Watching the Walmart Giants 5 "December 2019"

The distributor apparently woke up sooner than normal, so I got December's selections sooner than what's been the norm lately. 

Crisis on Infinite Earths Giant #1

• new story from Marv Wolfman & Marc Guggenheim, with art from Tom Derenick.  Right from the start it's clear this is a riff on the TV Arrowverse Crisis, same as:
• new story from Marv Wolfman & Marc Guggenheim, with art from Tom Grummett.
• reprint of Crisis #1
• reprint of Crisis #7 (death of Supergirl)

Now, some expanded thought.

The two new tales are actually pretty worthwhile to the whole Arrowverse Crisis experience.  The first gives a little more spotlight to Nash Wells/Pariah.  Nash is the latest multiverse variant of Harrison Wells in The Flash, the only Arrowverse series I've watched regularly (and soundly enjoyed).  Wells, in the first season, turned out to not even be Harrison Wells, but Eobard Thawne, the Reverse Flash, who'd taken over Wells' body.  All of the Wells variants are played by Tom Cavanagh, for whom I developed a deep affection when he was playing a bowling alley lawyer in Ed.  His quirky Wells turns have been just one of the many things I love about Flash.

The second expands on Jon Cryer's Lex Luthor, who has appeared in Supergirl.  Cryer is known for many things at this point, including Ducky, Two and a Half Men, and his appearance in Superman IV: The Quest for Peace.  His Luthor is almost an apology for that one, and he plays the role quite effectively, complete with a distinct look for the character, which is easily distinguished by Grummett in the new story.

(It's great seeing Grummett working on a Superman comic again.  Ah, the '90s!)

I watched, quite eagerly, the first three TV installments of Crisis, between Supergirl, Batwoman, and Flash.  Naturally, I liked the Flash installment best, not just because of the fateful final run of John Wesley Shipp, but because the production values, as they usually are, were so much better.  I don't belong to the cult of Kevin Conroy (even though in the '90s I was a big fan of his Batman cartoon), so his appearance as the mock Dark Knight Returns Bruce Wayne did nothing for me.  I loved the Smallville coda!  Just perfect.  Arrowverse was riffing as much on Crisis as it was Avengers: Endgame and Justice League (complete with a hero resurrection).  Constantine played very well!  I realize the guy had his own series for a split second, but this portrayal works really well however it ends up onscreen.  I missed a few of the cameos for one reason or another, but it was pretty funny when spastic Kevin Smith cut off Robert Wuhl just as he was about to bash the Snyder movies.  Smooth!  It was nice that the CW sprang for the aftershow thing that's become a staple of cable genre shows, helped make it that much bigger a deal.

Can't wait for the final installments next month!

Superman Giant #1

• new story from Robert Venditti & Paul Pelletier.  It's a Parasite story, a villain I find particularly tiresome, but by the end of it Venditti has found something useful to say.  I always like seeing Pelletier art! 
• reprint of Supergirl #54 (2010)
• reprint of Action Comics #866 (2008, the start of Geoff Johns, Richard Donner & Gary Frank's excellent "Brainiac" arc)
• reprint of Superman #8 (2016, from Tomasi, Gleason & Mahnke)

Back Issue Bin 125 "Exit Stage Left, Havok & Wolverine: Meltdown, and other comics"

A clerk walked up to me and whispered into my ear, "You know, they're five for a dollar at the moment," and that's why I got a bunch of old comics recently.

Air #1 (Vertigo)
from October 2008

I still fondly remember getting into G. Willow Wilson's Air.  My interest at first was tentative, but then it became one of my favorite comics.  I still think it's Wilson's best comics work, which she doesn't seem to have been in too much of a rush to replicate, even after finding popular success years later with Ms. Marvel.  I've never added it to my graphic novel collection, though, so revisiting it was a long time coming, so it was great to find the first issue itself.  And I still enjoyed it.

Azrael #40 (DC)
from April 1998

I always find it funny to be reminded of comics I decided not to read, and there were some in the '90s that in retrospect really leave me scratching my head.  Even if I had no interest in Azrael itself, it's still strange to think there were rematches between the one-time Batman and Bane that didn't feel important enough to catch. About seven years back I read other encounters in the series between them (and maybe even this one?), so it was fun to do it again.  That the series lasted a hundred issues seems incomprehensible today, whether or not I was reading it myself.  But then, companies back then didn't have as itchy a trigger finger as they do now, constantly rebooting the big ones much less being patient with the smaller ones.  You can see how Azrael's lack of appearances in recent years would bode for any new attempt at a solo book.  The best of this issue is being reminded how long the original depiction of Bane managed to stick around, before subsequent generations screwed him up (well after the clownish version in Batman & Robin).  Thank goodness Christopher Nolan and Tom King came around!  This is a legitimately great character, with even greater potential still possible, which seems even more unlikely for a villain seemingly created just to provoke one of those endless '90s crises.

