Quarter Bin 118 "Fan Fuel"

Batman: Master of the Future (DC)
from 1991

Master of the Future is a sequel to Batman: Gotham by Gaslight, a Victorian Age tale that has stood the test of time from the Elseworlds era, the unofficial multiverse that existed between Crisis On Infinite Earths and its sequel, Infinite Crisis.  Gaslight was part of the 1989 barrage (along with Batman, the movie, and Arkham Asylum, the Grant Morrison tale).  Like Master it's written by Brian Augustyn, who otherwise is best known as editor of Mark Waid's Flash, and the first guy who tried succeeding Waid in that series.  Gaslight was one of Mike Mignola's DC projects (other notable examples: Cosmic Odyssey and the covers from "A Death in the Family").  The artist for Master is Eduardo Barreto (other notable works: Martian Manhunter: American Secrets and Superman: Under A Yellow Sun, like Master both prestige format projects).  There's a DC animated film based on Gaslight in production at the moment.  Master, as I've never actually read Gaslight, doesn't particularly read as terribly noteworthy.  I don't know if it reads better as a sequel.  But it's still interesting, having finally read something Gaslight related.

The Flash: Our Worlds At War (DC)
from 2001

Our Worlds At War was at the time intended to be a next-level Crisis event, redefining the concept in a modern, literate manner.  Lead writer was Jeph Loeb, in-between Batman: The Long Halloween and the one-two punch of "Hush" and Superman/Batman, the three major works that still define his legacy (Marvel fans seem to remember him only for his later Ultimatum, which is a huge shame).  But the concept was overshadowed by the coincidental real-life catastrophe that was 9/11, which occurred in Our Worlds' aftermath.  The comic ended up looking like just another of the unfortunate reminders of that day.  But it's always fascinated me, as I wasn't reading comics at the time.  A couple years ago I read an omnibus of the event, so finally got caught up.  I forget if it was in that or a Geoff Johns Flash omnibus where I've read this particular extract previously.  I don't think it's a great way to sample Johns except to see Cyborg pop up in another of his stories; later, Johns had him join the New 52 Justice League as a founding member, which is how he shows up in the upcoming movie, too.  The dramatic heft of the story, actually, belongs to the New God known as the Black Racer, who is best known as the guy who inexplicably skis everywhere.  But he's got a great, emotional story, being tied to a human trapped in a hospital bed.  I'm not sure if Johns used him again in his "Darkseid War," but not as I remember or have read (haven't read that whole story yet, either).

Justice League of America #58 (DC)
from August 2011

This is from the Brad Meltzer relaunch era, but once James Robinson, post-Cry for Justice, had taken over, in its final days before the New 52.  Robinson had cobbled together his own League, including Congo Bill, whom he doesn't seem to have made relevant again (six years later and no additional Congo Bill, right?), but basically another B-League, which has always been curious to see even considered again post-JLA.  But Robinson certainly seems to have also used the opportunity to subtly promote his best-known work, the 90s Starman, although not with lead character Jack Knight (alas).  The Starman here is the blue alien, whom a letter writer (this is the brief era in which DC brought them back!) celebrates for helping make gays visible.  And also the Shade, who is somewhat absurdly praised as being basically the most powerful dude around.  But Robinson would later produce The Shade, a fascinating maxi-series during the New 52 that curiously never really got much love (fickle fans!).  I'd always wanted to sample this work, as Saint Walker, the Blue Lantern, is also a member of the team.  And on the cover?  Seven Soldiers of Victory's Bulleteer!  But...not so much in the issue.  But Zauriel is!  Also funny to see all the Green Lantern movie hype in the issue.  And...!  Josh Williamson writing a Subway comic ad insert!  After an...unfortunate formative interlude with Dark Horse where I may have questioned his ability to produce distinctive comics, he's now become one of my favorite writers of The Flash...

