Batman Annual #2 (DC)
This isn’t
the issue I was aiming for, but it was nice to revisit all the same, as it
demonstrates Tom King’s lyrical grace, a quality that seemed to have eluded
many of his readers, or at least his many critics. But if something like this escapes them, I
suppose it doesn’t matter whether or not they approve. At the end is a coda for King’s whole
conception of Batman, and Catwoman, and it is beautiful.
Batman #85 (DC)
Here’s
King’s grand finale, which splits time between defeating Thomas
Wayne/Flashpoint Batman, and tying everything up, how the whole thing flowed
from Batman’s theory of a “good death” at the start of King’s run, how he
finally reconciled the death of his parents and what that meant about the
existence of Batman, and his continued
existence, and how his relationship with Catwoman confirms all of it. I think it’s brilliant, but then I think just
about everything Tom King does is brilliant.
He has no contemporary equal. He
may in fact be the best superhero comics writer ever. And he has set the bar very high indeed.
Batman: Last Knight on Earth #3 (DC)
A Batman
finale of a different order, this is Scott Snyder and Greg Capulo’s
farewell. As I was reading it, it
suddenly occurred to me that if there’s any logic Snyder has followed all these
years, it’s probably Dan Jurgens’. Dan
is famously the guy who in the final analysis is responsible for the death of
Superman. He further contributed to DC
‘90s lore with Zero Hour, an event
that’s frequently overlooked but is probably one of the greatest event comics
ever written, a “Crisis in Time” that expanded on Hal Jordan’s fall from grace
to truly epic proportions and offered a plausible reshaping of continuity that
hit a very soft reset button. But Jurgens
more often writes his superheroes in broader strokes. His ideas are seldom as grounded in grace as
his best stories (sort of like Mark Waid), and so he’s kind of easy to dismiss
as the comics great that he ultimately is, at his best. Snyder, meanwhile, has so often leaned on the
assistance of cowriters it’s probably easy to forget that he has relied so often on them, when his
legacy has shrunk to the “one great thing to come out of the New 52.” He needs someone to temper his crazier
instincts. He’s the kind of writer who
looks at the examples other writers have set, and considered only that they
look like the most outrageous thing that could’ve been done, and so what he
needs to do is the most outrageous thing he
can come up with, and the logic will explain itself. And his ideas are sound, but the execution always beggars the imagination of the
reader more than convincingly tells a story.
His big finale, as he seemed to decide after coming up with the Court of
Owls in his original Batman comics, centers around Batman’s relationship with
the Joker. As far as the Joker is
concerned, everything he has ever done was meant to make Batman the best he
could be. But I don’t think Batman would
ever be comfortable with that assessment, even in a scenario where he’s
confronted with a version of himself that’s the worst he could be (and even there, Snyder doesn’t adequately
account for how Batman could end up wanting to take over the whole world;
that’s a story that would contrast Batman with Lex Luthor, not himself, much
less Joker) (and while we’re on the subject, Snyder really, really missed a
trick with his current projects when he called his upgraded Luthor “Apex Lex,”
when, since the rhyme is already there, the logic clearly dictates calling him
“Apex Luthor). As far as Snyder’s own
logic goes, I suppose this is as appropriate a finale as he could’ve
envisioned. This isn’t what I thought
the original cloning concept he introduced way back in Detective Comics #27 (the New 52 edition), but at least he did
something with it.
Doomsday Clock #12 (DC)
The second
grand finale I wanted to catch (the above Snyder was merely incidental, not
something I had intended to go out of my way to catch), or at least read for
myself, since I had allowed the internet to spoil it for me. Naturally, the internet was most interested in Geoff Johns outlining
the theoretical future of DC lore. I
don’t think anyone at DC seriously expects this material to be followed
(considering one of the stories referenced is apparently another crossover with
Marvel, a situation always fraught with complications, as the long development
of JLA/Avengers proved). The sentiment itself represents the central
thesis that DC follows Superman, that wherever he goes, his new continuity is
the foundation of DC’s new continuity, even going so far as to suggest that if
comics are still being made in 3020, a thousand years from now, the age of the
Legion of Super-Heroes, Superman’s origin will take place then, and continuity
will resettle around him once again, even though the Legion took its inspiration
from the exploits of Superboy a thousand years earlier. I think the whole project is justified. It gives Doctor Manhattan a far more
satisfying arc than he got in Watchmen
(although I think Zack Snyder corrected that in his movie, too), removing the
cynicism of Alan Moore himself and allowing a man who can see everything
(except his ultimate fate) to adequately comprehend it, given the opportunity
to make a decision, or in this instance, rethink a decision. Which may also have been the point.