Batman and the Signal #3 (DC)
from June 2018

Duke Thomas was at one time pegged to be the next Robin, at least as far as fans expected, but eventually he assumed his own heroic identity, the Signal (Scott Snyder can be remarkably insular in his imaginative thought).  This was his first spotlight with the new handle.  Cully Hamner seems somehow less assured than usual on art, which was kind of strange.

DC Sampler (um, DC?)
from 1983

Ha!  A few years before Crisis on Infinite Earths, DC seemed pretty assured of its comics line.  This was a freebie they sent out with creative teams giving a small taste of what to expect from most of the titles at the time.  For flimsy reasons, it omits some pretty significant titles: Justice League of America, Green Lantern, and Camelot 3000 (one of the projects the company used to heavily promote alongside Watchmen, Dark Knight Returns, and the slightly less forgotten Ronin).

Exit Stage Left: The Snagglepuss Chronicles #5 (DC)
from July 2018

I've been talking about Mark Russell quite a bit here lately, and with good reason: He's struck me as one of the most significant creators to emerge in recent years, and in recent years, he's finally started cementing his reputation.  And for intents and purposes, that reputation begins with Exit Stage Left.

Using as its central conflict the familiar McCarthy Red Scare witch trials of the '50s, Russell reimagines a familiar Hanna-Barbera cartoon property as an allegory for the struggles of the LBGTQ community to find mainstream acceptance.  It was immediately picked up on by observers that Russell had struck upon a compelling concept.  I never had a chance to read it myself, having fallen into a black hole of sporadic comics reading at the time, and the later collection has been impossible to find in places other than the interwebs.  Now I think I may have to finally go that route, because more than Prez, more than Flintstones, it seems Exit Stage Left pushes Russell beyond the concept of social commentary into truly great writing, and finds him at his very best, just as the reports have had it.

The Red Scare is always going to be a fascinating concept in and of itself, what it was, what it provoked, and the general response to it, whether or not we learned anything from it, or might still have a chance to.  Clearly Russell believes it still has things to teach us, and as far as I'm concerned, he was absolutely right.  What emerges is at least the perception of an effect on society similar to the Nazis in Germany, which is an interpretation that history normally flattens into "naming names," something that seemingly only affected Hollywood.  DC itself has used the trials to explain what happened to the Justice Society after WWII, which the same flat interpretation.

Bottom line is, Russell created something that far exceeded a simple Hanna-Barbera nostalgia comic, into something that's valuable in a truly transcendent manner.  It should be a lot easier to find.

Havok & Wolverine: Meltdown #1 (Marvel)
from 1988

What I really like discovering are comics I didn't even know existed but turn out to be far more interesting than such a fate suggests.  This is obviously one of those.

From the husband-and-wife writing team of Walt and Louise Simonson (the latter of which I'd really only previously seen in the pages of Superman: The Man of Steel) and featuring art from Jon J. Muth (whom I'd previously seen in Grant Morrison's Mystery Play), this seems like another of Marvel's inexplicably lost evergreens.  The biggest difference between Marvel and DC that I've seen is that where DC actively celebrates its best stories, Marvel is most content basking in its great legacy.  Even the X-Men have gradually lost their once-celebrated memory for their '80s heyday. 

And this is part of it, perhaps the best part of it.  Wolverine, the poster child for breakout '80s X-Men success, and Havok (you know, Cyclops' brother).  (Oh, wait, you probably don't.  Because Havok has a tiny legacy.)

The Simonsons spend part of the story recounting the then-recent Chernobyl disaster (as recently depicted in a much-celebrated TV mini-series, called Chernobyl).  That was itself fun to read, real history unfolding in the pages of a comic that subsequently has great historic value.

Of course, Muth's art is spectacular in and of itself.  I have no idea, without researching, why Muth didn't make a much bigger name for himself, but it's not for lack of breathtaking talent.

Of course, at its heart Meltdown is a buddy adventure, and Wolverine & Havok play well off each other, in a story that's far removed from typical superhero comics material.

Marvel obviously knew it was a worthwhile project at some point: it was published in the prestige format.  It would be nice for Marvel to remember at some point, so fans can, too.  But thanks to whatever idiot gave up a treasure like this so I could discover it.

Justice League United #16 (DC)
from February 2016

I got this as much to see where the series had gone as astonishment that it had actually lasted that long, because it melted pretty much into oblivion, and I was just interested to see an issue from that late in the game (really only a few months before Rebirth).

JSA Classified #25 (DC)
from June 2007

I loved that DC expanded its Legends of the Dark Knight concept for a number of titles, between this, the JLA (Classified) and Batman and Superman (both Confidential), giving the company some anthology platforms.  This issue has the spotlight on the original Green Lantern, Alan Scott.