Justice League of America #3 (DC)
from June 2013

...This incarnation of the title started off with a bang (it's the Justice League's opposite number!), and was even written, in the beginning, by Geoff Johns, who of course was also writing the New 52's Justice League at the time.  (Yet another iteration of the title launched in the Rebirth era, where it looks like the curse may have finally broken; fingers crossed!)  Anyway, so aside from reading another Johns issue (I had only read the first, previously, the one with covers for every state in the United States), I was eager to read it mostly for Vibe, who was hyped with his own ongoing series simultaneously launched with it.  Vibe was previously known as a joke from the Justice League Detroit era.  Thanks to this revival, he gained a third chance at relevance, where as far as I'm concerned he's earned it, in the second TV Flash series, where I think he may actually be the best character, aside from maybe the many incarnations of Harrison Wells.  Anyway, the art is by David Finch, who was brought in by DC with little clue, at first with what to do with him, so he was given his own New 52 series, at first, Batman: The Dark Knight.  Eventually, he did Forever Evil with Johns, Wonder Woman with his wife, and finally Tom King's Rebirth Batman.  Where, I think, the signing finally really paid off.

Superman Special #2 (DC)
from 1984

From classic creators Cary Bates (a legend at DC in the '70s) and Gil Kane (a classic Green Lantern artist), this one features Brainiac tricking an alien civilization into thinking Superman is the bad guy.  It's the kind of storytelling that feels quaint today, but served as the backbone of comics for decades.  Which is kind of way a lot of fans still have a problem with how comics read today.  They lament the British explosion in the same breath they celebrate it, without really realizing it.  Alan Moore was credited with making superheroes perhaps too mature, but he and his cohorts were really guilty of one thing and one thing only: making this stuff permanently more sophisticated.  Fans still want to argue this alienated the inherent juvenile audience of the medium.  But, again, comics were never actually intended for kids.  Funny joke in hindsight, Wertham.  You convinced the fans...

It's worth noting that these comics are the first ones I bought as, once again, a resident of Florida, this time on an ongoing basis.  I was last here two years ago.  I haven't actually visited a comics shop yet.  These came from a kind of vendor shop at a mall. 

Reading Comics #200 "First LCS Visit of 2017"

Batman #14-15 (DC)
This two-issue interlude features Tom King working alongside signature collaborator Mitch Gerads (Sheriff of Babylon) exploring King's vision of the Batman/Catwoman dynamic.

Divinity III: Stalinverse #2 (Valiant)
Divinity III: Aric - Son of the Revolution #1 (Valiant)
Divinity III: Komandar Bloodshot #1 (Valiant)
Divinity III: Shadowman and the Battle of New Stalingrad #1 (Valiant)
Matt Kindt's epic vision continues, this time in full-on event form with multiple writers participating in spin-off one-shots.  Love the debut and concept of Red Legend, as well as where Kazmir, the third cosmonaut, has been all this time.

The Flintsones #3, 5, 8 (DC)
Figured I'd check out this Mark Russell (Prez) interpretation of the classic cartoon.  I learned more about his creative vision, certainly.

Justice League of America: Rebirth #1 (DC)
Steve Orlando has officially joined the ranks of elite writers at DC.  Love his Lobo, which is the classic one and not the much-derided New 52 version.

Kamandi Challenge #1 (DC)
Dan DiDio (can't believe I hadn't created a tag for the guy until now) and Dan Abnett help launch this latest ode to Jack Kirby with his Last Boy on Earth, which is a concept as set up by DiDio could really be a great story well before he ever learns the truth. 

Star Trek #57 (IDW) (2016)
Star Trek: Waypoint #3 (IDW)
The first issue features the third of four installments from an ode to Spock's legacy as a tribute to the late Leonard Nimoy.  The second features Voyager and Deep Space Nine stories that I found pretty insightful.

Superman #11, 14 (DC)
Pete Tomasi and Patrick Gleason set up Super Sons with the first issue and begin "Multiplicity," which is a direct ode to Grant Morrison's Multiversity, with the second.

