This was a huge week, both in the number of comics I picked up and the quality. First and foremost, Grant Morrison concludes his run on Action Comics with an oversized issue that promises to be one of the hallmarks of his comics career. Batwoman enters into a new era after a seventeen issue mega story came to an EPIC end last month. Legion of Super-Heroes has descended into unmitigated horror as of its preceding issue and moves into what promises to be the biggest story in LOSH history since writer Paul Levitz’s “Great Darkness Saga” plot from the early 80’s. And who could forget three Bat-titles that follow in the wake of Damian Wayne’s tragic passing. I am shaking just recounting the possibilities this week holds in store. Let’s jump in:
Action Comics #18concludes Grant Morrison’s MASSIVE opening arc of this flagship Superman title. As with most things Morrison, I’m not entirely sure I got all of it. It is steeped in 5th dimensional nonlinear geometry and what could vaguely be filed under the heading of quantum mechanics. Superman is fighting Vyndktvx, and by extension Superdoom and the Anti-Superman Army. It’s pretty technical, but insanely engaging to read. Superman’s position seems impossible to extricate himself from, except when he realizes an inherent flaw in the logistics of Vyndktvx’s attack. As he discerned on Mars when fending off the Multitude, the unfathomable numbers of this angelic hoard were merely a fifth dimensional projection of one being, Vyndktvx. Likewise, by choosing to attack Superman at various points throughout his life, Vyndktvx is able to optimize the torture quotient of his assault upon the Man of Steel, but conversely traps himself in a relativistic conundrum hinging on Superman’s perception of the situation. When Superman realizes that he’s been attacked at other points in his life he also realizes that due to the quantum physics of the 3-dimensional plane in which we exist he would have survived all the previous assaults by Vyndktvx and therefore would have gained de facto the knowledge of how to defeat the mad 5-D villain. Grant Morrison and his dynamic duo of artists, Brad Walker and Rags Morales, really did a great job of tying together their entire run on the book and making it meaningful. Lex Luthor made an appearance defending the Man of Steel and another antagonist from earlier in this series, Adam Blake, and his Neo-Sapien brotherhood come back to Earth and lend Superman a hand as well. The people of Earth are promised immortality and eternal happiness if they shun Superman in his moment of greatest need, but humanity rallies behind their savior and grant him the key to victory. The backup feature by Sholly Fisch was a little insubstantial, but in fairness his amazing backup feature in #17 was no doubt supposed to be the ending of the arc until Morrison got DC to extend his run by one issue to fully tell the grand finale as he envisioned it. This one features kids in a Superman Museum in the 31st century featuring almost no dialogue and just seems propped up with toothpicks. There was meaning behind it, but it still had the air of being rushed. Despite that, this issue as well as the other eighteen issues of the series (remember there was a #0 issue in there, too) were amazing and a tribute to Grant Morrison’s genius. A must read, whether in single issues or graphic novel format.
Vyndktvx’s 5-D Dilemma
Justice League #18was a nerd spasm with the League auditioning new members and writer Geoff Johns pulling out all sorts of fan favorites along with some really obscure characters. Zatanna, Firestorm, and Black Canary come up , but Johns also brings in Platinum of the Metal Men, Element Woman (female version of Metamorpho) which he’d messed around with in Flashpoint, Goldrush, and a female version of the Atom. Other than exploring the need of a new member to the team and introducing the hint of a coming conflict, there wasn’t much point to this issue. The Shazam backup feature had good art from Gary Frank, but vexing plot development: Billy Batson running away from responsibility, because he’s a punk. If he were any other version of the character than this it could be legitimately reasoned as a kid afraid to fail, but it’s not. It’s Geoff Johns’ bizarre attempt at rebooting an edgier Billy and his running away from conflict just comes off as him being a self interested brat. This series just does not work for me, main feature and backup.
Justice League of America #2brings about Geoff Johns’ second attempt at a team book. The first issue was a really solid opening chapter that showed promise, albeit suffering slightly with its breakneck, abbreviated introductions to six lead characters. This second issue continues that promise with a pretty substantial plot. Its shorter in length, giving some of its page count to the Martian Manhunter backup feature. There is some quality character development on Catwoman, as well as Steve Trevor. The main villain seeking to create the “Secret Society of Super-Villains” from the end of Justice League #6 a little more than a year ago finally shows his face and seems to be a completely new character, or perhaps a drastically different take on an old one, because I do not recognize him at all. All in all, a really enjoyable, edgy series. I think that Geoff Johns is trying to be edgy with the two Justice League titles and that is where he fails with the main series. When you have tertiary characters like Catwoman, Katana, Hawkman, etc, you can be edgier. When you try that same thing with the main DCU characters, even to a degree with Batman, you just alienate them from the audience reading them. Maybe that’s what Johns is going for, but that’s a really low bar to aim for and a really crappy status quo for readers to expect. The Martian Manhunter backup was too edgy for me and I did not like it. If J’onn J’onnz was to die at this point I wouldn’t care at all. That is sad, because I always liked him.