Legends of the DC Universe #9 (DC)
from October 1998

This is another '90s series I'm surprised I mostly skipped completely over, and of course it's a precursor to what I was just talking about, with this issue revisiting the classic team-up of Green Lantern (in this instance, Hal Jordan) and Green Arrow, with a tale of how they first met.

Legion of Super-Heroes #88 (DC)
from January 1997

I'm really sure I didn't read this issue when it was originally published, even though 2019 Tony thought it was an immediate necessity, as it features Impulse on the cover, and obviously a guest appearance by him inside, which 1997 should have been far more interested in, as I was a big fan of Bart Allen, and have since begun considering Mark Waid's Impulse perhaps a better overall experience than his Flash, which was itself one of my favorite '90s comics.  And I was happy to discover, even at the late date of 2019, that Impulse still amuses me.  This was a great spotlight for the character.

Marvel Boy: The Plutonian #1 (Marvel)
from March 2010

I thought this was another great discovery.  And I mean, it's interesting, but...Not as much as Havok & Wolverine.  I demand a Havok & Wolverine movie.  Or TV mini-series!  Starring Jared Harris!  As, I don't know, Wolverine!

Millennium #2, 3, 4, 6 & 8 (DC)
from 1987

Yey gods...I had never read Millennium, one of the event comics DC did after the great success of Crisis on Infinite Earths, but was pretty familiar with the concept, the Manhunters story where various characters were revealed to be infiltrators of the nefarious robot predecessors to the Guardians' Green Lantern Corps.  Now I wish I still had never read Millennium, because it's...dreck.  A totally botched event comic.  By the end, it feels like one of DC's perennial excuses to try and introduce a new generation of superheroes.  And absolutely none of them made it past Millennium itself.  At least as far as I can tell.  I had never heard of any of them until I saw their would-be spectacular debuts in the final issue.  And even I, who pride myself in being able to see great potential where others usually can't, couldn't imagine rehabilitating.  Any of them...

Mister X #1 (Vortex)
from June 1984

Mister X: Razed #4 (Dark Horse)
from May 2015

I had a great affinity for Dean Motter's Mister X.  I didn't discover it in that first issue from 1984, but rather years later, in a reprint collection, when interest was just beginning to surface again, leading to the Dark Horse revivals.  I got into Dean Motter comics, including finally reading Terminal City, which Motter had done for DC, and became a pretty big fan.  But Mister X itself is a somewhat peculiar beast.  The whole concept is almost only a concept, in which a character who's never really anything but a background character in his own comic exists mostly for a backstory, in a comic that looks spectacularly designed, regardless of who's drawing it (the original wasn't even written or drawn by Motter).  Yet strangely, I remain attached to it, even as I grow detached from my original excitement.  Seems almost like a secret handshake for true comics aficionados.  One I'm proud to be a part of.

Primal Force #12 (DC)
from October 1995

DC made the curious decision to publish a lot of titles that would've fit nicely with the original Vertigo conceit (an offbeat look at superheroes) under the regular DC label, and I think a lot of great material got buried as a result.  It only occurred to me that Primal Force is a part of that strange distinction upon this latest revisiting.  I didn't read this one at the time, either, of course, but I discovered and devoured it years later, and am always happy to be reminded of it.  I wish more fans understood what it accomplished, too, so that DC could add it to the trade collections always in-print.

The Sandman #4 (DC) 
from September 1975

As you can see from its publication stamp above, not the Neil Gaiman comic!  (Which of course I didn't read in the '90s!)  This is the earlier one, which at least as of this issue featured Jack Kirby art!  And exclamation points!  After!  Every!  Utterance!  Interestingly, features an add for a DC line expansion that includes Warlord (who endures in random appearances to this day) and Claw (who resurfaced in Primal Force and...doesn't endure to this day).

Seaguy#2 (Vertigo)
from August 2004

A lie!  A vicious lie!  Some jerk slipped this cover onto an issue of Fables.  I didn't discover this until I had already brought it home.  Some customers would probably bring it back and demand satisfaction.  I am not one of those costumers.  Makes for a better write-up here, anyway.

Starman #30 (DC)
from May 1997

Of course I didn't read Starman in the '90s.  What were you thinking, even wondering?  But I like to revisit it every now and then. 

Titans #30 (DC)
from August 2001

Hard to think of any date immediately preceding 9/11 without thinking of 9/11 (even though, as time stamps in comics go, this was actually released probably in June 2001, well ahead of that day).  Anyway, as Roy Harper comics go, at this point he was pretty much exclusively associated with Cheshire, the Elektra to his Daredevil, and this tale actually pivots more accurately on Cheshire herself, as she awaits the verdict for a trial concerning her villainous ways.  And then Roy Harper dies in Heroes in Crisis, and all anyone can fixate on is what Tom King did to poor Wally West.  What about Roy, fans.  What about Roy?

