So let’s end “Pandemic Comics” where it began, with a shipment from Midtown Comics.
One of the big geek stories to come out of the pandemic was DC’s decision to break from the distribution model the medium has used for the past quarter century and essentially ship its own comics rather than use a middle man. It was hugely controversial, but it happened and I figured there was no way I wasn’t going to be a part of this, so of course I ordered some of the results from Midtown, one of the unofficial replacement distributors. I guess Midtown was so eager for participation in the experiment they decided to chip in a free comic with these orders. Cool beans! The insane thing is that fans seem to have forgotten one of the principle features of this medium is the necessary evil of the collectors market. There have been people arguing that comics never had to take a break because they could have just gone digital, and...that’s the kind of myopic self-interest you can see anywhere, really, but still funny to see argued. The comics DC shipped for the week of April 28, 2020 are likely going to be big money in the collectors market. That’s not necessarily why I got some, since I’ve never participated in the medium this way (the shop in town I frequent most irritates me because it seems to think, and perhaps even function, as a collectors market first and foremost), but it seemed like an interesting prospect on the belief that no one was viewing it that way. I only ended up getting two comics from the releases, padding out the order with a few other purchases, but in the short-term they were rewarding (reading) experiences, so on that score I already feel vindicated, since I probably would never have read them otherwise. Anyway, read on:
Batman #89
One of the selections, a third printing of Punchline’s cameo debut. This is the first time I’ve read James Tynion IV’s Batman. Anyone who’s familiar with my recent comic book tastes knows I’m a Tom King guy. I didn’t decide to skip out on further Batman because of Tynion, but because it was always going to be difficult, in my eyes, to replace King. A lot of fans were clamoring for this, wanting to end the difficult reading experience that was King’s run. If I had reservations for Tynion, it was that he appeared to be as opposite of King as DC could possibly get. I had read a little of his Detective Comics, so I knew what some fans were wild about (he had basically taken the Batman Eternal approach, the Batman family approach), but again, I didn’t see how that could possibly satisfy me after everything King had done. Plus, I always saw Tynion as a Scott Snyder minion, Scott Snyder Lite.
Well, I was wrong. I actually really enjoyed the issue. Tynion alters his approach. It’s no King, but it’s not Snyder either. At this stage I would say maybe somewhere in between? He tosses villains new and familiar at Batman. Where Snyder never really seemed to see Batman in the iconic sense, the mythical “can rise to any challenge” Batman, Tynion sees his Batman, as he approaches the challenge of the Designer, as a challenge. And again, where Snyder constantly saw Batman as not up to the challenge, Tynion looks like he’s approaching Designer as a Moriarty, a worthy opponent. King frustrated fans, I think, most in that he heavily favored misdirection, where every expectation either felt inevitable or followed a logic King either waited to explain for later or felt like a disappointment after massive buildup. In short, you were invested or you weren’t. And this Tynion approach is fresh all over. And I look forward to reading more.
Bloodshot Reborn #2
This was the freebie, something I’d read previously, but didn’t mind revisiting, from Jeff Lemire, Bloodshot having previously purged himself of the nanites that had given him his powers, but realizing it wasn’t as good an idea as it had seemed. This was, at least for me, the best time to be a Bloodshot fan, and why I will be interested in watching the Bloodshot movie regardless of how it did in theaters earlier this year (when theaters were actually open, earlier this year). Valiant may not know how to keep the ball rolling indefinitely (its modular approach worked well short-term, but it resulted in short-term memories all around; there’s no reason why Valiant shouldn’t be flooding the market with the evergreen material it’s already produced, but with no momentum there’s no memory and therefore no way to keep the memories going), but that’s no excuse. I’m a Bloodshot guy.
The Multiversity: Pax Americana
I was trying to order the whole collection (and ended up doing so elsewhere) but had to “settle” for Morrison’s critique of Watchmen, via the Comic Book Legal Defense Fund variant cover (thus contributing to it during the pandemic, which felt right). There’s a big deal among fans concerning the “rivalry” between Morrison and Moore, with Moore partisans convinced Morrison is a pathetic wannabe, even to this day, compared to Moore. This is the first time I’ve revisited Pax Americana since its original publication. Morrison & Quitely obviously have a lot of fun commenting on Watchmen’s legacy, but I remain convinced that Morrison’s perspective is correct, that Moore was ultimately myopic in his conclusions, but Moore’s conclusions affirm where his career ultimately headed, and Morrison’s where his have led. And this might be the least controversial conclusion to be found.
Robin: 80th Anniversary 100-Page Super Spectacular
Now I’ve read the Action Comics, the Detective Comics, the Flash, the Wonder Woman, and even the Marvel Comics anniversary specials, and finally this one. And Robin’s, I think, is the most rewarding. The special is completely in my wheelhouse, celebrating, most of all, the Robin era as I experienced it. Even though Marc Wolfman writes the first story, the art is from Tom Grummett, who embodies the iconic ‘90s moment when Robin finally starred in his own ongoing series. Chuck Dixon & Scott McDaniel reunite! The Grayson team reunited! Even Adam Beecher & Freddie Williams reunite! The whole thing is, well, spectacular. The only thing missing is new Patrick Gleason material (they were able to include a vintage Batman and Robin cover); Frank Miller and Carrie Kelley similarly only appear via a pinup, but I guess that’s okay. Gleason recently left DC after about a decade. It’s not surprising he didn’t return for this. Still remains the definitive Damian artist. The special was published after I’d made my previous Midtown purchases, but just before the lockdowns began, so I hadn’t had a chance to read it before. But there was no chance I wouldn’t include it in another order. Very glad I did so!
The Sandman Universe: The Dreaming #20
As it turns out, an entirely faithful account of the inner workings of the Dreaming from Neil Gaiman’s Sandman. Not the expansive storytelling model that was Neil Gaiman’s Sandman as a whole (but so little else is, much less Gaiman’s other material itself), but rewarding all the same, and apparently the final issue of this particular run. This was the other 4/28 release, original material, that I purchased. I was hesitant because the writer was Simon Spurrier, who in my only other experience with him to date (X-Club, from like ten years ago) came off as an insufferable hack. Here he came off much better! So I’m glad I gave myself the chance.
Showing posts with label James Tynion IV. Show all posts
Showing posts with label James Tynion IV. Show all posts
Friday, May 8, 2020
Wednesday, April 3, 2019
Reading Comics 226 "Detective Comics #1000, Chip Zdarsky, Tom King, & More"
I've gotten really bad about documenting the comics I read on this blog, but I figured this latest batch was worth talking about. Let's dive in!
Batman #67 (DC)
I've been collecting all the trades in Tom King's run (actually, pretty much every Tom King trade in general, as he's beyond any doubt my favorite comic book writer working right now). I haven't been as diligent reading the individual issues. Once I fell off that track, I figured it was okay, since the trades (I have officially become a trade waiter, I guess). But I still check in with the odd issue, such as this one, which reunites King with Lee Weeks (they get in another nod to the famous Batman/Elmer Fudd special, don't worry), and it's Weeks in the spotlight (well, I guess not anymore than usual), as this is a mostly silent issue, a chase sequence. I dig it.
Detective Comics #999 (DC)
The final issue before the big one, Peter Tomasi and Doug Mahnke conclude the improbable tale of Thomas and Martha Wayne's second murder. Because it's a dream sequence, essentially, a training program Batman has run for years, this time in virtual reality. I know there will be readers who feel cheated by that big reveal, but Tomasi has become a reliable interpreter of Batman's psychology. I think it tracks.
Detective Comics #1,000 (DC)
(Incidentally, I learned from the 80 years hardcover collection that "DC" doesn't stand for Detective Comics, as the popular story goes, but rather Donenfeld's Comics.)
Here's the reason for the most recent visit to the comics shop! I got the Frank Miller '80s cover. Like Action Comics 1000 last year, DC put out covers for each decade of the title's existence, and I figured I'd give Miller the nod. Here's some quick thoughts on the stories:
"Batman's Longest Case" (Scott Snyder/Greg Capullo)
Snyder and Capullo, the much-celebrated New 52 team, again reunite (after Dark Nights: Metal) for a tale that sees Batman ultimately join a team of famous detectives. Seems about right, for a Detective Comics anniversary tale. The detective aspect of the Dark Knight hasn't really been emphasized much in the modern era. Amazing, Brad Melzter has never been asked to do an extended Batman adventure. Seems like an oversight.
"Manufacture for Use" (Kevin Smith/Jim Lee)
Smith and Lee are high profile collaborators, about as high profile as the issue gets. The tale is maybe a little lightweight, and never gives Lee a chance to highlight his work, but at least it gives Batman a chance to finally reconcile the gun that was used to shoot his parents. It's also nice to see Matches Malone.
"The Legend of Knute Brody" (Paul Dini/Dustin Nguyen)
This one was a highlight for me, even if the twist at the end seems to diminish it. The gag is that there was an all-time terrible henchman named Knute Brody who worked for most of Batman's enemies. The reveal is that Knute was actually a disguise Batman's allies used to get insider information. Seems like something that could fill out a longer story.