Batwoman #18is a new beginning for the character, but also a reaffirmation of what her life has become. Medusa and her kidnapping of dozens of Gotham children was the plot that pervaded the first seventeen issues of the title, but with last issue that has been laid to rest. However, in fighting this titanic battle for the innocents of her city, Batwoman had to make a devils deal with the D.E.O. and become their leashed super-agent in order to complete her mission with impunity and keep her father out of prison for his outfitting of her with Army equipment. This latter aspect of her life was overshadowed by the pressing quest to find and subdue Medusa before the children came to harm. With the mission accomplished she is becoming aware of the shackles she’s got herself tethered with. As she plays her role in this issue taking down Mr. Freeze to obtain some of his freeze tech for the D.E.O. she runs afoul of Batman and confuses her father, cousin Betty (her sidekick Hawkfire), and the Batman as to what her motives are. After defeating Medusa, Batwoman proposed to her alter-ego Kate Kane’s girlfriend, Capt. Maggie Sawyer. This issue picks up with Maggie looking for a new place for the two of them, completely overstepping any reaction from the Gotham policewoman as to the revelation that her lover was the vigilante she had been hunting. Probably the right decision by J.H. Williams III and W. Haden Blackman, but I still would have been interested to see what the initial conversation was before her acceptance of this rather unorthodox situation. This series continues to be amazing, although this particular episode was a little less exciting after the high octane ride the past couple of months have given us with the conclusion of the “Medusa” mega-arc. Also Trevor McCarthy’s art pales in comparison to Williams’. I feel they do him a disservice, as he is a good artist, by pairing his artwork next to Williams’.
Green Lantern: The New Guardians #18brings Volthoom’s wrath upon Carol Ferris, Saint Walker, and Larfleeze. To accomplish this, series artist Aaron Kuder has been replaced with three artists for the three different sequences in the narrative. The Carol Ferris segment is drawn by Hendry Prasetyo and features Carol living a life without love. She’s completely ignored her obligations to her father and their family company Ferris Aircraft, following her dream to become a fighter pilot. Though this sounds ideal for her, with Volthoom’s altered timeline it is anything but. Larfleeze’s segment is drawn by Jim Calafiore and features the paragon of greed first with his family that he has desperately wanted to find for ages and then as a Blue Lantern. Both times, he barely gets into the altered reality before his inherent greed overpowers his senses and collapses the concept in on itself. Saint Walker doesn’t so much live a life without hope, so much as lives a life without loss, this time around having gotten a green power ring saving his planet before his family died in the quest for the blue one. He also is unable to follow the reality through as in his heart he knows it is not true. Like Kyle last issue, each of the other “New Guardians” prove too powerful in their spirit for Volthoom to truly get the better of forcing Volthoom to seek out someone he knows he can manipulate: Atrocitus. That may be a lead in to next week’s Red Lanterns issue, because Atrocitus hasn’t been a New Guardian for awhile. This issue was really well written and really cut to the heart of these three incredible lanterns.
Supergirl #18presents a major turning point for the Maiden of Steel. She has been alienated upon waking up on a planet whose language and culture she is unfamiliar with. Things looked up for awhile as she made a friend in Siobhan McDougal, aka Silver Banshee, but then with the introduction of H’el onto the scene she was given the hope of returning to her homeworld and being reunited with her family. With last month’s issue of Supergirl as well as the conclusion of Superman #18 it is now an intractable fact: Supergirl can never go home again. That is sadly pointed out in a moment where she emerges from a solar satellite where she is convalescing from green kryptonite poisoning. After exiting the solar chamber she begins to say “I want to go home,” but stops and corrects herself, “I just want to get back to Earth.” Her expression in this moment is truly heartrending. In the meantime, Lex Luthor plots against her from his state-of-the-art, super-prison, via neural implant that projects his consciousness to an offsite computer. Also a strange connection between Kara Zor-El and Karen Starr, the Kara Zor-El of Earth 2, is teased at. This issue featured a guest writer, Frank Hannah, and he picks up and continues the series in intriguing new directions. Coming off of a massive event like “H’el on Earth” can be dangerous, providing a jumping off point for readers of certain series if they don’t sink a hook right away. This issue sunk a hook. What’s to come has great promise.