Reading Comics 238 "Flashpoint Batman, Far Sector, Second Coming, & more"

I haven't been to an actual comic book store in about half a year, so I decided it was time to visit one, given the opportunity, and found some good stuff:

Batman #84 (DC)
And now there's one issue to go.  Ironically or not, but the longer Tom King's run went, the less fans really cared.  The obvious tipping point was when the wedding didn't actually happen.  Fans felt cheated.  They wanted something truly big to happen, and King seemed to promise exactly that.  Instead the reaction has solidified on...pretty much how all of King's DC material has been received, as so much awkward navel-gazing.  The irony here is that when he did it for Marvel (The Vision), everyone lauded him as a new genius, perhaps because Marvel so seldom publishes reflective material, let alone seems to realize that it has, and that it's worth celebrating. 

I still can't think of any comic book writer I've so consistently admired, who has so often grasped the potential of DC's landscape.  His accomplishments go far beyond anyone else's for the fact of delivering on nearly everything he's done, dating back to Omega Men, when he was entrusted with his first spotlight work.  That goes back to 2015.  Half a decade of excellence, and one long stellar run on a major title.

This particular issue harkens back to his first standout mainstream accomplishment, Grayson: Futures End, where I first came to discover King's remarkable talents.  Grayson was a series he typically wrote in conjunction with Tim Seeley, but for the Futures End one-shot, he wrote solo, and even beyond the clever coding gimmick, it was brilliant character-based storytelling. 

So in the issue, he basically extrapolates the Flashpoint Batman's complete story, which is all the more remarkable because that story was already brilliantly told in Flashpoint itself and the acknowledged best mini-series that spun out of it.  And in doing so, explains his whole purpose for the Batman run he's been doing all along.  This is a master class, not only in itself but in the fruitful extension of someone else's ideas.  When all is said and done, it's something that will need to be included not only in the legacy of Batman, but Flashpoint, and superhero comics in general.

Collapser #5 (DC/Young Animal)
I like to try and discover interesting new material, too, when I visit a comics shop.  Granted, this was far easier when I used to spend far more money on comics (money that I, ah, didn't technically...have?), but now I have to use the old "it looks interesting" approach, or even risk taking recommendations (these don't always pan out, naturally, but then, it's how I discovered Young Avengers).  And Collapser #5 had an interesting cover, and it was a Young Animal comic.  I love the Young Animal imprint, even if fans in general seem strangely apathetic about it.  Such is life.  The results this time were adequate, if not sensational.  I didn't regret buying and/or reading it.  Yay!

Copra #3 (Image)
Ah!  So Copra is being published by Image now!  The last time I can think of that Image picked up a popular self-published comic was Bone.  Probably not the only example, but the only one I really care about.  And Copra is another great acquisition!  It may look crude, compared to the slick packages of virtually every other Image comic (but that goes with the name, right?), but Copra remains a good read.

Doctor Mirage #4 (Valiant)
I've sort of let Valiant's comics slip from my radar in recent years, but I like to keep tabs.  Apparently they finally continued Doctor Mirage's adventures!  Sadly, not under the title The Death-Defying Doctor Mirage, much less written by Jen Van Meter, but it's still nice to see!

Far Sector #1 (DC/Young Animal)
Ah!  It's almost like reading King's Omega Men all over again!  Insofar as it's another Green Lantern tale, without "Green Lantern" in the title, that turns out to be a brilliant new interpretation of what a Green Lantern comic can be!  Far Sector features yet another new human Green Lantern, but N.K. Jemisin doesn't linger (at least in this debut issue) on that aspect so much as the murder mystery she's tossed into, in about as grand a miasma as King's Omega Men featured.  Some readers might complain that Jemisin tries to be too hip, but I think it works, and it makes me want to not only keep tabs on Far Sector, but read some of Jemisin's books.  It doesn't always work, but finding talent outside the usual comic book circles has the potential to find a Jemisin or a Tom King.  And apparently awesome new Green Lantern comics.  Love it!

Flash Forward #1 (DC)
After all the complaints about Heroes in Crisis, I loved when DC announced Flash Forward, a new Wally West tale.  Several issues have been released at this point, but I figured I should see how it began.  And I love it.  Scott Lobdell, who has quietly become one of DC's one reliable character writers, captures a Wally who's even more traumatized than readers by his actions, but thrust all the same into a wild new adventure.  Juxtaposing Wally's arc with another wild ride into the multiverse is itself another interesting choice, but I think Lobdell can avoid duplicating what ultimately happened to Booster Gold when he attempted a career revision in similar fashion (and in the process helped form the foundation of the TV series Legends of Tomorrow, which he inexplicably has never factored into).

Legion of Super-Heroes #1 (DC)
I've never been a devoted Legion fan, but I've read enough Legion comics to have built up an interest, and this is Brian Michael Bendis, still firing on all cylinders in his new DC digs, so of course I dig it.