"The Batman's Design" (Warren Ellis/Becky Cloonan)
I'm not sure Ellis nails this one, a sort of spiritual sequence to "Knute Brody," in which we learn Batman doesn't just dismiss and brutalize all those henchmen, but rather thinks of them as individuals worth a kind of sympathy, even a chance to walk away. He spends too much time away from the particular henchman at the end of the tale to really sell it.
"Return to Crime Alley" (Denny O'Neil/Steve Epting)
One thing is certain to rankle fans: for a story not to automatically side with Batman. But that's exactly what O'Neil, the oldest Batman creator in the issue, does, as a sequel to the first appearance of Leslie Thompkins, as she again questions whether or not Batman's crusade is healthy for him. It's a more than fair question, and more than fair to bring up again, the rare pessimistic beat in another upbeat issue.
"Heretic" (Christopher Priest/Neal Adams)
What's interesting about this one (other than art from another long-time Batman creator, Adams) is Priest remembering that the League of Assassins doesn't begin and end with Ra's al Ghul, but rather also includes, y'know, the League itself, all the fanatics who comprise it, including one who decided to leave not later known as Batman. It's a worthy subject, especially in the age of Islamic terror.
"I Know" (Brian Michael Bendis/Alex Maleev)
Before I reached the credits with this one, I thought it was the Tom King entry, as it heavily features a vocal tic, which is kind of a King trademark, but no, it's Brian Bendis helping Penguin along, as an old Penguin meets with an old Bruce Wayne, confessing he knew Wayne was Batman all along. And the twist in this one is much more satisfying, thank you. Bendis apparently should've been writing for DC all along, as he's a complete natural.
"The Last Crime in Gotham" (Geoff Johns/Kelley Jones)
Here's perhaps the highlight of the whole thing for me, in the subtle way Johns uses the issue to establish his Joker credentials, ahead of his much-anticipated Three Jokers. In this future, Batman and his extended family are investigating a murder scene, trying to figure out who did it. Turns out it was the Joker's son, who wanted to end the cycle of violence the old man helped perpetuate for years, sacrificing himself in the process. Some readers will lump the results in with the Batman-family-friendly vibes of the whole issue, but it's really someone else's triumph. Maybe the impact is thrown off by Jones, who will always dominate whatever he works on (by the way, nice for him to represent the veterans, too), but the story, if you follow it, carries its own weight. It's one of the best things I've read from Johns.
"The Precedent" (James Tynion IV/Alvaro Martinez-Bueno)
Tynion likely got the nod to contribute thanks to his early Rebirth era run, which helped jumpstart the significance of the series after drifting back into relative obscurity, in the New 52 era, when all anyone could really talk about was Snyder's Batman. I like what Dick Grayson (it's his tale) says in one of the final panels: "I'm not the precedent. You are. And you're just the start." It's easy to get caught up in the Batman craze, and dismiss all his allies and so many sidekicks, but if Batman achieves anything at all, it's his ability to inspire others, not in fear but hope. That's something Christopher Nolan concluded, in a different way (but with a Robin figure, too) in The Dark Knight Rises. It's just nice to see someone else notice.
"Batman's Greatest Case" (Tom King/Tony S. Daniel/Joelle Jones)
King, as always, seems to have bewildered his readers. But really, he's coming to the same conclusion Tynion does above, that Batman's legacy won't ultimately be about what Batman himself can achieve, but what he's been able to inspire in others. So this is a tale about his many current allies coming together and talking, and eventually, someone realizes that "Batman's greatest case" was about solving that original problem of having lost a family and thinking that was always going to define him. But it really didn't, and the appearance of the original Robin, so soon after Batman himself first appeared, was kind of proof from almost the very start. He's just needed reminding every now and then. This time he reminds himself, by taking a picture, and leaving it on the graves of his parents. That's what King's Batman has been concerned about all along. I think this will make an excellent addition to King's collected Batman tales, wherever DC might slot it in eventually.
"Medieval" (Peter Tomasi/Doug Mahnke)
Current Detective Comics creators Tomasi and Mahnke (see above!) get to introduce video game character Arkham Knight to continuity in this one, and it's great to see something new(ish) in all the reflective splendor. Hopefully another villain worth remembering years to come.
Great issue.
Books of Magic #6 (Vertigo)
Part of the Sandman Universe corner of the Vertigo corner of DC these days (...), I thought I'd have a look, as I've always been interested in the concept of young Tim Hunter learning how to be a wizard. Yeah, Harry Potter later made the concept much, much more popular, and Vertigo in turn had The Unwritten (which didn't star Tim) (maybe should've?). But the existence of Harry only increases Tim's shine, not diminishes. And this issue proves it. Glad at least for this revival.
Daredevil #3 (Marvel)
Holy crap. So Chip Zdarsky just rocketed into the upper echelons of Marvel lore. His take on the traditional Daredevil's-life-is-being-ruined! tale not only involves the cops (amazingly, very few comics seem to understand this maybe would be a...natural element to any superhero story) but finally addresses the element in the room. If this were happening to a superhero, especially a very-well-established one like Daredevil...wouldn't the rest of the superhero community have something to say about it? Turns out that someone is...Punisher. Hell yeah! The fans like claiming that Marvel has nothing much to boast about these days, but they're really just feeding perceptions. Zdarsky has been working toward this moment, and I'm glad to witness it. He's going to be in that echelon hopefully for years. Unless DC gets to benefit. Just sayin'!
Dial H for Hero #1 (DC)
Part of the second Bendis imprint (after Jinxworld) at DC, Wonder Comics, this is Sam Humphries kicking down the door to once again establish himself as a writer worth taking seriously, owning a familiar if somewhat obscure DC concept. I have a blogging acquaintance who's gone over all the heroic identities to emerge from the H Dial over the years. I'm sure he's paying attention to this, too. And I hope he's as impressed as I am. The superhero conjured this issue is a stereotypical '90s archetype, which is pretty fun in and of itself. But Humphries manages to make the H Dial itself more interesting than anything else. I don't know if he's covering new ground or not, but I love it.
Doomsday Clock #9 (DC)
I began tradewaiting this series almost immediately. The shop I went to for the first issue was already upcharging for it (dick move, Banner), so I...lost the motivation quickly, and just started randomly checking in. This was my latest check-in, in the apparent mistaken belief that the Legion ring on the cover belonged to Saturn Girl. But the issue still has a major revelation worth reading, involving Firestorm and a patented Geoff Johns character revision. He always seems to know exactly how to do that. It's his superpower...
The Forgotten Queen #2 (Valiant)
The last time I checked in with a new Valiant title I wasn't impressed, but this time I was. Valiant remains the best-kept secret in superhero comics, it seems.
G.I. Joe: Sierra Muerte #2 (IDW)
When I realized that was Michel Fiffe art on the cover, I snapped it up. Fiffe, of course, is the creator of Copra, the best-kept secret in indy comics these days, kind of the official insider handshake. But the showstopper in the issue is an essay details the history of Snake Eyes, one so intriguing it makes you wonder if Snake Eyes is the best kept secret of the best creators in comics. Did Alan Moore have him on the brain was conceiving Rorschach? Now I'm pretty convinced! Was Snake Eyes responsible for Wolverine's incredible ascent? Now I'm pretty convinced! All hail Snake Eyes!
Heroes in Crisis #6-7 (DC)
Well, did Wally crack? King tackles head-on whether or not Wally himself was capable of viewing himself as that mythical "symbol of hope" fans thought he was starting in DC Rebirth, while Booster and Harley continue to compete against each other as the sole survivors. Two more issues. I think King has once again produced magic. Can't wait to see how it ends.
Meet the Skrulls #1 (Marvel)
Having seen and enjoyed Captain Marvel, when I saw Meet the Skrulls referred to s Marvel's successful attempt to finally recapture that Tom King Vision magic, I thought I knew what to expect. But someone seems to have misinterpreted another family intrigue with the same kind of storytelling, because what King did, what King always does, is reinterpret family intrigue. This story merely follows it, perhaps finding another character who'll fit the classic Marvel tragic model, but it would have to significantly upgrade itself to even begin to resemble King's Vision properly.
Spider-Man: Life Story #1 (Marvel)
Here's Zdarsky again, with Mark Bagley, revisiting the life of Peter Parker, one decade at a time. It'll be interesting to see how things develop. This issue almost seems standard, but it's also part of Marvel's current initiative to reintegrate its characters into historic moments, in this case the Vietnam War, with Spidey struggling to reconcile his absence from the battle field with his famous mantra about great responsibility. Iron Man is depicted on the field, and then Captain America makes some bold choices. Well, like I said, it depends on what happens next. But Zdarsky is quickly proving that there are few things he's unwilling to breech, and he's been proven right in his instincts so far. I'm willing to bet that trend continues.
Marvelous X-Men #1 (Marvel)
This is a kind of sequel to Age of Apocalypse, which is pretty great to see. This issue, meanwhile dithers most of its space, but still brings up some interesting points.
Young Justice #3 (DC)
Another Wonder Comics entry, this title famously brings back classic '90s teen heroes Impulse (yeah!), Superboy, and Robin, the heart of the original team and backbone of DC's '90s teen heroes in general. This issue follows Superboy's journey to Gemworld, which was featured for a hot minute in the New 52, and I'm glad it's back. This is a whole dream come true. I guess that's the other reason Bendis was allowed to take the Rebirth Superboy off the table, to make room for the other one. Hell yeah!