You Can Never Go Home Again
Legion of Super-Heroes #18 continues down the cataclysmic road that issue #17 began. The United Planets are still reeling from the assault of Tharok against the technological advances of the 31st century and the death toll mounts. The last issue focused on Legionnaires stranded on Rimbor and the Promethean Giants. This one goes back to both locations and the plight upon them, but also adds Earth and the Legion’s headquarters in Metropolis to the stage. Mon-El, Shadow Lass, Lightning Lass, Shrinking Violet, and Cosmic Boy leave Earth for Webber World, an artificial planet that is nothing but technology to try and establish the devastation there. Brainiac 5, Dream Girl, Star Man, Chemical Kid, and Element Lad attempt to get a cruiser prepped for their own departure from Earth. Ultraboy, Glorith, and Chameleon Boy attempt to escape Rimbor using Glorith’s magic, and Phantom Girl, Invisible Kid, and Polar Boy continue to try and regroup after their crash landing on the fabled Promethean giant. This arc has all the hallmarks of another cosmic epic on the scale of writers Paul Levitz and Keith Giffen’s 1980’s opus, “The Great Darkness Saga.” This issue lost a little steam, but issue #17 had two advantages. Firstly, it had the element of surprise, following a very calm “nothing is happening” issue directly into a sucker punch in the readers’ collective gut with literally all Hell breaking loose. Secondly, it had Keith Giffen’s Kirby-esque artwork magnifying the already nuts plotline into a tour-de-force thrill ride. Scott Kolins and Tom Derenick do a good job, but like McCarthy above in the Batwoman review, they have the misfortune of standing in the very long shadow of Giffen. I am pumped to read further into this amazing arc which promises to be a historic one.
DC Universe Presents #18 is a one shot like last month’s issue that gives spotlight to Jason Todd’s fellow outlaws. Issue #17 was a focus on Roy Harper that really laid bare the kind of person he is as well as his hidden strengths and virtues. This month we are shown Princess Koriand’r, aka Starfire. Born into royalty, her sister sacrificed her to slave traders to buy peace for the realm. This issue tells about her time as a slave on a ship that is larger than the Earth. Inside are entire civilizations that the slavers raid and sell when needs be. This issue wasn’t large in the action department, but did present an interesting study into the mindset of the enslaved. How sometimes those that aren’t free are so weighed down by their bondage that they do not want to be free because of the terror it inspires in their comfortable minds. This issue was once again written by Joe Keatinge, who wrote the Arsenal issue last month. The art is done by newcomer Federico Dallocchio. The writing is thought provoking, if not action packed, and the artwork is very lovely, representing the beautiful heroine well. Not a bad issue at all.
Nightwing #18hits Dick Grayson while he’s down. Last issue had Nightwing mourning the loss of his friends and the circus he grew up in and was trying to save. It had Dick struggling with his own sense of denial, telling those that still cared about him that he was fine when he was really anything but, festering pain and anger deep in his belly until the pressure burst. All the while Damian, the most socially inept, insensitive member of the Bat Family, followed him to intervene when the inevitable sword dropped. Damian stopped him from stepping over the line and told him exactly what he needed to hear to ease his battered and bruised soul. This issue opens with Damian dead and the old wounds he’d seemingly healed torn open and wrenched deeper by the loss of this “little brother” who knew him possibly better than even Batman. What it comes down to is that he is losing his past. The circus he grew up in was terrorized and some of the older members like the clown, James Clark, and his former girlfriend, Raya, brutally murdered by the Joker, the circus folds, and then Damian, who had served as his Robin when he donned the cape and cowl of Batman, dies suddenly saving Gotham. Then Batman comes to him with information that a criminal scavenger that sells crime artifacts in underground auctions has plundered Haly’s and put John Grayson’s trapeze outfit up for sale. The Collector last showed up in Scott Snyder’s Detective Comics run, pre-Reboot, running afoul of Dick Grayson’s Batman. Now its a rematch in his Nightwing identity. Though he goes in angry, the outcome of the confrontation ironically heals him and proves the truth in something Damian told Dick before he died. But of course Dick can’t be happy for long. When deciding to finally meet with Sonia Branch (nee Zucco), daughter of gangster that killed his parents, she reveals something about her dad that once again shows how Dick’s past is continually eroding beneath him, leaving him very little closure. Kyle Higgins is KILLING IT! His Nightwing run is seminal. I may have liked other runs as much as this one, but I’m not sure. All I know is that this is a really emotionally driven, introspective, thought provoking title that continually amazes. Juan Jose Ryp yet again provides equally stunning interior art, really drawing out the latent potential in every heartbreaking frame. This two issue interim arc between “Death of the Family” and the next major story arc of the title has been phenomenal on every imaginable level.