Second Coming #5 (Ahoy)
Wow.  So I haven't read anything but this issue, but I'm glad this comic exists.  It's exactly what Mark Russell should be writing.  The guy made his name writing stuff like this, so I'm glad he returned to the well.  This particular issue is God and Satan having an awkward attempt at reconciliation, which is itself brilliant, plus the Second Coming Superman analog struggling at another kind of reconciliation, whether or not he'll ever have a child, which '90s Superman (in the comics and Lois & Clark on TV wondered about, too) was also concerned about, although since then we've gotten two versions of Superman's son.  I'm in love with Russell again.  I continue to hope that, even as his profile has risen greatly in recent years, it can go higher still.

X-Men #1 (Marvel)
Jonathan Hickman, riding high from great acclaim for his X-Men universe relaunch, begins to settle in, and I still enjoy the results.

Young Justice #11 (DC/Wonder Comics)
Here's Bendis again, integrating Naomi into the greater landscape.  I love that he's helped Tim Drake finally follow in Dick Grayson (and Jason Todd's! and even Stephanie Brown's!) footsteps and assume an identity that doesn't have "Robin" in it.  I know some fans complain that it's...Drake, which is...already his last name.  But realistically, his secret identity is still firmly intact.  And at the moment, his adventures are so wild, he's far removed from the common element, so it hardly matters.  But I want it to stick.  I want a Drake comic.  (And a comic for everyone in this book!  I wasn't totally committed to the Peter David version of the team.  But I'm glad it's made a comeback.)  And I'm glad Naomi is getting a chance to expand her emerging legacy.  I hope she sticks around for years.

Watching the Walmart Giants 4 "November 2019"

I see that there's very little interest in finding out what's in these things, but I'll continue plugging away anyway.  It's the internet!  Nobody cares!  Until they do!  Passionately!

And to compound things, my closest Walmart didn't seem to actually get any of the November releases, but I happened to be across town and visited the other one, and that's how I got these:

Batman Giant #2

• New from Michael Grey & Ryan Benjamin, featuring Poison Ivy.  Best appreciated for the Ryan Benjamin art.
• New from Andrea Shea & Neil Edwards, featuring the Signal (Duke Thomas).  I love that Signal gets a spotlight, which is basically only his second ever (after the three-issue mini-series), following Duke's earlier incarnation as a quasi-Boy Wonder in We Are Robin. 
• Batman #2 from the New 52 Snyder era.  Coincidentally I recently got a copy of the first collection in that run, Court of Owls, marking the first time I've read the complete opening arc.  I wasn't overly impressed.
• Detective Comics #854, featuring the continuation of the first extended Batwoman spotlight.
• Nightwing #2 from Rebirth, featuring the continued Raptor arc (as referenced in the title of the later collected edition, Better Than Batman, naturally).

Batwoman/Supergirl: World's Finest Giant #1

• New from Margaret Stohl & Laura Braga, featuring the first team-up of the duo.  Since I haven't actually read a lot of Batwoman comics, this was my introduction to her twin sister & archnemesis Alice (a sort of Lisbeth Salander vibe going on there, or Data/Lore, if you're a Star Trek fan).
• New from Sanya Anwar & Giant favorite Chad Hardin, featuring Batwoman.  It's great to see Hardin in a new context, and he's a complete natural, probably a better overall experience.
• New from Andrea Shea & Mike Norton, featuring Supergirl, trading heavily on the Supergirl TV show continuity.  I don't know if the comics have been doing that, too (I guess I don't read a lot of Supergirl comics, either...), but clearly this particular giant is being directed at fans of the TV shows, anyway, so it makes sense.
• Batwoman: Rebirth #1
• Supergirl: Rebirth #1
• Batwoman #0, the series that began just before the New 52, but experienced enough delays that it sort of was drafted into the New 52.  It's sort of amazing to think that the character has now had three spotlight runs (thanks to linewide relaunches), all of which are being reflected in these giants.  She's clearly the most successful and lasting element of my much-beloved 52, and that's nice to see. 

Reading Comics 237 "My third Forbidden Geek mystery box"

My third shipment from Forbidden Geek included a Lobo statue, Snyder & Capullo’s Batman Vol. 1 The Court of Owls, and the following comics:

Astro City #25 (Vertigo)

Kurt Busiek’s familiar act continues for another issue.  It’s the kind of storytelling that perhaps feels more impressive if you catch it when you’re younger, but begins to seem regressive the more experience you have.  Interestingly, the only time readers have really revolted was when Busiek was telling an extended Dark Age tale that was the only time he was building on the Marvels method that inspired the whole thing, the sequel he never got to write, which to my mind was perhaps the best Astro City ever got.  Perhaps most recommended to unsophisticated budding comic book writers who have no idea how character storytelling works.