Batman #67 (DC)
I've been collecting all the trades in Tom King's run (actually, pretty much every Tom King trade in general, as he's beyond any doubt my favorite comic book writer working right now). I haven't been as diligent reading the individual issues. Once I fell off that track, I figured it was okay, since the trades (I have officially become a trade waiter, I guess). But I still check in with the odd issue, such as this one, which reunites King with Lee Weeks (they get in another nod to the famous Batman/Elmer Fudd special, don't worry), and it's Weeks in the spotlight (well, I guess not anymore than usual), as this is a mostly silent issue, a chase sequence. I dig it.
Detective Comics #999 (DC)
The final issue before the big one, Peter Tomasi and Doug Mahnke conclude the improbable tale of Thomas and Martha Wayne's second murder. Because it's a dream sequence, essentially, a training program Batman has run for years, this time in virtual reality. I know there will be readers who feel cheated by that big reveal, but Tomasi has become a reliable interpreter of Batman's psychology. I think it tracks.
(Incidentally, I learned from the 80 years hardcover collection that "DC" doesn't stand for Detective Comics, as the popular story goes, but rather Donenfeld's Comics.)
Here's the reason for the most recent visit to the comics shop! I got the Frank Miller '80s cover. Like Action Comics 1000 last year, DC put out covers for each decade of the title's existence, and I figured I'd give Miller the nod. Here's some quick thoughts on the stories:
"Batman's Longest Case" (Scott Snyder/Greg Capullo)
Snyder and Capullo, the much-celebrated New 52 team, again reunite (after Dark Nights: Metal) for a tale that sees Batman ultimately join a team of famous detectives. Seems about right, for a Detective Comics anniversary tale. The detective aspect of the Dark Knight hasn't really been emphasized much in the modern era. Amazing, Brad Melzter has never been asked to do an extended Batman adventure. Seems like an oversight.
"Manufacture for Use" (Kevin Smith/Jim Lee)
Smith and Lee are high profile collaborators, about as high profile as the issue gets. The tale is maybe a little lightweight, and never gives Lee a chance to highlight his work, but at least it gives Batman a chance to finally reconcile the gun that was used to shoot his parents. It's also nice to see Matches Malone.
"The Legend of Knute Brody" (Paul Dini/Dustin Nguyen)
This one was a highlight for me, even if the twist at the end seems to diminish it. The gag is that there was an all-time terrible henchman named Knute Brody who worked for most of Batman's enemies. The reveal is that Knute was actually a disguise Batman's allies used to get insider information. Seems like something that could fill out a longer story.
"The Batman's Design" (Warren Ellis/Becky Cloonan)
I'm not sure Ellis nails this one, a sort of spiritual sequence to "Knute Brody," in which we learn Batman doesn't just dismiss and brutalize all those henchmen, but rather thinks of them as individuals worth a kind of sympathy, even a chance to walk away. He spends too much time away from the particular henchman at the end of the tale to really sell it.
"Return to Crime Alley" (Denny O'Neil/Steve Epting)
One thing is certain to rankle fans: for a story not to automatically side with Batman. But that's exactly what O'Neil, the oldest Batman creator in the issue, does, as a sequel to the first appearance of Leslie Thompkins, as she again questions whether or not Batman's crusade is healthy for him. It's a more than fair question, and more than fair to bring up again, the rare pessimistic beat in another upbeat issue.
"Heretic" (Christopher Priest/Neal Adams)
What's interesting about this one (other than art from another long-time Batman creator, Adams) is Priest remembering that the League of Assassins doesn't begin and end with Ra's al Ghul, but rather also includes, y'know, the League itself, all the fanatics who comprise it, including one who decided to leave not later known as Batman. It's a worthy subject, especially in the age of Islamic terror.
"I Know" (Brian Michael Bendis/Alex Maleev)
Before I reached the credits with this one, I thought it was the Tom King entry, as it heavily features a vocal tic, which is kind of a King trademark, but no, it's Brian Bendis helping Penguin along, as an old Penguin meets with an old Bruce Wayne, confessing he knew Wayne was Batman all along. And the twist in this one is much more satisfying, thank you. Bendis apparently should've been writing for DC all along, as he's a complete natural.
"The Last Crime in Gotham" (Geoff Johns/Kelley Jones)
Here's perhaps the highlight of the whole thing for me, in the subtle way Johns uses the issue to establish his Joker credentials, ahead of his much-anticipated Three Jokers. In this future, Batman and his extended family are investigating a murder scene, trying to figure out who did it. Turns out it was the Joker's son, who wanted to end the cycle of violence the old man helped perpetuate for years, sacrificing himself in the process. Some readers will lump the results in with the Batman-family-friendly vibes of the whole issue, but it's really someone else's triumph. Maybe the impact is thrown off by Jones, who will always dominate whatever he works on (by the way, nice for him to represent the veterans, too), but the story, if you follow it, carries its own weight. It's one of the best things I've read from Johns.
"The Precedent" (James Tynion IV/Alvaro Martinez-Bueno)
Tynion likely got the nod to contribute thanks to his early Rebirth era run, which helped jumpstart the significance of the series after drifting back into relative obscurity, in the New 52 era, when all anyone could really talk about was Snyder's Batman. I like what Dick Grayson (it's his tale) says in one of the final panels: "I'm not the precedent. You are. And you're just the start." It's easy to get caught up in the Batman craze, and dismiss all his allies and so many sidekicks, but if Batman achieves anything at all, it's his ability to inspire others, not in fear but hope. That's something Christopher Nolan concluded, in a different way (but with a Robin figure, too) in The Dark Knight Rises. It's just nice to see someone else notice.
"Batman's Greatest Case" (Tom King/Tony S. Daniel/Joelle Jones)
King, as always, seems to have bewildered his readers. But really, he's coming to the same conclusion Tynion does above, that Batman's legacy won't ultimately be about what Batman himself can achieve, but what he's been able to inspire in others. So this is a tale about his many current allies coming together and talking, and eventually, someone realizes that "Batman's greatest case" was about solving that original problem of having lost a family and thinking that was always going to define him. But it really didn't, and the appearance of the original Robin, so soon after Batman himself first appeared, was kind of proof from almost the very start. He's just needed reminding every now and then. This time he reminds himself, by taking a picture, and leaving it on the graves of his parents. That's what King's Batman has been concerned about all along. I think this will make an excellent addition to King's collected Batman tales, wherever DC might slot it in eventually.
"Medieval" (Peter Tomasi/Doug Mahnke)
Current Detective Comics creators Tomasi and Mahnke (see above!) get to introduce video game character Arkham Knight to continuity in this one, and it's great to see something new(ish) in all the reflective splendor. Hopefully another villain worth remembering years to come.
Great issue.
Books of Magic #6 (Vertigo)
Part of the Sandman Universe corner of the Vertigo corner of DC these days (...), I thought I'd have a look, as I've always been interested in the concept of young Tim Hunter learning how to be a wizard. Yeah, Harry Potter later made the concept much, much more popular, and Vertigo in turn had The Unwritten (which didn't star Tim) (maybe should've?). But the existence of Harry only increases Tim's shine, not diminishes. And this issue proves it. Glad at least for this revival.
Daredevil #3 (Marvel)
Holy crap. So Chip Zdarsky just rocketed into the upper echelons of Marvel lore. His take on the traditional Daredevil's-life-is-being-ruined! tale not only involves the cops (amazingly, very few comics seem to understand this maybe would be a...natural element to any superhero story) but finally addresses the element in the room. If this were happening to a superhero, especially a very-well-established one like Daredevil...wouldn't the rest of the superhero community have something to say about it? Turns out that someone is...Punisher. Hell yeah! The fans like claiming that Marvel has nothing much to boast about these days, but they're really just feeding perceptions. Zdarsky has been working toward this moment, and I'm glad to witness it. He's going to be in that echelon hopefully for years. Unless DC gets to benefit. Just sayin'!
Dial H for Hero #1 (DC)
Part of the second Bendis imprint (after Jinxworld) at DC, Wonder Comics, this is Sam Humphries kicking down the door to once again establish himself as a writer worth taking seriously, owning a familiar if somewhat obscure DC concept. I have a blogging acquaintance who's gone over all the heroic identities to emerge from the H Dial over the years. I'm sure he's paying attention to this, too. And I hope he's as impressed as I am. The superhero conjured this issue is a stereotypical '90s archetype, which is pretty fun in and of itself. But Humphries manages to make the H Dial itself more interesting than anything else. I don't know if he's covering new ground or not, but I love it.
Doomsday Clock #9 (DC)
I began tradewaiting this series almost immediately. The shop I went to for the first issue was already upcharging for it (dick move, Banner), so I...lost the motivation quickly, and just started randomly checking in. This was my latest check-in, in the apparent mistaken belief that the Legion ring on the cover belonged to Saturn Girl. But the issue still has a major revelation worth reading, involving Firestorm and a patented Geoff Johns character revision. He always seems to know exactly how to do that. It's his superpower...
The Forgotten Queen #2 (Valiant)
The last time I checked in with a new Valiant title I wasn't impressed, but this time I was. Valiant remains the best-kept secret in superhero comics, it seems.