X-O Manowar #50 (Valiant) (2016)
I was never particularly a fan of this Valiant rebirth title, but I figured I'd have a look at the final issue.  Most notable are the bonus stories from Fred Van Lente and Matt Kindt, whose effort gives a brief preview of his upcoming relaunch.  I hadn't really considered until this issue that the character is pretty similar to Alpha Centurion. 

Quarter Bin 81 "Starlin's Infinity saga, Loeb's Iron Man, Moench's JLA, Hitch's JLA, Waid's Offspring, Moore's LXG"

Although this is a back issues feature that doesn't necessarily always feature comics literally found in a quarter bin, this time you can once again safely assume that.

The Infinity Entity #1 (Marvel)
From May 2016.
I love that my local shop puts damaged new releases in the discount bins.  It makes it incredibly simple to sample stuff I might have otherwise overlooked, such as Jim Starlin once again revisiting his Infinity saga.  Starlin's the guy who has been guiding this stuff from the beginning.  You have him to thank for Thanos, that guy who's kind of the big bad in the Avengers movies, and basically, the Infinity saga is Starlin's ongoing narrative of the further exploits of Thanos, and other interested parties, such as Adam Warlock.  This mini-series actually takes place between two Starlin graphic novels, Thanos: The Infinity Relativity and Thanos: The Infinity Finale, which was released this past April.  Infinity Entity focuses on Adam Warlock as he reintroduces himself following one of those untidy comic book deaths.  It's amusing, seeing him interact with the original Avengers.  These are Marvel comics I eagerly anticipate reading at some later date, the older and newer stuff.  This is, you understand, not something I usually say about Marvel comics...

Iron Man #9 (Marvel)
From July 1997.
I think so much of what Marvel was doing in the '90s came off as desperately trying to look cool (possibly because, oh, the fate of the entire company was in the air thanks to potential bankruptcy) that it ended up alienating older fans and leaving newer fans with the impression that none of this mattered, once the company shifted focus back to more familiar ground.  I rarely read Iron Man comics (I've just never been interested), but I figured I had to read this one, as it was written by Jeph Loeb, during that whole period where he was writing Marvel comics without anyone realizing it was Jeph Loeb, because being Jeph Loeb didn't matter until fans got excited about him thanks to DC work like Batman: The Long Halloween and Superman/Batman (which is ironic, because he never gets the same respect at Marvel, and yet that's where he's been for about a decade now).  This story features an old Tony Stark colleague who was actually partly responsible for the original set of Iron Man armor, and has since kind of gone off the deep end.  Naturally, the guy is totally unknown in today's lore (didn't see him in 2008's Iron Man, right?), and so he's been lost to the same comic book vagaries and/or '90s amnesia that are so easy to rely on with fans.  I didn't find it to be such a bad read.

JLA: Act of God #3 (DC)
From 2001.
Doug Moench was one of the lead Batman writers in the '90s (among other things, helping spearhead "Knightfall" and the vampire saga with Kelley Jones; he also created Bane and Black Mask, as well as Deathlok and Moon Knight over at Marvel, where he did most of his formative work).  One of his last projects with DC was a prestige format JLA mini-series, Act of God, where he imagined what it would look like if all superpowered heroes suddenly lost their superpowers.  By this finale, several of them had banded under the direction of Batman, while Superman and Wonder Woman struggle with finding new meaning in their lives.  It's not terribly hard, in retrospect, to read it as Moench's swan song statement, and so I'm glad to have read it.

Justice League of America #8 (DC)
From May 2016.
Bryan Hitch's Rao saga continues in this issue, and I suspect the next one finally explains why all those dead Superman bodies kept showing up, as depicted in the first issue of the series.  Hitch's art was once known for its hyper realism, but in this series it's been simplified so that it kind of looks like the work of Stuart Immonen.  As a fan of Immonen, I find this acceptable.  Hitch is the writer of the Rebirth Justice League (along with art from Tony Daniel), and I think this was a good choice.