Detective Comics #14 (DC)

The John Layman (Chew) era, little celebrated at the time but an excellent Batman experience all the same (I get that Snyder’s was sensational, but it wasn’t the only or even best example of the New 52), with Poison Ivy in the spotlight.  Layman’s Batman is the analytical mind you’d expect in a title called Detective Comics, and he’s constantly challenged by familiar foes in interesting ways.  Perhaps best represented by the “Gothtopia” arc that went unobserved as a crossover.  Also features early but typically sensational Jason Fabok art, before he got the plush Justice League assignment.

Blue Beetle #1 (DC)

From the Rebirth era, which until now I’d never read.  In fact I skipped the New 52 series, too, and in both cases it’s entirely down to simply not having the funds.  When the New 52 launched I’d just lost my job of five years and went unemployed the rest of that year (then got a terrible job and then got a slightly less terrible job that compensated for that slight increase by paying far less and giving me far fewer hours…).  Anyway, both series were based on an excellent pre-Flashpoint series I did read enthusiastically, spinning out of Infinite Crisis, in which the legacy is passed on to Jaime Reyes in the form of a magical alien scarab with a fairly unexplored link to the Green Lantern Corps.  In this Rebirth relaunch Jaime’s friends from the first series are still present with the same witty banter, but Ted Kord gets to be part of the narrative this time (remember: Ted famously was murdered by Max Lord just prior to Infinite Crisis; the best thing about the current Snyder act is the recent Dark Multiverse one-shot that posits a scenario where Ted shot Max instead).  At some point I’ll really have to catch up with all this Blue Beetle material.

Firestorm: The Nuclear Men #6 (DC)

Another series I was sorry to have to skip in the early New 52 was this one, as it, too, was a follow-up to an excellent pre-Flashpoint series I enjoyed immensely.  So of course I enjoyed this issue.  Ronnie Raymond and Jason Rusch apparently each have their own Firestorm bodies (one of the familiar gimmicks of the concept is that Firestorm combines two people, with one providing the body and the other becoming a mental sidekick).  In this tale they’re confronted by the Russian Firestorm, Pozhar.  I’m still pretty convinced that if handled correctly, Firestorm could handle a Geoff Johns level renaissance.

The Flash #19 (DC)

Featuring the tease for the debut of the New 52 Reverse-Flash.  The issue features pretty much the bare minimum input from Francis Manapul, who was responsible (with Brian Buccellato) for the best Flash New 52 material, which itself also influenced much of the current TV series.

Green Arrow #31 (DC)

From the Rebirth era, in which DC finally figured out that Ollie ought to be allowed to be awesome again, aligning more with what he was best known for, including associations with Black Canary, Hal Jordan, and the Justice League, all of whom prominently appear in the issue.  I just don’t get how the much-influential TV series never seemed to convince the company, previously, that they should pay a little attention to the comic, help it shine when not written by Jeff Lemire, misguidedly believing instead that Green Arrow should be a younger punk.  This is a character defined by being world weary!  One of the main beneficiaries of Rebirth.

Hal Jordan and the Green Lantern Corps #35 (DC)

The Robert Venditti era continued in Rebirth with this series, which because I became disinterested in his New 52 comics I never really made an attempt to get into.  This issue is mainly Venditti deciding that Hal, John, Kyle & Guy are the Green Lantern equivalent of wrestling’s Four Horsemen.  For…reasons.  Although it ends on a pretty amusing note, as Ganthet taunts the Controllers, by pointing out they want to, well, control these Lanterns, which, certainly with Hal, has famously been pretty impossible.  The main difference between Venditti and Geoff Johns, whom he succeeded, is that while Johns tossed in a lot of bold new concepts, he did so in a manner that built on existing ones.  He seemed like a fan.  Venditti never really seemed to understand any of it.  He tossed in a lot of bold new concepts, too, but without ever really seeming to understand that there were existing ones.  He never felt like he connected with the material.  It’s just incredibly bizarre.  Now you’ve got Grant Morrison writing Green Lantern, and he admitted he was reluctant to do so because he never understood the concept, and yet to read the results is to see that he got past that.  A lot of readers are confused, they see nothing but 2001 AD, but I see storytelling that comes alive with possibility, grounded in tradition.  Charles Soule, when he was writing Guy in Red Lanterns, was much the same, and so too Ron Marz in the uncomfortable position of writing Kyle ostensibly when the tradition had been exploded.  Maybe not everyone will see it, but when you do see it, it’s hard to look past.  That’s me and Venditti’s Green Lantern in a nutshell.  Ironically readers rejected the New 52 era because that’s what they thought they saw everywhere.  As far as I’m concerned, Venditti was ground zero, if nothing else, of the perceived phenomenon.

