but I wonder if new readers will care as much about that as they will for the free Green Lantern intro, or old readers as much will the FLASHPOINT intro. As a fan, I relished reading me some Dan Slott, and he’s a perfect writer for readers to read a typical Spider-Man comic, and this is a perfect era for vintage Spider-Man. But it’s perhaps better to give the old and new readers something a little more interesting than that.
But the beauty of Free Comic Book Day is that you can have both, and for nothing at all. I often wonder what the new readers really think, based on these samples. I’ve never been one for as long as I’ve enjoyed this holiday (even if I have to work on it). Maybe, if a year from now and I’ve actually been able to maintain this almost-complete-break, I might better experience what that novice is feeling right now.
Or maybe I already know.
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