G.I. Joe: Sierra Muerte #2 (IDW)
When I realized that was Michel Fiffe art on the cover, I snapped it up. Fiffe, of course, is the creator of Copra, the best-kept secret in indy comics these days, kind of the official insider handshake. But the showstopper in the issue is an essay details the history of Snake Eyes, one so intriguing it makes you wonder if Snake Eyes is the best kept secret of the best creators in comics. Did Alan Moore have him on the brain was conceiving Rorschach? Now I'm pretty convinced! Was Snake Eyes responsible for Wolverine's incredible ascent? Now I'm pretty convinced! All hail Snake Eyes!
Heroes in Crisis #6-7 (DC)
Well, did Wally crack? King tackles head-on whether or not Wally himself was capable of viewing himself as that mythical "symbol of hope" fans thought he was starting in DC Rebirth, while Booster and Harley continue to compete against each other as the sole survivors. Two more issues. I think King has once again produced magic. Can't wait to see how it ends.
Meet the Skrulls #1 (Marvel)
Having seen and enjoyed Captain Marvel, when I saw Meet the Skrulls referred to s Marvel's successful attempt to finally recapture that Tom King Vision magic, I thought I knew what to expect. But someone seems to have misinterpreted another family intrigue with the same kind of storytelling, because what King did, what King always does, is reinterpret family intrigue. This story merely follows it, perhaps finding another character who'll fit the classic Marvel tragic model, but it would have to significantly upgrade itself to even begin to resemble King's Vision properly.
Spider-Man: Life Story #1 (Marvel)
Here's Zdarsky again, with Mark Bagley, revisiting the life of Peter Parker, one decade at a time. It'll be interesting to see how things develop. This issue almost seems standard, but it's also part of Marvel's current initiative to reintegrate its characters into historic moments, in this case the Vietnam War, with Spidey struggling to reconcile his absence from the battle field with his famous mantra about great responsibility. Iron Man is depicted on the field, and then Captain America makes some bold choices. Well, like I said, it depends on what happens next. But Zdarsky is quickly proving that there are few things he's unwilling to breech, and he's been proven right in his instincts so far. I'm willing to bet that trend continues.
Marvelous X-Men #1 (Marvel)
This is a kind of sequel to Age of Apocalypse, which is pretty great to see. This issue, meanwhile dithers most of its space, but still brings up some interesting points.
Young Justice #3 (DC)
Another Wonder Comics entry, this title famously brings back classic '90s teen heroes Impulse (yeah!), Superboy, and Robin, the heart of the original team and backbone of DC's '90s teen heroes in general. This issue follows Superboy's journey to Gemworld, which was featured for a hot minute in the New 52, and I'm glad it's back. This is a whole dream come true. I guess that's the other reason Bendis was allowed to take the Rebirth Superboy off the table, to make room for the other one. Hell yeah!
Tuesday, September 26, 2017
Reading Comics 216 "Kings Cross"
I'm about to relocate again. Don't know what kind of impact this will have on my admittedly at present sporadic comics reading, but it's certainly worth noting. This batch of comics represents what could be my last trip to Zimmies in Lewiston, Maine, which is a shop I've been visiting in its several incarnations since I bought my first comics nearly a quarter century ago.
Batman Annual #4 (DC)
This one's from 2015 and is set during Snyder's Commissioner Batman era, when Bruce Wayne has amnesia. It's James Tynion writing Bruce as he returns to Wayne Manor, which at the time had just finished being used as the new Arkham Asylum. It's interesting, story-wise insofar as it posits Bruce Wayne as a target for Batman's enemies, who may have mistaken him as the Dark Knight's financier. But it's the cover and the art that really interests me. The cover is from Sean Murphy.
Murphy has been a favorite since he collaborated with Grant Morrison on Joe the Barbarian, and I've tried to keep track of his work ever since, whether Punk Rock Jesus or the Detective Comics #27 (New 52 era) story he did with Snyder that rumor has it they'll be returning to soon. Murphy also has Batman: White Knight coming up, and that sounds fascinating.
The interior is from Roge Antonio, whose work looks like Snyder's American Vampire collaborator Raphael Albuquerque. Have a look at it yourself:
Apparently he's been on the Rebirth series Batgirl and the Birds of Prey these days. A career well worth tracking, too, I think.
Batman #30-31 (DC)
The first is "The Ballad of Kite Man Part 2," which is apparently hugely controversial, both parts, as it seems way too heavy for some readers. I just don't get that. This is literally the most relevant Kite Man has ever been. I don't expect Tom King is done with the guy just yet, sort of like Gotham Girl. The second is the penultimate chapter in "The War of Jokes and Riddles" itself, which promises an explosive ending (and apparently whether or not Catwoman accepts the proposal). I think the arc's been brilliant. This is a Joker who has been every bit the savage beast he's sometimes been depicted to be (The Killing Joke) but in a context where he's "lost his smile" (quotations thanks to Shawn Michaels). This is a Batman who has apparently been forced to ally himself with the Riddler. This is a story that once again feels, if Batman were every to be taken seriously, and his whole world around him, like this is what would actually happen. Too often these characters only exist one story at a time, or locked up in Arkham. What if Batman's foes were forced to take sides? What if Batman himself was forced to take sides?
Birthright #19 (Image)
This is from 2016, and is Josh Williamson's main interest outside of DC and The Flash, and I figured I'd finally have a look. Naturally it's a little difficult to know exactly what's going on, but it seems pretty fascinating.
Black Hammer #2, 13 (Dark Horse)
A kind of alternate DC from Jeff Lemire, in which the aftermath of a crisis left the heroes trapped in a kind of pocket dimension (wonder if Infinite Crisis will be reflected). These particular issues feature a kind of Shazam in a kind of I Hate Fairyland situation, the Skottie Young series where a young girl has been a young girl for far too long in a scenario she is well and truly over. I've been hearing that this is Lemire's best work. I'm a huge Lemire admirer, whether his recent Moon Knight or Descender, which I wish I were reading regularly. I'm not ready to declare Black Hammer in that league, but I suppose for fans wanting him to reflect superhero comics, in a way that makes sense to them, this is a good option.
Mister Miracle #2 (DC)
Like his Batman, King is finding readers who don't understand what he's doing in Mister Miracle. But I'm loving it. He is absolutely one of my all-time favorite comic book writers at this point, and I look forward to having this whole thing to relish.
Nightwing: The New Order #1 (DC)
I was quite happy when I heard this one announced. It's a Nightwing mini-series, the kind usually only Batman and Superman, and once in a while Wonder Woman, get. It's also Kyle Higgens returning to the character. He was the writer who launched the New 52 series and was at one time Snyder's running mate, the role Tynion later assumed. So I'm glad to see that The New Order was worth the interest. This first issue isn't really going to be able to explain how Dick Grayson ended up deciding superpowers are a bad thing. What it does instead is bring the focus to Dick's relationship with his son. This is a scenario previously featured in the Earth 2 comics, and an interesting continuing consideration for Nightwing's further legacy. We find out at the end of the issue that the mother is Starfire, which begs the question...is Dick's position based on heartbreak? Either way, I'll definitely want to read more of this.
Rise of the Black Flame #2 (Dark Horse)
This is another comic from 2016, part of the Hellboy universe. I bought it mainly for the Christopher Mitten (Wasteland) art. Always glad to see more!
Batman Annual #4 (DC)
This one's from 2015 and is set during Snyder's Commissioner Batman era, when Bruce Wayne has amnesia. It's James Tynion writing Bruce as he returns to Wayne Manor, which at the time had just finished being used as the new Arkham Asylum. It's interesting, story-wise insofar as it posits Bruce Wayne as a target for Batman's enemies, who may have mistaken him as the Dark Knight's financier. But it's the cover and the art that really interests me. The cover is from Sean Murphy.
Murphy has been a favorite since he collaborated with Grant Morrison on Joe the Barbarian, and I've tried to keep track of his work ever since, whether Punk Rock Jesus or the Detective Comics #27 (New 52 era) story he did with Snyder that rumor has it they'll be returning to soon. Murphy also has Batman: White Knight coming up, and that sounds fascinating.
The interior is from Roge Antonio, whose work looks like Snyder's American Vampire collaborator Raphael Albuquerque. Have a look at it yourself:
Apparently he's been on the Rebirth series Batgirl and the Birds of Prey these days. A career well worth tracking, too, I think.
Batman #30-31 (DC)
The first is "The Ballad of Kite Man Part 2," which is apparently hugely controversial, both parts, as it seems way too heavy for some readers. I just don't get that. This is literally the most relevant Kite Man has ever been. I don't expect Tom King is done with the guy just yet, sort of like Gotham Girl. The second is the penultimate chapter in "The War of Jokes and Riddles" itself, which promises an explosive ending (and apparently whether or not Catwoman accepts the proposal). I think the arc's been brilliant. This is a Joker who has been every bit the savage beast he's sometimes been depicted to be (The Killing Joke) but in a context where he's "lost his smile" (quotations thanks to Shawn Michaels). This is a Batman who has apparently been forced to ally himself with the Riddler. This is a story that once again feels, if Batman were every to be taken seriously, and his whole world around him, like this is what would actually happen. Too often these characters only exist one story at a time, or locked up in Arkham. What if Batman's foes were forced to take sides? What if Batman himself was forced to take sides?