Red Hood and the Outlaws #18following the shocking ending of last issue vis-a-vis the booby trapped helmet that the Joker whipped together, Jason lays in a medically induced coma, facing his greatest enemies. With the revelation a few months prior that the Joker for all intents and purposes created him by selecting him and guiding him towards the Batman, the Clown Prince of Crime is the first of Jason’s adversaries. However, the real adversary he fights is himself. A mob of Bat family members, past and present, as well as his former allies converge on him at once and Batman is the one who pulls him out. This is writer Scott Lobdell’s last issue on the series and he might be taking his character from his complete alienation of his past as Robin and bringing him back into the fold, or perhaps he’s just tempering the fiery character of the failed Robin, but in either event, he presents a single heartwarming tale for the jaded anti-hero. Despite all he has done and the pain he has put them through, Bruce and Alfred love him and do everything in their power to help him come back to life, literally and metaphorically. Tyler Kirkham does fantastic guest art on the title, really bringing out the twisted nature of Jason’s psyche. Well worth picking up.
Vibe #2was a half and half issue. Half of the issue played catch up and was boring for those who have read Justice League of America #1 & 2. Recounting all of the snippets of Cisco Ramon’s appearances in the first two issues of the overarching JLA title, it does inform those who didn’t read the aforementioned title and gave context to those that did, but still, didn’t hit just right. The other half of it hit a cord with DC fans that know their obscure characters. A transdimensional invader comes through to deliver a note to an emissary. It hands it to Vibe right before an A.R.G.U.S. agent zaps him. The note was meant for the character, Gypsy, whose father apparently is a potentate in another reality. A far departure from her previous back story, she is exactly like Vibe. Few know who she is so few care if they do a MASSIVE overhaul. What is clear is that A.R.G.U.S. likes to kidnap the daughters of powerful men. Darkseid’s daughter is their prisoner. This unknown king’s daughter is also their prisoner. They better pray that Gypsy’s homeworld doesn’t form an alliance with Apokalips, because they are literally playing with fire and poking some VERY big dogs with an annoyingly sharp stick. I want to believe Geoff Johns knows what he’s doing, but he is quitting the only good book he is currently writing. So I put my faith in cowriter, Andrew Kreisberg.
Wonder Woman #18 concluded a maxi-arc in the odyssey of Zola’s baby. In Wonder Woman #1 writer Brian Azzarello and artist Cliff Chiang introduced us to Zola, a human woman who bore Zeus’s newest bastard. The Amazing Amazon has gone on a long journey to protect the young woman from the various gods of Olympus and upon its birth, to recover the baby from those same, meddlesome gods. That story finds its conclusion a year and a half later. However, it continues the tale of Zeus’s first born child, exiled and awoken millennia later with rage and vengeance on his mind. Those same gods who tried to strong arm and kidnap an innocent child, now have to contend with a vengeful demigod fueled by distilled hatred. Also Azzarello has re-introduced us to the New Gods of New Genesis, represented primarily by Orion, foster son of High Father and (perhaps still unbeknownst to him) the eldest son of Darkseid. Azzarello keeps this series afloat, sometimes peaking on the wave of awesome, and other times lulling in the trough of mediocre. This concluding issue of that first major crisis features art by alternating artist Tony Akins and Cliff Chiang, as well as a third penciller, Goran Sudzuka. This one was pretty good and a must read if you have been one of the faithful, reading it from the inaugural issue.