Family Tree #2 (Image)
I wanted to
have a look at this latest Jeff Lemire project.
The guy is the most prolific creator in comics! The art is from Phil Hester, whom I always
love to see pop up with new work. A fine
variation on familiar Lemire themes.
Flash Forward #4 (DC)
I had
already read what happened in this one, too, but wanted a chance to experience
it for myself: Wally West meets Lightspeed, Linda Park! But, of course, a Linda Park from an
alternate reality, and who doesn’t particularly care what a counterpart made of
Wally. But the comic is also toying with
Wally reuniting with his kids, which is something I’ve become much more fond of
in the years since Mark Waid first introduced them in his return to Wally’s
adventures, which were sort of a soft launch of the Tomasi/Gleason Superman, which wasn’t as good as their Batman & Robin, but still well worth
existing. And I think most fans will
agree, if Wally is back, his whole family ought to get to join him, too. Hopefully this comic has a truly happy
ending.
Incoming! (Marvel)
Basically a
tour of the current Marvel landscape, another visit with the Masked Raider (I
don’t know if this guy, that name, and his gunslinging costume, is destined for
greatness, but he’s nice to hang these stories on), and the push for the
upcoming Kree/Skrull invasion of Earth!
The movies are probably headed somewhere in that direction, too, so it’s
nice for the comics to get there first, for a change (a lot of recent comics
belatedly obsessed over Thanos, which seemed way too obvious at that point),
picking up where a famous, but
forgotten-except-by-diehards-because-Marvel-can’t-keep-its-defining-stories-in-print
Avengers epic left off way back in the ‘70s (or ‘60s? but I think ‘70s). And central to all this? My 2005 inner Marvel nerd is excited that
it’s characters from Young Avengers!
Invisible Kingdom #8 (Dark Horse)
Lately I’ve
been feeling kind of bad about not caring that G. Willow Wilson has enjoyed so
much success in recent years, since Air
was such a favorite of mine from when nobody else cared, so I checked out an
issue of this project. It’s okay.
Joker: Killer Smile #2 (DC)
Jeff Lemire
and Andrea Sorrentino once again reunite for a tale of a psychiatrist’s descent
into madness when he believes he can figure out the Clown Prince. A bit obvious, but a sort of welcome
companion to Lemire’s brilliant Moon
Knight.
Klaus: The Life & Times of Joe
Christmas (Boom!)
I haven’t
had much luck reading the annual Christmas follow-ups to Grant Morrison and Dan
Mora’s original Klaus, so I was
pleased to order (because as I’ve come to understand, I just won’t be able to
find it in an actual comics shop) the latest.
This one’s sort of in the model of a calendar, which counts up from
December 1 and ends on the 25th.
And there is no dialogue, only a chronicle of the life and adventures of
Joe Christmas, who sort of becomes Klaus’s sidekick. I almost choked up when I realized the cat
had died. Great comic. Might singlehandedly justify Morrison’s whole
concept of making Santa Claus a superhero.
Years from now someone could write a whole series around Joe Christmas
based on this one comic, or maybe they could base a movie on it. (Hint
hint.)
The Old Guard: Force Multiplied #1
(Image)
I read the
original miniseries in trade paperback at the library, and was immediately
smitten, so I was extremely glad to discover this follow-up. Perhaps moreso than the story itself is value
of the Greg Rucka essay at the end detailing his thoughts about the origins and
emerging legacy of Old Guard,
including an upcoming Netflix movie version.
I’m glad things are working out this way.
The Amazing Spider-Man #36 (Marvel)
I was
suckered into buying this issue because the solicitation listed Pat Gleason as
the artist. He was not. But I subsequently picked up a slightly
earlier issue, and he was.
Superman Smashes the Klan #2 (DC)
Gene Luen
Yang writes perhaps his most important Superman and/or DC comic, at last,
detailing a group of kids’ experiences with Superman as he, well, battles the
Klan, centering around a Chinese perspective, not in the way Hollywood has been
catering to the massive Chinese market in recent years, but because Yang has more
immediate ties, the kind that stretch across American history. We tend to forget, except for all that
Chinese food that was actually invented in America, how long the Chinese have
been here, and how complicated their lives have been here. Thankfully Yang is here to help fill in the
gaps. Included is an essay detailing
Superman history that’s both familiar and also relevant to Yang’s perspective
and intentions.