Birthright #19 (Image)
This is from 2016, and is Josh Williamson's main interest outside of DC and The Flash, and I figured I'd finally have a look. Naturally it's a little difficult to know exactly what's going on, but it seems pretty fascinating.
Black Hammer #2, 13 (Dark Horse)
A kind of alternate DC from Jeff Lemire, in which the aftermath of a crisis left the heroes trapped in a kind of pocket dimension (wonder if Infinite Crisis will be reflected). These particular issues feature a kind of Shazam in a kind of I Hate Fairyland situation, the Skottie Young series where a young girl has been a young girl for far too long in a scenario she is well and truly over. I've been hearing that this is Lemire's best work. I'm a huge Lemire admirer, whether his recent Moon Knight or Descender, which I wish I were reading regularly. I'm not ready to declare Black Hammer in that league, but I suppose for fans wanting him to reflect superhero comics, in a way that makes sense to them, this is a good option.
Mister Miracle #2 (DC)
Like his Batman, King is finding readers who don't understand what he's doing in Mister Miracle. But I'm loving it. He is absolutely one of my all-time favorite comic book writers at this point, and I look forward to having this whole thing to relish.
Nightwing: The New Order #1 (DC)
I was quite happy when I heard this one announced. It's a Nightwing mini-series, the kind usually only Batman and Superman, and once in a while Wonder Woman, get. It's also Kyle Higgens returning to the character. He was the writer who launched the New 52 series and was at one time Snyder's running mate, the role Tynion later assumed. So I'm glad to see that The New Order was worth the interest. This first issue isn't really going to be able to explain how Dick Grayson ended up deciding superpowers are a bad thing. What it does instead is bring the focus to Dick's relationship with his son. This is a scenario previously featured in the Earth 2 comics, and an interesting continuing consideration for Nightwing's further legacy. We find out at the end of the issue that the mother is Starfire, which begs the question...is Dick's position based on heartbreak? Either way, I'll definitely want to read more of this.
Rise of the Black Flame #2 (Dark Horse)
This is another comic from 2016, part of the Hellboy universe. I bought it mainly for the Christopher Mitten (Wasteland) art. Always glad to see more!
Monday, September 18, 2017
Reading Comics 215 "Azrael, Negative Flash, Super Sons, Manapul's farewell"
Checking in with a few Rebirth titles...
Detective Comics #960 (DC)
Tynion's work in this series has been well-received, and with good reason. Finally given a chance to prove he can succeed, on his own, in a Batman title, he's done it. Here he gets to handle Azrael's reintroduction, and in those scenes he's quite artful.
The Flash #28 (DC)
I think Josh Williamson's been doing a Flash renaissance in this run. I like the idea of complicating Barry Allen's usual tardiness with a reason other than heroics, because of a twist to his speed. Seems like something Mark Waid would've done. That's as high a compliment as I can give.
Super Sons #7 (DC)
This is the first issue of the series I've managed to catch, but I think Tomasi has absolutely made good on the concept. If anything, it seems more natural than his and Gleason's Superman. Even if the Teen Titans take up considerable real estate in the issue, clearly Jon and Damian are the stars. Actually, the only thing capable of rivaling their appeal is the shock at seeing Jorge Jimenez's art, which clearly has evolved since I last saw it in Earth 2: Society. In a good way!
Trinity #11 (DC)
This was Francis Manapul's final issue as writer/artist of the series, and it's sad to see him go. Although, whatever's going on with the art, he seems to have lost the essence of what that aspect of his output so distinctive, and that was kind of sad to see, too.
Detective Comics #960 (DC)
Tynion's work in this series has been well-received, and with good reason. Finally given a chance to prove he can succeed, on his own, in a Batman title, he's done it. Here he gets to handle Azrael's reintroduction, and in those scenes he's quite artful.
The Flash #28 (DC)
I think Josh Williamson's been doing a Flash renaissance in this run. I like the idea of complicating Barry Allen's usual tardiness with a reason other than heroics, because of a twist to his speed. Seems like something Mark Waid would've done. That's as high a compliment as I can give.
Super Sons #7 (DC)
This is the first issue of the series I've managed to catch, but I think Tomasi has absolutely made good on the concept. If anything, it seems more natural than his and Gleason's Superman. Even if the Teen Titans take up considerable real estate in the issue, clearly Jon and Damian are the stars. Actually, the only thing capable of rivaling their appeal is the shock at seeing Jorge Jimenez's art, which clearly has evolved since I last saw it in Earth 2: Society. In a good way!
Trinity #11 (DC)
This was Francis Manapul's final issue as writer/artist of the series, and it's sad to see him go. Although, whatever's going on with the art, he seems to have lost the essence of what that aspect of his output so distinctive, and that was kind of sad to see, too.
Thursday, July 14, 2016
Reading Comics 194 "DC Rebirth Week Six, Earth 2, Millarworld Annual, The Vision, Old Man Logan"
Covered this edition: Detective Comics #936, Earth 2: Society #14, The Flash #2, Hal Jordan and the Green Lantern Corps: Rebirth #1, Millarworld Annual 2016, Nightwing: Rebirth #1, Action Comics #959, New Super-Man #1, The Vision #9, Old Man Logan #8, and Wonder Woman #2.
Gosh, so I kind of got all the DC Rebirth releases this week...
Detective Comics #936 (DC)
This isn't the first Detective Comics issue of the Rebirth era, but I was curious to read an issue because the spotlight was on Batwoman, Kate Kane, a character that's fascinated me since her debut in 52. As one of the more high profile openly homosexual characters in comics, Batwoman has had a certain level of prominence over the years, although since she was created by Greg Rucka and had J.H. Williams III as her artist for a number of years, she was allowed a great deal of creative freedom, too, up to and...excluding, infamously, a wedding in her New 52 series. The writer of Detective Comics is James Tynion IV, whom I've somewhat unfairly judged over the years due to his association with Scott Snyder, whom I've sometimes found difficult to appreciate. But Tynion is a pretty good writer, and as this issue is a pretty good Batwoman story, I may have to once and for resolve to consider Tynion positively going forward.
Earth 2: Society #14 (DC)
I'm not sure how much Dan Abnett is commenting on the creative reputation of the series he inherited several issues ago or if it's just coincidence, but there's much ado about the broken nature of the new society this alternate world of heroes represents. Still, there's a strong focus on Dick Grayson's Batman, which hasn't really happened since Convergence, and that was good to see, as was the return of his son. Which, all told, Dick himself is far less pleased about, given the unfortunate circumstances...I still think Earth 2, under its various creative directors, has been one of the shining successes of the New 52 era.
The Flash #2 (DC)
Barry Allen begins training his friend and colleague August Heart, who has just acquired access to the Speed Force, and that's fun in and of itself, their contrasting stances on what they should do with it, when the series takes a page from the unrelated TV show and has STAR Labs become the source of trouble, revealing who's behind the freak lightning storms, and what they're after. It's such a good feeling, knowing I love reading The Flash again...
Hal Jordan and the Green Lantern Corps: Rebirth #1 (DC)
Maybe it was because I never intended to read it full-time, but Robert Venditti's Green Lantern eventually lost its status as a worthy creative follow-up to the work of Geoff Johns, in my estimation, and once it fell, it plummeted. Funny enough, Venditti explains his thought process in this issue, and it has great relevance in the policing controversies spread across newspapers seemingly every day for the past few years. I have no idea where Venditti started the idea, but it begins to make more sense, seeing it all laid out, and where he has Hal Jordan continue to go with it. So I'm glad I can finally say I get his take. It's not Johns (but few could be). And I'm okay with that.
Millarworld Annual 2016 (Image)
Putting all the cards on the table, the international competition for this thing that sought submissions from new creators was something I entered last year, basing my entry on Starlight, which you can look elsewhere to see how much I enjoyed. I've been a member of the Millarworld message boards ever since, and so was able to keep tabs on when this would be released. Obviously I had something of a vested interest in it. The writer I got to know the best from the boards, perhaps somewhat naturally, was Deniz Camp, whose Starlight effort did win. I can admire Camp, because he too admires Grant Morrison. But the standout entry in the annual, for me, very easily, was Cliff Bumgardner's American Jesus script (just as amazingly illustrated by Steve Beach), which took a moment out of time from Mark Millar's original comic (originally titled Fallen) and explored the consequences of saving a dog's life, which was to inadvertently have the effect of stopping death from occurring, during those moments, around the whole world. It gave me chills to read. It was like reading Stephen King, or at any rate, a first-fate professional. Kudos, Cliff!
Nightwing: Rebirth #1 (DC)
This was exactly the connecting story fans of Dick Grayson could have hoped for, as Dick's adventures with Spyral aren't just unceremoniously dumped, but incorporated into his greater adventures, as he realizes he probably really does have to become Nightwing again, an identity Tim Seeley (Dick Grayson's amazing co-writer, along with the incomparable Tom King, but more on him a little later) explains, as been explained many times before but still comes out fresh, because for the duration of the New 52 it was kind of ignored, as having been inspired by Superman and not Batman, as might be easy to assume. There's also some good Parliament of Owls stuff in the issue, proving that maybe that whole story really should have been Dick's all along...