Infinite Inc. #27 (DC)

Ah!  Irony!  This is a whole issue dedicated to the Crisis on Infinite Earths effect, helpfully further spelled out in the letters column, in which a reader bemoans the cruel dismantling of continuity in the form of Huntress being “murdered” because she couldn’t exist outside of her context (Batman and Catwoman being her parents ‘n’ all, on Earth 2).  And this was a whole series about the offspring of the Justice Society.  So eventually, Brainwave Jr. removes Fury’s memories of her parents (y’know, Wonder Woman and Steve Trevor).  Ironically, the reconciliation of canon effectively obliterated the Infinity Inc. concept, and Fury ended up a curious footnote, never to be revisited (at least as of now!), a curious appearance or two in the pages of Neil Gaiman’s Sandman that feel the more elegiac the more you’re aware of her publishing history.  A version of Huntress did return, eventually, an independent one with no background ties to Batman or Catwoman, although in the short-lived Birds of Prey TV series, she did.  Even better, this issue features a pre-Spider-Man, pre-Spawn Todd McFarlane, whose work is totally unrecognizable, if anything familiar to the Sandman style (just imagine!) with a few panels emphasizing shadow on facial features but otherwise looking fairly generic…

Red Hood and the Outlaws #11 (DC)

The Rebirth era, featuring Artemis & Bizarro, with the spotlight on Artemis (the Azrael of Wonder Woman lore) as she squares off with an Amazon of a spin-off tribe.  Lobdell’s Red Hood comics are another I want to catch up on at some point.

Suicide Squad #45 (DC)

From Rebirth, this issue features an apparent attempt to revisit the exact concept behind the team, as famously featured in the apparent infamous movie, villains being recruited by Amanda Waller for missions where their lawful participation will be disavowed, and if they go rogue the bomb in their heads goes boom.  So I guess if you need a random issue to remind you of all that, this one’s a good one to catch.

Superman/Doomsday: Hunter/Prey #2 (DC)

The second of three issues, the prestige format follow-up to the more famous death-and-return saga, Dan Jurgens goes bold, explaining Doomsday’s origin!  I’m glad this was the random issue I got, because I’d never officially read any of it, but had heard of the origin concept.  In hindsight it’s somewhat convoluted.  A better version would be something like Wolverine, a monster with a healing factor who constantly evolves from the horrible deaths it endures, reviving on its own rather than being constantly cloned.  I mean, how would a clone adapt to whatever happened to the previous body?  It’s new material.  Bad science, Dan.  But typical Dan Jurgens art, which sadly lost pretty much all of its impact and appeal after the sensational work of Superman #75, famously depicted entirely in splash pages.  No comic could ever justify that format again, and Jurgens himself really had nowhere to go but down.  This issue also saddles us with Cyborg Superman, who didn’t die in Superman #82, and so he just keeps coming back.  Geoff Johns later used him, too, but I’ve never been convinced that it’s a concept worth revisiting.  If he’s no longer pretending to be Superman, what’s the point? 

Watching the Walmart Giants 3 "October 2019"

Now, the title of this feature is obviously becoming an anachronism (and it was from the moment I decided on it), since these giants are going to begin appearing in the direct market (comic book shops), but I will continue to pick them up at Walmart.  October's releases were late in my local store, and I guess the release schedule has changed, with apparently a bimonthly scheduled in effect, which means three titles I didn't see last month finally appeared this month, and the final installment of Superman Giant, and King & Kubert's arc.

So here's what I'm talking about:

Aquaman Giant #1

• Original story from Steve Orlando & Daniel Sampere featuring Aquaman battling Black Manta.  Somewhat standard material here, though Orlando introduces the "tether of Amphitrite," and possibly the concept of the mermazons, which alone was worth reading.
• Original story from Marv Wolfman & Pop Mhan featuring Aquaman battling an organization called Scorpio (unrelated to the pseudo Bond villain from The Simpsons, probably, and thus featuring far fewer hammocks).
• Prologue to "Throne of Atlantis" from Aquaman #14 by Geoff Johns.
• Mera: Queen of Atlantis #1.
• Teen Titans #14, featuring the new Aqualad.

DC Super Hero Girls Giant #1

• Original story from Amanda Deibert & Erich Owen.
• Original story from Amy Wolfram & Agnes Garbowska.
• Excerpts from Hits and Myths, Summer Olympus, and Past Times at Super Hero High.

I originally wasn't going to get this one, but I figured I could later give it to my niece. 

Superman Giant #16

• "Up in the Sky, Part 12" from Tom King and Andy Kubert, the conclusion, featuring Superman and the little girl on their eventual journey home, depicted as a conversation they have along the way.  It may not be the flashiest installment of the epic tale (which, as I think I've emphasized previously, has become another of King's many, many highlights for me), but it's a nice way to ground the Man of Steel, as the story has done all along, in his more human qualities, even as he's constantly asked to use his superhuman skills.  This is a far trickier task than it seems, and King has just provided a master class.
• Superman/Batman #50, featuring the improbably team-up of Jor-El and Thomas Wayne (it works, although I wish more of the story focused on them and less on the present-day and extraneous Justice League activities).
• A Superboy tale from Superman80-Page Giant 2011.
• The Terrifics Annual #1, featauring a Tom Strong tale but more importantly a Java flashback written by Mark Russell.  You may remember me talking about Russell's work in the September giants.  He seems to have effortlessly refuted me in advance, because this one's a wonderful narrative that somewhat knowingly takes a note from Russell's own Flintstones but imbues real poignancy in its observations.  It's the best thing I've read from him, personally, since my original impressions of him in Prez. 