Sword of Sorcery #6accomplished quite a bit. It fully introduced us to the new lord of House Turquoise after the death of Princess Amaya of House Amethyst’s grandfather, Lord Firojha. It also introduces another newly minted House head following another shift in power. Most importantly to the DCU in general is yet another reason why I want to see John Constantine strung up by his toes. He singlehandedly brings the harbinger of utter ruin upon Princess Amaya’s home, but what’s worse, he uses her to invite it in. In fairness to Constantine, however, the doom that he has sent to Nilaa was born in the Gemworld and exiled to Earth thousands of years ago. Still, its a pretty low thing to do, considering how Amaya pulled his bacon out of the fire in the Justice League Dark Annual. The Stalker backup feature isn’t even worth talking about. Just horrible. Get this issue for the main feature and then close it up after the conclusion.
Batman Beyond Unlimited #14begins with an interim chapter in Batman Beyond following the conclusion of the hellacious “10,000 Clowns” arc and the coming one called “Undercloud.” Though its a one shot, it is monumental if one followed the animated “Batman Beyond” series. In the series Terry McGinnis constantly had to bail on his long suffering girlfriend, Dana Tan, and play it off like he was doing errands for his boss, the aged Bruce Wayne. After the events of “10,000 Clowns” and her brother Doug unleashing hell on earth upon Gotham in the form of 10,000 suicidal Jokerz from around the world Dana is put in a situation where everything clicks. When Doug attempted to kill their father in the ICU, Bruce Wayne, 80+ years old and dying himself from liver failure, got out of his hospital bed and fought the twenty something maniac, allowing the Tans to get Mr. Tan to safety. When Doug took his sister as a hostage, Batman referred to her by name. The math is right there and Dana FINALLY figures it out and a new era in Terry’s tenure as Batman begins. The issue is also good, because Dana was often a set piece on the show and more of a plot device than an actual character. This issue was her issue. It was narrated by her, gave her history with an intimate look into her traumatic upbringing with a psychotic for an older brother who despite his evil nature she still loves, and tells us what gives her peace. Adam Beechen makes this series come alive for those of us who mourned the TV series’ cancellation. Although, I do have one beef. In the “Justice League Unlimited” episode entitled “Epilogue” we are told that Terry discovered that Bruce Wayne was his biological father when they did the liver transplant and found out him and Bruce were identical tissue types. In this issue the liver came from someone else. You messed up, Mr. Beechen, but I’ll forgive you because the rest of this issue and those preceding it were truly mind blowing. Also, kudos to Peter Nguyen who takes over for regular Batman Beyond artist Norm Breyfogle. The art is truly beautiful, underscoring the moving narratives within. Unfortunately, the Superman Beyond plot is leaving me whelmed. I thought there was going to be some moral ambiguity with the Trillians claiming Superman destroyed their world, but really they are just an overclass that resents having their property taken away. Superman freed their slaves and now they are angry. Boo-effing-Hoo. On to the next. The Justice League Beyond Unlimited story finishes off in this third installment with a new Flash, this time a young African American woman named Danica (last name to come soon, I am sure). This arc was over relatively quickly when compared with the previous Kobra arc that spanned almost an entire year’s worth of issues. However, despite the brevity and the quick take down of what could have been a truly formidable foe on the level of most of the greats this issue had its poignant moments that really speak to the superhero genre, why they do what they do, and gives a comprehensive intro to the next scion of the Speed Force. Perhaps the best moment came after Superman personally extended an invitation to Dani to join the JLB. After accepting his gracious offer, she challenged him to a foot race, which every speedster since Barry Allen have done. Derek Fridolfs write this one as well as providing inks for Jorge Corona’s pencils. Truly a great end to a relatively short arc. This issue was phenomenal overall.
This crop was amazing, though statistically they had more shots at it with the increased number of entries. Several of these are must gets to comic fans in general, regardless of genre.
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.