Action Comics #959 (DC)
The Rebirth era Doomsday saga continues, with parallels popping up all over the places, plus a few new wrinkles, like Superman being forced to concede that the New 52 Lex Luthor may not actually be an exact match for the one he used to know. Otherwise, the reader will just have to continue waiting to see just where the new wrinkles are really headed...
New Super-Man #1 (DC)
I loved, loved, loved Tony Bedard's The Great Ten, which was about a group of Chinese superheroes. Each issue told each member's story. It was a true overlooked masterpiece. Fortunately, someone realized China is perhaps a hotter topic today than when Great Ten was published only a handful of years ago. And even more fortunately, a writer of Gene Luan Yang's quality is around to explore the landscape all over again. Yang's Superman wasn't everyone's cup of tea, perhaps unfortunately coinciding with the "Truth" arc that wasn't really what anyone wanted to read in the Man of Steel's adventures. His New Super-Man features as unlikely a protagonist as you'll find. When first seen he appears to be a jerk! (Bonus points to the Silver Age for being relevant again.) But his personality is entirely in keeping with Chinese society, which is an extreme example of what we experience in the States (and you thought it was bad here!), with income disparity resulting in social dynamics that will probably surprise readers. Yang's origin continues along so that his Chinese Superman ends up kind of being a DC Captain America, with his powers literally being infused into him (and making Chinese Superman to be something of the Rebirth Superboy). I applaud DC and Yang for coming up with this, and I hope enough readers are culturally curious enough to keep it going a while.
The Vision #9 (Marvel)
For me, there was no question that Tom King's greatest superhero work of the past year was The Omega Men, to the point where I was willing to sell his Vision short (heh). Yet, as of this issue, which details how Runaways character Victor Mancha went from uncle to murderer, explaining all over again how rich a creative source King's war experience really is, I'm completely sold on it. So clearly King had room for two masterworks, in a very short time. Here's hoping he has many more.
Old Man Logan #8 (Marvel)
This spin-off of Mark Millar's original story, generated in the wake of Secret Wars and I'm not sure how related to a similar Brian Michael Bendis mini-series during that event, was something I was slow to give much credit to (there I go again), because I just didn't see the point. But if comic book logic counts for anything, then something like this makes its own kind of sense. And it can't possibly hurt to have Jeff Lemire writing. This is the story of Wolverine, decades older, whose whole life and world crumbled in the wake of a catastrophic supervillain victory (think Final Crisis or Forever Evil, but more permanent), and he was left virtually alone to pick up the pieces. Somehow he was transported to the present. This issue, Lemire helpfully spells out the whole thing, and helps Logan come to a kind of peace with his situation. He's been in constant dread that he's going to have to experience the fall all over again. Curiously, the time-displaced Jean Grey, from Bendis's (it figures, right?) All-New X-Men, is the one who helps him. This is Jean at the start of her career. She hadn't even met Logan yet, when she was pulled from the past. And all over again, the value of Jean Grey is exhibited. Great issue.
Wonder Woman #2 (DC)
Greg Rucka's origin of Wonder Woman begins. Suddenly, there are a million Wonder Woman origin stories going on. There's Legend of Wonder Woman, Wonder Woman: Earth One, the upcoming Wonder Woman movie, the upcoming Wonder Woman: The True Amazon... Yet, for all that, it is worth visiting and revisiting. Every creator has a fresh perspective, and with Wonder Woman, finally getting her creative due, it's more relevant than ever before. This is a character who's always been touted as one of DC's most important characters, but she's never been near as popular as Superman or Batman, and as such her origin isn't as well-known. As more fans come to check out what she's all about, it presents, obviously, a rich opportunity to explore, right from the beginning of the story. Rucka's vision is pretty focused, as the Amazonian princess Diana is alone interested in a world she never knew, as she's the first of her kind to be born since they were sealed off from Man's World. He assumes you already know, or don't care, about the particulars of her birth (although the alternating arc in this twice-monthly series does feature exactly that), and just runs from there. The in-house ads talk about each series of the Rebirth era featuring a new epic that starts now, and as far as I can tell, that's exactly what DC has been delivering. Azzarello set such a high mark in the New 52 with Wonder Woman. Rucka seems intent to, and capable of, surpassing it.
Gosh, so I kind of got all the DC Rebirth releases this week...
Detective Comics #936 (DC)
This isn't the first Detective Comics issue of the Rebirth era, but I was curious to read an issue because the spotlight was on Batwoman, Kate Kane, a character that's fascinated me since her debut in 52. As one of the more high profile openly homosexual characters in comics, Batwoman has had a certain level of prominence over the years, although since she was created by Greg Rucka and had J.H. Williams III as her artist for a number of years, she was allowed a great deal of creative freedom, too, up to and...excluding, infamously, a wedding in her New 52 series. The writer of Detective Comics is James Tynion IV, whom I've somewhat unfairly judged over the years due to his association with Scott Snyder, whom I've sometimes found difficult to appreciate. But Tynion is a pretty good writer, and as this issue is a pretty good Batwoman story, I may have to once and for resolve to consider Tynion positively going forward.
Earth 2: Society #14 (DC)
I'm not sure how much Dan Abnett is commenting on the creative reputation of the series he inherited several issues ago or if it's just coincidence, but there's much ado about the broken nature of the new society this alternate world of heroes represents. Still, there's a strong focus on Dick Grayson's Batman, which hasn't really happened since Convergence, and that was good to see, as was the return of his son. Which, all told, Dick himself is far less pleased about, given the unfortunate circumstances...I still think Earth 2, under its various creative directors, has been one of the shining successes of the New 52 era.
The Flash #2 (DC)
Barry Allen begins training his friend and colleague August Heart, who has just acquired access to the Speed Force, and that's fun in and of itself, their contrasting stances on what they should do with it, when the series takes a page from the unrelated TV show and has STAR Labs become the source of trouble, revealing who's behind the freak lightning storms, and what they're after. It's such a good feeling, knowing I love reading The Flash again...
Hal Jordan and the Green Lantern Corps: Rebirth #1 (DC)
Maybe it was because I never intended to read it full-time, but Robert Venditti's Green Lantern eventually lost its status as a worthy creative follow-up to the work of Geoff Johns, in my estimation, and once it fell, it plummeted. Funny enough, Venditti explains his thought process in this issue, and it has great relevance in the policing controversies spread across newspapers seemingly every day for the past few years. I have no idea where Venditti started the idea, but it begins to make more sense, seeing it all laid out, and where he has Hal Jordan continue to go with it. So I'm glad I can finally say I get his take. It's not Johns (but few could be). And I'm okay with that.
Millarworld Annual 2016 (Image)
Putting all the cards on the table, the international competition for this thing that sought submissions from new creators was something I entered last year, basing my entry on Starlight, which you can look elsewhere to see how much I enjoyed. I've been a member of the Millarworld message boards ever since, and so was able to keep tabs on when this would be released. Obviously I had something of a vested interest in it. The writer I got to know the best from the boards, perhaps somewhat naturally, was Deniz Camp, whose Starlight effort did win. I can admire Camp, because he too admires Grant Morrison. But the standout entry in the annual, for me, very easily, was Cliff Bumgardner's American Jesus script (just as amazingly illustrated by Steve Beach), which took a moment out of time from Mark Millar's original comic (originally titled Fallen) and explored the consequences of saving a dog's life, which was to inadvertently have the effect of stopping death from occurring, during those moments, around the whole world. It gave me chills to read. It was like reading Stephen King, or at any rate, a first-fate professional. Kudos, Cliff!
Nightwing: Rebirth #1 (DC)
This was exactly the connecting story fans of Dick Grayson could have hoped for, as Dick's adventures with Spyral aren't just unceremoniously dumped, but incorporated into his greater adventures, as he realizes he probably really does have to become Nightwing again, an identity Tim Seeley (Dick Grayson's amazing co-writer, along with the incomparable Tom King, but more on him a little later) explains, as been explained many times before but still comes out fresh, because for the duration of the New 52 it was kind of ignored, as having been inspired by Superman and not Batman, as might be easy to assume. There's also some good Parliament of Owls stuff in the issue, proving that maybe that whole story really should have been Dick's all along...
Action Comics #959 (DC)
The Rebirth era Doomsday saga continues, with parallels popping up all over the places, plus a few new wrinkles, like Superman being forced to concede that the New 52 Lex Luthor may not actually be an exact match for the one he used to know. Otherwise, the reader will just have to continue waiting to see just where the new wrinkles are really headed...
New Super-Man #1 (DC)
I loved, loved, loved Tony Bedard's The Great Ten, which was about a group of Chinese superheroes. Each issue told each member's story. It was a true overlooked masterpiece. Fortunately, someone realized China is perhaps a hotter topic today than when Great Ten was published only a handful of years ago. And even more fortunately, a writer of Gene Luan Yang's quality is around to explore the landscape all over again. Yang's Superman wasn't everyone's cup of tea, perhaps unfortunately coinciding with the "Truth" arc that wasn't really what anyone wanted to read in the Man of Steel's adventures. His New Super-Man features as unlikely a protagonist as you'll find. When first seen he appears to be a jerk! (Bonus points to the Silver Age for being relevant again.) But his personality is entirely in keeping with Chinese society, which is an extreme example of what we experience in the States (and you thought it was bad here!), with income disparity resulting in social dynamics that will probably surprise readers. Yang's origin continues along so that his Chinese Superman ends up kind of being a DC Captain America, with his powers literally being infused into him (and making Chinese Superman to be something of the Rebirth Superboy). I applaud DC and Yang for coming up with this, and I hope enough readers are culturally curious enough to keep it going a while.