The Kingdom: Offspring (DC)
From February 1999.
The Kingdom was Mark Waid's follow-up to Kingdom Come insofar as it depicted many of the next generation heroes from the original story, and featured the menace of Gog, who was responsible for next generation hero Magog.  The Kingdom was split up between bookend issues where the overall story was told, and several one-shots.  This may be the first time I've read Offspring, which features the son of Plastic Man.  Both of them are struggling with the idea of being taken seriously, and as such Offspring makes for a good standalone story in and of itself.  It doesn't hurt that Frank Quitely provides the art, because Quitely isn't really capable of doing ho-hum work. 

It's interesting, though, The Kingdom, because it's an example of what DC always wanted to do, and eventually did, with Watchmen.  I've talked far too much recently about Alan Moore (elsewhere), but suffice to say I find it disappointing that he left mainstream work the way he did, and wanted no part in revisiting Watchmen.  For a lot of fans, that's become axiomatic, which strikes me as interesting, because this is the comics medium, the place where storytellers are most free to reinterpret, the basic job of storytellers everywhere, ever.  And yet, there's Waid, doing it with Kingdom Come, not very long after.  I mean, it makes sense from a business standpoint.  DC, and its parent company Warners, would understandably be interested in maximizing the profitability of a proven hit.  That's just basic business sense.  I never thought The Kingdom was or was intended to be the same kind of creative statement as its predecessor, but it still provided room for material like Offspring, which represents excellent material in and of itself.  To assume that this is impossible is, to my mind, to completely misunderstand the art of storytelling.

It's interesting, too, just to reconsider Kingdom Come, thanks to something like Offspring.  This was something that was a major deal twenty years ago.  It's not inconceivable to think that fans really did think this was something akin to Watchmen or Dark Knight Returns.  Yet, twenty years on, you really don't find anyone talking about it like that anymore.  I find that odd.  The more I think about it, the more I wonder, have we just lost the ability to conceive new touchstones as actually existing?  Without Kingdom Come, you wouldn't have Civil War.  I mean, Mark Millar's Civil War, when you strip it down to its essentials, is essentially Kingdom Come, done in regular continuity.  Tragedy strikes, and the superhero community is forced to decide what to do next.  Isn't that argument enough that Kingdom Come is still important?  It's just, we stopped trying to see it as important, when it proved about as important as a superhero comic could get.  DC had Identity Crisis, later, and Marvel finally jumped on the bandwagon.  Civil War was clearly a creative watershed for the company.  And you wouldn't have it without Kingdom Come.  I'll leave it at that for now.

The League of Extraordinary Gentlemen #6 (ABC)
From September 2000.
Alan Moore's last significant creation was LXG, in which he envisioned a unified Victorian literary canon, which infamously was adapted into a 2003 movie that not only proved to be Sean Connery's last, but the straw that broke the camel's back in terms of Moore's ability to interact positively with the mainstream.  (The movie also made it important among fans that movies not treat, to their mind, adapted material with disrespect, which actually had the result of superhero movies after that time being more important in terms of mainstream crossover appeal than appealing directly to fans, which in 2016 seems to have taken on new wrinkles thanks to Batman v Superman: Dawn of Justice, in which fans have once again sunk their teeth into the debate).  Anyway, reading LXG itself is something of an odd experience.  Creatively it's not much of a statement.  More seems to have been put into the novelty of packaging the comic in vintage ads and, in the letters column, being wonderfully droll than in distinguishing the story experience itself.  At this point Moore had started to retreat into the familiar comforts of home, and yet the comic doesn't read as particularly British (that's why Paul Cornell's Knight & Squire was such a delight to read), and even if that wasn't the intent, just tossing familiar characters together reads like a cheat.  I mean, the old Allan Quatermain makes a fascinating subject, surely, in the same sense that comics with old superheroes (say, The Dark Knight Returns) tend to be, but it's odd to juxtapose him with, say, Moore's somewhat racist impression of Captain Nemo.  Quatermain (best known as the protagonist of King's Solomon's Mines, and as a cultural predecessor of Indiana Jones) and Nemo (20,000 Leagues Under the Sea) are surrounded by Mina Murray (Dracula), although for what reason, if not a vampire (as in the movie), I have no idea, at least as depicted in this story (more sense would have been Van Helsing, who was the subject of Van Helsing, which like LXG served as a template for Marvel's Avengers), the Invisible Man, and Jekyll/Hyde, plus Professor Moriarty as the antagonist (by the end, as much of a genius as Star Trek II: The Wrath of Khan's Khan), a predecessor to James Bond, and some Chinese characters who perhaps deserve about as much speculation as Moore's Nemo...