Action Comics #18: Drawn by Rags Morales & Brad Walker, Colored by Brad Anderson, Inked byCam Smith & Andrew Hennessy
Justice League #2: Art by David Finch, Colored by Sonia Oback
Supergirl #18: Drawn by Robson Rocha, Colored by dave McCaig, Inked by Oclair Albert, Julio Ferreira & Mariah Benes
Nightwing #18: Drawn by Juan Jose Ryp, Colored by Bret Smith, Inked by Roger Bonet & Juan Albarran
Red Hood and the Outlaws #18: Art by Tyler Kirkham, Colored by Arif Prianto
Batman Beyond Unlimted #14: Drawn by Peter Nguyen, Colored by Andrew Elder, Inked by Craig Yeung
This week was a somber one, featuring three Bat-titles, each paying homage to the fallen Damian Wayne in their own ways. Batman and Batman & Robin both display the sorrow and anger of a father’s loss. In Green Lantern Corps the First Lantern tortures John Stewart with the ghosts of his haunted past and the question as to what it was all for. The Before Watchmen: Ozymandias series reached its end, heralding the dark events that comprise the original Watchmen series. An excellent crop of comics. So here we go:
Batman #18transitions from one personal crisis to the next. Issue #17 was the landmark, much talked about conclusion to “Death of the Family”, which in this blogger’s opinion failed to live up to its name. This issue, completely unrelated to the aforementioned uber-plot of the Joker’s, opens on a Batman who has endured the death of his son. Scott Snyder chooses to approach this tragedy from the outside, having the issue told largely from the point of view of the punk rock looking electrical genius, Harper Row, now obsessed with tracking Batman. In her Bat-watching she sees a haggard, overwrought Batman hitting the criminal element harder than usual and making many sloppy mistakes. Since she is not privy to his identity or his inner circle she has no idea about the death of Robin, nor the real life connection between Bruce Wayne and his son, Damian. Thus we get an outsider’s perspective on how far he has fallen and how much Batman inspires the people whose lives he’s touched. Harper turns out to be like an angel of mercy, reminding Batman that despite his loss, he isn’t alone and doesn’t have to suffer alone. The backup feature, drawn by Alex Maleev, has Harper going to Bruce Wayne with a plan to help Batman, all the time under the assumption that they are two separate men. Both halves of the Batman are touched by her thoughtfulness and her gesture might just begin to knit together the wound that has been festering in his soul. Scott Snyder’s Batman seems destined to go down as one of theruns on the series, like Frank Miller’s Batman, the O’Neil/Adams Batman, and most recently, the Morrison Batman. This issue’s guest artist, Andy Kubert, was also the artist who ushered in Grant Morrison’s historic run on the character that both introduced us to the character of Damian and set the stage for the heartrending death of that young lad seven years later.
The Wisdom of Youth
Batman & Robin #18is a silent, somber sonata for a son. It took me a while to realize it while I was reading this issue, owing the engrossing artwork depicting heartrending images of parental loss, but there are no words. The entire comic is a pantomime of Batman going through the motions to try and work past the pain of his son’s loss. However, when someone that integral in your life is gone, their absence reverberates throughout your life in simple ways that normally aren’t noticeable. The issue’s silence is broken finally with Batman finds a note from Damian, telling him why he left the safety of the Cave, which as we now know led to his death. Damian was a very harsh character. He was often very rude, conceited, gratuitously violent, but beneath all of that there was a thoughtful, empathetic character who was lost in a world he was unprepared to live in. Since the Reboot in September 2011, this title has been basically Damian’s book. Batman played a prominent role in its plots, but really it was a showcase for Damian to shine and be humanized. Peter Tomasi did an unbelievable job making him a relatable, lovable character and Patrick Gleason drew it gorgeously. The fact that the eponymous Robin from the title has passed on places this book in a very awkward position. I am not sure where the title can go from here. There is of course the concept of a possible resurrection coming down the pike (my guess is a Lazarus Pit), but speculation is all these come down to. Another possibility would be the installation of Harper Row as a new “Girl Wonder.” There hasn’t been an official female Robin in DC canon before and this might be a golden opportunity for it. Either way, this issue’s heartbreaking to read for those that have come to love Damian and for those that want Bruce to be happy, even if only for a short time. Goodbye, Damian. May you finally feel some peace.
The Grief of a Father
Batgirl #18like the other Bat-books this month pays its respects to the departed Robin, who despite his surly, abrasive exterior found a place in the hearts of the various “family” members. The mention in this issue fell a little flat in my opinion, but then again it doesn’t really fit into the storyline that writer Ray Fawkes has set out to tell. I don’t mean to trash talk him or beleaguer a point, but I feel that if Gail Simone were at the helm of this arc she would have addressed this truly tragic occurrence in a very thoughtful, heartfelt way, as she has with Barbara Gordon since issue one of this phenomenal series. But she’s not so we have to accept Fawkes’ blip and get on with the story of James Gordon Jr. attempting to murder those closest to him, saving Batgirl for last to truly torture the Dominoed Daredoll with her own limitations. It’s an okay plotline, but not exactly up to snuff considering Gail Simone and Scott Snyder’s masterful handling of these characters in past plot arcs. I know very little about Fawkes and his past works, but assume he might be newer to the writing scene than the aforementioned maestros, explaining his seeming nemishness in the story department. Daniel Sampere draws the issue exceptionally making it visually stunning.