The Vision #9 (Marvel)
For me, there was no question that Tom King's greatest superhero work of the past year was The Omega Men, to the point where I was willing to sell his Vision short (heh). Yet, as of this issue, which details how Runaways character Victor Mancha went from uncle to murderer, explaining all over again how rich a creative source King's war experience really is, I'm completely sold on it. So clearly King had room for two masterworks, in a very short time. Here's hoping he has many more.
Old Man Logan #8 (Marvel)
This spin-off of Mark Millar's original story, generated in the wake of Secret Wars and I'm not sure how related to a similar Brian Michael Bendis mini-series during that event, was something I was slow to give much credit to (there I go again), because I just didn't see the point. But if comic book logic counts for anything, then something like this makes its own kind of sense. And it can't possibly hurt to have Jeff Lemire writing. This is the story of Wolverine, decades older, whose whole life and world crumbled in the wake of a catastrophic supervillain victory (think Final Crisis or Forever Evil, but more permanent), and he was left virtually alone to pick up the pieces. Somehow he was transported to the present. This issue, Lemire helpfully spells out the whole thing, and helps Logan come to a kind of peace with his situation. He's been in constant dread that he's going to have to experience the fall all over again. Curiously, the time-displaced Jean Grey, from Bendis's (it figures, right?) All-New X-Men, is the one who helps him. This is Jean at the start of her career. She hadn't even met Logan yet, when she was pulled from the past. And all over again, the value of Jean Grey is exhibited. Great issue.
Wonder Woman #2 (DC)
Greg Rucka's origin of Wonder Woman begins. Suddenly, there are a million Wonder Woman origin stories going on. There's Legend of Wonder Woman, Wonder Woman: Earth One, the upcoming Wonder Woman movie, the upcoming Wonder Woman: The True Amazon... Yet, for all that, it is worth visiting and revisiting. Every creator has a fresh perspective, and with Wonder Woman, finally getting her creative due, it's more relevant than ever before. This is a character who's always been touted as one of DC's most important characters, but she's never been near as popular as Superman or Batman, and as such her origin isn't as well-known. As more fans come to check out what she's all about, it presents, obviously, a rich opportunity to explore, right from the beginning of the story. Rucka's vision is pretty focused, as the Amazonian princess Diana is alone interested in a world she never knew, as she's the first of her kind to be born since they were sealed off from Man's World. He assumes you already know, or don't care, about the particulars of her birth (although the alternating arc in this twice-monthly series does feature exactly that), and just runs from there. The in-house ads talk about each series of the Rebirth era featuring a new epic that starts now, and as far as I can tell, that's exactly what DC has been delivering. Azzarello set such a high mark in the New 52 with Wonder Woman. Rucka seems intent to, and capable of, surpassing it.
Friday, April 29, 2016
Quarter Bin 73 "Coming back to Snyder's Batman"
Bought cheap. Title is figurative. And so on.
Batman #1 (DC)
From 2011.
Sometimes I find myself forming opinions as a reaction to what I consider to be the stupid opinions of others. Hey, we all do it. I tend to be accused of it probably more than others, but this is a far more common phenomenon than people think (probably for obvious reasons). Thankfully, I sometimes catch myself. I hated how much Scott Snyder's Batman caught on. As an affirmed Grant Morrison fan, I just wanted to shout, Morrison's Batman hasn't even finished yet! What's wrong with you? But I can also acknowledge that Morrison is an extremely divisive writer, and his Batman had already gone through several permutations, and had long since moved on from its most sensational story, "Batman R.I.P." By this point, he was approaching concluding it with the second volume of Batman Incorporated. Snyder, meanwhile, had created some positive buzz with his initial Batman work within the pages of Detective Comics. DC obviously recognized his unique new voice, and gave him the chance to get the widest exposure with the Batman relaunch at the start of the New 52. And it caught on like wildfire. In the following years, the company even began touting the first collection of his run, The Court of Owls, as a new classic, a must-read. I thought that was beyond the pale. I mean, does popularity really qualify something as a classic?
Well, in some cases, probably. But that's kind of beside the point. Snyder's work wasn't just considered good Batman material, it became the gold standard of success in the New 52 era, one that every other title DC published failed, time and time again, to match. I mean, eventually Harley Quinn caught on in a big way, but for the same reasons Deadpool was a surprise blockbuster earlier this year. That's just the character of fans at the moment. Snyder's word, ideally, really does transcend the moment. There's a reason why. This first issue subconsciously evokes another moment in which Batman broke out of a slump, 1989's Batman movie, actually, which remained the gold standard of Batman movies until The Dark Knight. Snyder has Bruce Wayne overhear a conversation Jim Gordon has about an open crime scene, and a fat detective waits on-scene (this time one of the good guys, ol' reliable Harvey Bullock).
Like I said, it's a subconscious connection, probably one few readers realize even now, but it sets the tone. Snyder's Batman is a hopeful one, in the manner of what Morrison had sought to accomplish, but perhaps mistakenly associating it with a whole movement. Batman works best when it's clear he's in control, even when he loses control (as he often does in Snyder's series). Whether he has partners is beside the point. It's not about subtracting grim from the equation (it's been observed that Snyder's Batman was basically a horror series), but that Batman himself doesn't have to be grim.
I read this issue again, thanks to another lucky find of bargain packs that seem to be popping up everywhere I go lately, before reading the final issues of Snyder's run, and it's the reason I bought those to begin with. I mean, I've been reading the run sporadically since the beginning, and sometimes I've really loved it, but I've never really shaken my basic reaction, Of course this isn't as good as they say it is. There will be a lot of reasons why fans eventually cool on the run, all the things Snyder never quite accomplished but easily could have but for whatever reason never did, and while those points will be valid, they don't take away from the base accomplishment, which was to present a whole era in which Batman's popularity was guided by a single man, who more or less lived up to the occasion. Sound like faint praise? It isn't.
Batman Annual #3 (DC)
From February 2015.
Snyder's partner in crime during this time was his protégé, James Tynion IV, with whom I recently read an interview that explained the whole relationship. I never realized what a lucky bastard Tynion really was. Because I could sometimes slip in my appreciation of Snyder, you can bet I had less kind thoughts concerning Tynion. But the truth is, he's put in some good work, such as this issue, part of the "Endgame" arc that saw Snyder's vision of the last battle between Batman and the Joker. One of the running themes of the arc was the true identity of the Joker, which actually doesn't feature into the issue, but rather his twisted relationship with a reporter who found himself in the unique predicament of asking what the hell is wrong with the Joker, to his face, and theorizing that it's because the Joker is incredibly...lonely. So the Joker agrees to make the guy his special friend, which seems to be a sincere joke, as it were, on his part, but which absolutely terrorizes his most uncomfortable victim. The fact that I took the time to actually explain what happens in a comic book should tell you that it was pretty memorable. So it was good to read, while rediscovering Snyder, Tynion as well, and come to a similar conclusion.
Batman/Superman #13 (DC)
From October 2014.
I could never quite bring myself to read this series, which I originally thought was a sad attempt to recapture the glory of Jeph Loeb's Superman/Batman, which later writers in that series, to my mind, amply proved already was all too easy to accomplish (the failure, you understand). But I knew the series was different, that DC was making a serious attempt. While certainly a quieter entry than its predecessor in the chronicles of the World's Finest, it attracted some quality talent, like Greg Pak, as part of his overall Superman duties, and Jae Lee, who has consistently produced some of the most gorgeous art in comics. This issue features the duo with amnesia, and some interesting moments with the likes of Catwoman, Bruce Wayne, and Lois Lane as a result.
Thus rounding out a pretty good bargain three-pack in what is usually a pretty dicey prospect.
Batman #1 (DC)
From 2011.
Sometimes I find myself forming opinions as a reaction to what I consider to be the stupid opinions of others. Hey, we all do it. I tend to be accused of it probably more than others, but this is a far more common phenomenon than people think (probably for obvious reasons). Thankfully, I sometimes catch myself. I hated how much Scott Snyder's Batman caught on. As an affirmed Grant Morrison fan, I just wanted to shout, Morrison's Batman hasn't even finished yet! What's wrong with you? But I can also acknowledge that Morrison is an extremely divisive writer, and his Batman had already gone through several permutations, and had long since moved on from its most sensational story, "Batman R.I.P." By this point, he was approaching concluding it with the second volume of Batman Incorporated. Snyder, meanwhile, had created some positive buzz with his initial Batman work within the pages of Detective Comics. DC obviously recognized his unique new voice, and gave him the chance to get the widest exposure with the Batman relaunch at the start of the New 52. And it caught on like wildfire. In the following years, the company even began touting the first collection of his run, The Court of Owls, as a new classic, a must-read. I thought that was beyond the pale. I mean, does popularity really qualify something as a classic?