This was also the final issue. 

Teen Titans Go! Giant #1

• Original story from Sholly Fish & Marcelo DiChiara featuring Tamaranian hiccups.
• Original story from Ivan Cohen & Sarah Leuver.
• Reprints from Teen Titans Go! and Teen Titans Go! Digital, featuring far more art from Jorge Corona (whom I previously encountered in the pages of We Are Robin) than I expected.

Reading Comics 236 "Marvel Comics #1000, The Vigilant Legacy"

Marvel Comics #1000 (Marvel)
(Review copied from Goodreads)

I'm not a Marvel guy. I'm a DC guy. Generally speaking, I think Marvel is what fans in general think of when they think of superhero comics, what they expect. DC tends to be where the more interesting things actually happen. I think it's true of the movies, too, by the way. But I'm not averse to enjoying Marvel when there's something really worth enjoying. Marvel Comics #1000 is one of those things.

Strictly speaking, this is a gimmick book that's playing off the legitimate, historic thousandth issues of Action Comics (last year) and Detective Comics (earlier this year). Marvel likes the do that sort of thing, sort of fake a milestone just because it's been good business at the competition. But this one is not just a gimmick. Marvel put real effort into it, and it's probably somewhat instantly one of the best things it ever did.

The main writer is Al Ewing, part of the more or less uncelebrated modern creative generation at Marvel. He weaves a sporadic narrative introducing the concept of the Eternity Mask, which goes all the way back to the beginning, linked to the debut of the original Human Torch (who along with Namor established Marvel's superhero credentials). Marvel's periodically mined its early years for new material, most famously when Captain America was defrosted in the '60s to help assemble the Avengers, but more recently in the underrated Twelve that was sort of half Captain America and half Watchmen. But this time I think the trick was really nailed in an ingenious way. Ewing weaves a secret history while bringing up a series of forgotten heroes, all while discussing the idea that it's the rebels who've forged American history, free from the tyranny of kings.

Every page revisits a milestone for all eighty years of Marvel lore, and each is a master class in creativity, from a host of famous writers and showcasing the stellar art the company is still capable of even in an era that has more often been derided on that score than celebrated (seriously; known and unknown artists alike combine to fill every page with works of technical achievement).

Since there are so many creators, each working a single page (with a few exceptions, including Ewing), I don't want to bog down the review referencing individual talent (though there are some surprises, such as Patrick Gleason, who until this celebration has long been associated with DC). Suffice to say, you won't be disappointed with the turnout.

The whole thing is a playful examination of the mounting legacy of the company, without leaning heavily on anything (which is something Marvel, or its fans, often can be guilty of), letting the characters speak for themselves. Maybe it's that very element that's lets a DC guy appreciate a Marvel comic, since as far as I'm concerned, Marvel doesn't stop and smell the roses nearly often enough, too busy throwing itself into another wild adventure to let things sink in a little, or conversely, taking itself too seriously (as I noted above; that's part of why I never got into Marvels and instead admired that other Alex Ross-painted epic, Kingdom Come).

This is a comic that'll be very easy to revisit in years to come, regardless of how significant the Eternity Mask thing becomes. It's also something that would be very easy to recommend to fans who really only know Marvel from the movies. Not only will they get an idea or two about what could come next to the big screen, they'll see just how much there has always been, and will be for a long time to come.

That's the end of the review as previously written.  Here I'll mention that I loved seeing Stuart Immonen (with wife Kathryn) showing up for one of the spotlights.  Jeff Lemire was another welcome sight (a full-blown Cable project would be fun; although I almost would want to see Matt Kindt's interpretation even more).  Loved Jeph Loeb and Tim Sale reprising their act in a lighthearted entry.

Also read:

The Vigilant Legacy #2 (Rebellion)
Simon Furman, although more specifically the various house ads concerning reprint material, leans pretty heavily on how this is a legacy comic, too, revisiting various British superheroes who are virtually unknown across the pond, creating a kind of integrated landscape and, eventually, a team, that reads like Valiant's best comics from recent years.  Glad I stumbled across it during a recent trip to Barnes & Noble, where it was the lone actual comic in the magazine section, nestled in with the genre stuff (the bookstore chain quit selling individual issues of comics, in general, several years back).  In today's age it can sometimes seem impossible to showcase new characters, or at least ones that can be presented as such, but it's things like this that prove what nonsense that really is.  All you need are competent creators willing to work with them, and each other, to pull it off.