Before Watchmen: Ozymandias #6brings to an end the saga of one of the the keystone characters of the Watchmen universe. Adrian Veidt has already planned out his master scheme and in this issue we see how he executes it. This issue, above all the others, shows how cold Ozymandias can truly be when he has his eyes on a goal. His personal assistant, Marla, with whom he was also sexually active, dies mysteriously, albeit painlessly, because her knowledge of his enterprises was too sensitive. He recruits the former villain, Moloch, into his fold and gives him a job that also will also terminate with his premature death. He gathers the preeminent scientists, science fiction writers, and artists to his secret island in the tropics to put the finishing touches on the otherworldly horror that will usher in a world the likes of which has never been know. The true impetus of the issue that spans the majority of its pages and concludes the series is the tension between the Comedian and Ozymandias. They had tussled over the course of the six issues, but as was revealed by Alan Moore in the original Watchmen series, the Comedian came across the island and what Ozymandias had planned. The most psychopathic man on the planet gets queasy upon the discovery of just what Adrian has planned, but also knows that it can’t be stopped. All that remains at issue’s end is for Adrian to murder the Comedian which catalyzes Watchmen into being. Len Wein had a very good relationship with Alan Moore, handpicking him to take over the Swamp Thing series that he himself created and wrote into a hit title. Now Wein, albeit without Moore’s consent, has taken over one of the most important subplots of Watchmen and written it with breathtaking splendor. Jae Lee is an artist that has a very gothic quality to his work. Gothic is precisely the word I am looking for, because Lee depicts his subjects with almost no emotion despite the grand events rendered around them. Adrian Veidt is cold and calculated with no emotion and looks to be like a god himself, resurrected from ancient Egypt. Overall this series was one of the best put out, rivaled only by Darwyn Cooke’s Minutemen series in this Before Watchmen line of books.
Behold His Work, Ye Might, And Despair
Green Lantern Corps #18has Volthoom descending on John Stewart and the Star Sapphire, Fatality. Most of his attention is put on John, of whom many horrors have been visited, most of his own action. His mother’s murder was out of his control, as largely was the destruction of Fatality’s homeworld, Xanshi, which both she and John had blamed him for, but the destruction of the planet Green Lantern, Mogo, as well as the killing of another fellow corpsmen, Kirrt Kallak, were very much his conscious decisions. John is a man that makes the hard decisions without hesitation, because if he doesn’t they may never get made or worse one of his friends or loved ones will have to make them, damning themselves. Volthoom of course tortures him by showing him that the universe doesn’t come crashing down if John wasn’t there to make the hard choices, killing those closest to him. Peter Tomasi writes it well, really capturing the heart of a truly conflicted character. Chriscross provides guest art on the issue that really brings out the extreme emotional distress evoked by the sadistic First Lantern.
Superboy #18picks up in the aftermath of “H’el on Earth.” Superboy attempts to make right some of his lesser wrongs when the villain Plasmus comes crashing into the bank vault wherein Superboy returns some of his ill gotten gains. The fight between the Boy of Steel and the giant walking nuclear reactor is monumental, bringing the attention of a telepathic DC villain, Dr. Psycho, originally a Wonder Woman nemesis. Melding psychically with Superboy, Dr. Psycho is able to dig into Superboy’s past, seeing his birth and the life he has led thus far. At the end of the issue he goes into the depth of Superboy’s mind and finds Lex Luthor waiting in the inner recesses. We’ve known that Lex was his human parent from previous incarnations of the character, but Scott Lobdell kept us wondering with his very different depiction of Kon-El. In the end the issue there is a short episode of a female alien crashing in the Amazon rain-forest, chased by other aliens and rescued by Krypto the Superdog. With the mention of the Eternal Ebon-Quad along with her black eyes, it can be surmised that she is a soldier in the service of Lady Styx, as seein the Blue Beetle and Threshold series. Interesting things are happening within this title, so much so that Scott Lobdell came back on the title, cowriting with his successor, Tom DeFalco. I, for one, very much look forward to seeing where Superboy’s writers are taking him.