Well, in some cases, probably. But that's kind of beside the point. Snyder's work wasn't just considered good Batman material, it became the gold standard of success in the New 52 era, one that every other title DC published failed, time and time again, to match. I mean, eventually Harley Quinn caught on in a big way, but for the same reasons Deadpool was a surprise blockbuster earlier this year. That's just the character of fans at the moment. Snyder's word, ideally, really does transcend the moment. There's a reason why. This first issue subconsciously evokes another moment in which Batman broke out of a slump, 1989's Batman movie, actually, which remained the gold standard of Batman movies until The Dark Knight. Snyder has Bruce Wayne overhear a conversation Jim Gordon has about an open crime scene, and a fat detective waits on-scene (this time one of the good guys, ol' reliable Harvey Bullock).
Like I said, it's a subconscious connection, probably one few readers realize even now, but it sets the tone. Snyder's Batman is a hopeful one, in the manner of what Morrison had sought to accomplish, but perhaps mistakenly associating it with a whole movement. Batman works best when it's clear he's in control, even when he loses control (as he often does in Snyder's series). Whether he has partners is beside the point. It's not about subtracting grim from the equation (it's been observed that Snyder's Batman was basically a horror series), but that Batman himself doesn't have to be grim.
I read this issue again, thanks to another lucky find of bargain packs that seem to be popping up everywhere I go lately, before reading the final issues of Snyder's run, and it's the reason I bought those to begin with. I mean, I've been reading the run sporadically since the beginning, and sometimes I've really loved it, but I've never really shaken my basic reaction, Of course this isn't as good as they say it is. There will be a lot of reasons why fans eventually cool on the run, all the things Snyder never quite accomplished but easily could have but for whatever reason never did, and while those points will be valid, they don't take away from the base accomplishment, which was to present a whole era in which Batman's popularity was guided by a single man, who more or less lived up to the occasion. Sound like faint praise? It isn't.
Batman Annual #3 (DC)
From February 2015.
Snyder's partner in crime during this time was his protégé, James Tynion IV, with whom I recently read an interview that explained the whole relationship. I never realized what a lucky bastard Tynion really was. Because I could sometimes slip in my appreciation of Snyder, you can bet I had less kind thoughts concerning Tynion. But the truth is, he's put in some good work, such as this issue, part of the "Endgame" arc that saw Snyder's vision of the last battle between Batman and the Joker. One of the running themes of the arc was the true identity of the Joker, which actually doesn't feature into the issue, but rather his twisted relationship with a reporter who found himself in the unique predicament of asking what the hell is wrong with the Joker, to his face, and theorizing that it's because the Joker is incredibly...lonely. So the Joker agrees to make the guy his special friend, which seems to be a sincere joke, as it were, on his part, but which absolutely terrorizes his most uncomfortable victim. The fact that I took the time to actually explain what happens in a comic book should tell you that it was pretty memorable. So it was good to read, while rediscovering Snyder, Tynion as well, and come to a similar conclusion.
Batman/Superman #13 (DC)
From October 2014.
I could never quite bring myself to read this series, which I originally thought was a sad attempt to recapture the glory of Jeph Loeb's Superman/Batman, which later writers in that series, to my mind, amply proved already was all too easy to accomplish (the failure, you understand). But I knew the series was different, that DC was making a serious attempt. While certainly a quieter entry than its predecessor in the chronicles of the World's Finest, it attracted some quality talent, like Greg Pak, as part of his overall Superman duties, and Jae Lee, who has consistently produced some of the most gorgeous art in comics. This issue features the duo with amnesia, and some interesting moments with the likes of Catwoman, Bruce Wayne, and Lois Lane as a result.
Thus rounding out a pretty good bargain three-pack in what is usually a pretty dicey prospect.
Sunday, April 12, 2015
Batman: Eternal #52
artist: many, many artists
Batman: Eternal turns out to be a kind of attempt to broaden the impact of Scott Snyder's Batman, stretch out the sketch that's emerged in the pages of the New 52 Batman without having to actually take out the required space in the pages of the series itself and various related titles, the way it would have been done years ago, irrespective of the crossovers Snyder's run has initiated. What I mean is, Eternal is basically the "No Man's Land" etc. of the Snyder era.
And it kind of exposes Snyder's limits all over again.
He lacks the ability to deliver a truly killer punch (too often, he's let Greg Capullo do that for him). Never mind that Eternal was a full collaborative effort. I don't put the blame on James Tynion, who has been working with Snyder throughout the New 52 era.
Snyder has been doggedly chasing after other people's legacies. The page I include here reflects Bane in "Knightfall," but less famously it even echoes Nobody, a character Peter Tomasi created in the pages of the New 52 Batman and Robin, for the excellent and defining "Born to Kill" arc that kicked off that series.
As usual, Snyder has once again circled around back to his Court of Owls, which also featured the idea of Batman being overwhelmed and looking like he's defeated before coming out victorious one way or another. I get that this is a storytelling trope in general, but Snyder has done himself no favors by continuously returning to it. (Even Grant Morrison did this, but he knows scope.)
I want to like Snyder. I see flashes of brilliance that confirm the hype, how the whole Court concept has etched itself into the annals of Batman classics. And if anything, Eternal should confirm it. After all, the whole idea boils down to someone attempting to expose Batman as just a man.
Maybe the rest of the series sold the idea far better than the final issues does. But here it comes off as limp, and of course that's what I'm saying about Snyder's whole approach. He has big ideas but can never really pull them off. Writers like that are legion, and they beg for collaborators. Just not ones like Tynion. Again, this is not a knock on Tynion, but rather to say that Snyder needs someone to drag him to greater heights. At times he seems to have completely understood this. His partnership with Kyle Higgins, for instance, greatly improved both of them. I also fully believe that without Stephen King, American Vampire would never have happened, certainly not the way it has developed.
Clearly a lot of people disagree with me. I'm not troubled by this. I want to see better from Scott Snyder.
Tuesday, March 31, 2015
Quick Hits 4
Superman #39 (DC)
Geoff Johns concludes his run with a gentle character study replete with his trademark insights. Sad to see him go, but it's always good to have him visit with the Man of Steel.
Batman #39 (DC)
A cover-stripped and therefore freebie edition because of some issue or another, which nonetheless allowed me to read another installment of "Endgame," in which Batman hopes to discover the Joker's secrets from the Court of Owls, with anemic results, alas. I keep expecting Scott Snyder to rise to expectations created by his high profile, and he keeps backing off. Far more intriguing is the James Tynion IV backup featuring an almost-origin of the Joker. It's clever, how the story unfolds, because at first it really does seem as if we've finally found out who he was and how he came to be, but then of course we find out it's just another of Joker's sadistic jokes, and it may actually be the best thing the Joker has done in the New 52. Trace the story backward through previous comics (Batman Annual #2), and you've probably got a pretty good standalone collection right there.
Divinity #2 (Valiant)
So I'm becoming something of a Matt Kindt junkie. I thought this was a standalone mini-series, but apparently it's tied in with Valiant's superheroes. Still interesting, though. The whole thing comes from an intriguing angle, a Russian cosmonaut from the '60s inexplicably coming back, without having aged, with extraordinary abilities, having broken the taboo of forming a romantic relationship prior to heading out into space...
MIND MGMT #25-31 (Dark Horse)
Catching up with the series to date leads to a number of fateful encounters (that's the crux of the whole series, really, unraveling the mystery of what happened and in the process leading to a long-in-coming conclusion to something, basically, that's already over). Like Supreme: Blue Rose, it reminds me of Mike Costa's Cobra.
Geoff Johns concludes his run with a gentle character study replete with his trademark insights. Sad to see him go, but it's always good to have him visit with the Man of Steel.
Batman #39 (DC)
A cover-stripped and therefore freebie edition because of some issue or another, which nonetheless allowed me to read another installment of "Endgame," in which Batman hopes to discover the Joker's secrets from the Court of Owls, with anemic results, alas. I keep expecting Scott Snyder to rise to expectations created by his high profile, and he keeps backing off. Far more intriguing is the James Tynion IV backup featuring an almost-origin of the Joker. It's clever, how the story unfolds, because at first it really does seem as if we've finally found out who he was and how he came to be, but then of course we find out it's just another of Joker's sadistic jokes, and it may actually be the best thing the Joker has done in the New 52. Trace the story backward through previous comics (Batman Annual #2), and you've probably got a pretty good standalone collection right there.
Divinity #2 (Valiant)
So I'm becoming something of a Matt Kindt junkie. I thought this was a standalone mini-series, but apparently it's tied in with Valiant's superheroes. Still interesting, though. The whole thing comes from an intriguing angle, a Russian cosmonaut from the '60s inexplicably coming back, without having aged, with extraordinary abilities, having broken the taboo of forming a romantic relationship prior to heading out into space...
MIND MGMT #25-31 (Dark Horse)
Catching up with the series to date leads to a number of fateful encounters (that's the crux of the whole series, really, unraveling the mystery of what happened and in the process leading to a long-in-coming conclusion to something, basically, that's already over). Like Supreme: Blue Rose, it reminds me of Mike Costa's Cobra.
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