I feel I have to reiterate that I don't come by my impression of Alan Moore lightly.  I haven't read everything he's done, and wouldn't particularly care to, even if the best of it is better than the worst that I have read.  I'm just irritated, irrationally, by the notion that to some fans Alan Moore is a god, and that his views and his work can't stand criticism, when to my mind not only is it possible, but necessary for any true reader.  I mean, it's not like I'm not used to people picking on the stuff I like.  I know how it goes.  Maybe some of this logic is best left to fanatics.  We all form strong opinions, and to give voice to them, whether in the privacy of friends or in the wide reaches of the Internet, is to invite contrary opinions.  To dismiss the opposite as an idiot is maybe the easiest response.  But just maybe, it ought to have you reconsider why it is you formed those strong opinions in the first place. 

Well, we all reconsider our thoughts, eventually.  Hopefully.  I guess I really shouldn't worry about it. 

Justice League of America #12 (DC)

via Comic Book DB

writer: Matt Kindt
artist: Eddy Barrows

I love Martian Manhunter as a character.  He's the perfect counterpart to Superman, the alien who can't (or won't) hide himself as just another human.  He's a big green, bald dude.  He's the outsider who in his best stories does better X-Men stories than the X-Men ever did.

Recently DC has been rereleasing some of his solo adventures.  His one and only ongoing series to date came about in the wake of Grant Morrison's JLA nearly two decades ago, and these John Ostrander/Tom Mandrake tales are finally being collected.  There's also a collection, out of print, from a mini-series that was released nearly a decade ago.

Since the New 52 launch, Martian Manhunter has been a featured player...in team books.  For some reason he was inserted into the new Stormwatch, and he was one of the notable figures in Justice League of America, which has recently relaunched as Justice League United, with him as one of the few connecting elements.

As I've followed reactions to Forever Evil, I couldn't help noting how little fans seem to enjoy what the New 52 has been able to sustain as its strongest feature, which is a strong focus on character.  Forever Evil, and what I've read about how this particular series tied into it, wasn't just about villains triumphant, but forcing the heroes to prove themselves all over again, which is to say, give us an opportunity to explore them once more.

Such is the case with this issue, naturally, which of course focuses on Martin Manhunter.  His stories tend to be a lot more psychological in nature, playing with the question of identity.  As he battles Despero (the big pink alien with the third eye and the fin), there are flashes of the true Martian form, and an interlude about a Martian legend.

The issue also features Stargirl (who was the first character Geoff Johns ever wrote for DC, and in fact his creation) as Martian Manhunter reflects on her budding career (which is a constant theme with her, a perpetual reminder of a new generation), and writer Matt Kindt does a fine job of juggling both.  This may not be the greatest issue for either character, but it serves as a reminder that both have the potential for greatness.

And I love that Martian Manhunter still gets moments like this.

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.

Quick Hits: Justice League of America #1 (DC)

Several thousand covers later...DC showed considerable restraint in waiting for a spin-off of Justice League.  Twenty years ago this would not have been the case.  Fittingly the second series has the same writer as the first.  The brilliance as I'll call it continues in the way Geoff Johns approaches the membership of the new team.  Each one is painstakingly introduced in this issue, what makes them interesting, even intriguing.  The only curious thing is that Vibe and Katana not only already have spin-offs of their own but that they launched the same day this was released.  Both prove in this issue that they're more interesting than whatever reputation they previously had might suggest, and I do mean both.  Vibe is the more curious one, of course, sort of the Booster Gold without even the shred of dignity he's had, someone who is basically a blank slate.