Demon Knights #18brings the hordes of Cain to the gates of Themyscira, home of the immortal Amazons, the most powerful race on Earth. Now it stands to what remains of the Demon Knights to stand in the way of the vampirization of the only nation able to stand against Cain. Previously Jason Blood had been muted by a powerful spell, preventing him from speaking the words to summon the Demon, Etrigan. With the reemergence of Madame Xanadu his silence is lifted and Etrigan is once again released upon the world. The power struggle between Jason and Etrigan reaches a new level showing what strengths and weaknesses these two halves of the same physicality possess. Robert Venditti continues writing it in precisely the same vein as series creator, Paul Cornell. Artist Bernard Chang remains in the trenches, drawing the title exactly as he has since before the writing change over.
Ravagers #10has the title entering into the beginning of its endgame. The series is two issues from cancellation and writer Michael Alan Nelson is pulling out all the stops. Harvest has wanted the rogue Ravagers put down for sometime. That has been the task entrusted to Rose Wilson and Warblade. With the events of the past two issue in the wind, these two “loyal” Ravagers also find their necks on the chopping block and their assignment now put in the hands of Slade Wilson, aka Deathstroke. I have to say, Deathstroke has been represented as a free agent and an anti-hero since the Reboot, but as of this issue I do not like him one bit. Thankfully, his series is also getting cancelled in May, meaning he can go back to being the villain he was created to be. In the camp of the Ravagers, things begin to look up. A lost comrade is returned, a disfigured member is “healed”, and romance brews between two members. It seems things are looking up, but with cancellation looming close on the horizon it could be a case of the brightest lights casting the darkest shadows. I pray that the cancellation leaves most of our heroes still breathing, as they have been through hell and deserve to survive.
Threshold #3 continues to set the very intricate stage on the planet Tolerance, home of the “Hunted” reality series where dangerous criminals of the Tenebrian Dominion are set loose with a bounty on their heads for any citizen to collect if they can bring them down. Private investigator, Starr Hawkins, is added to the cast, as is Lonar, a New God created by Jack Kirby in the 70’s in his Forever People title. Being a HUGE Jack Kirby fan, the addition of any Fourth Worlder is a sure fire way of getting me hooked. Keith Giffens is going for broke with both the lineup and the stakes of this “Hunted” series. Right now it seems a bit cluttered as all the disparate factions are aligning themselves and new versions of old characters are introduced to us seemingly at every turn. Hopefully, as alliances are cast and battle lines drawn the series can focus on forward moving, unified plot lines. One of the side plots of great interest is the race for Jediah Caul’s power battery. Hawkins tells Caul he knows where it is and a mysterious lawyer appears requesting K’Rot and his smaller Zoo Crew to procure it for his client. In the “Larfleeze” back up feature, Larfleeze and his enslaved assistant continue the search for his stolen hoard. The smugglers they have contracted to help them a treasure hunter called Branx Rancor. In the middle of negotiations, Larfleeze’s rogue orange constructs attack the band. This installment wasn’t the best of the three so far and very little progress is made in the overall plot. As a whole, this issue of Threshold was good, but awaits the clarity that hopefully will come sooner rather than later.
Saucer Country #13was an incredible issue that cut deeper to the truth than any other in the entire thirteen issue run so far. Gov. Arcadia Alvarado is a heartbeat from the presidential election resulting in her favor. In the background a hailstorm of the powers and plots that seek to thwart her are coming to a head. The little naked couple from the Voyager space probe pull one last ditch effort to keep Prof. Kidd from killing himself by revealing a piece of evidence that will prove they are legit. Michael and the governor’s press secretary meet with the mysterious Blue Birds spokewoman, Astelle, and drop their own bombshell on the seemingly omniscient woman’s world view. The sitting president’s men attempt to turn her chief of staff, Harry, only to be curbed as well by trump cards in Arcadia’s hand. This could mean the end of the series being in sight, or it could signal a game change that will raise the stakes. Either way, writer Paul Cornell is blowing this series out of the park and really delivering a complex, thought provoking title that begs to be read month after month. With the shocker ending in this issue, #14 cannot come soon enough in my opinion.
And so ends this phenomenal week. This crop comprises itself of several must read titles. I hope you all check them out and enjoy them as I have.
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.
Batman #18: Drawn by Andy Kubert, Colored by Brad Anderson, Inked by Sandra Hope
Batman & Robin #18: Drawn by Patrick Gleason, Colored by John Kalisz, Inked by Mick Gray
Before Watchman: Ozymandias #6: Art by Jae Lee, Colored by June Chung
The Ravagers #10: Drawn by Diogenes Neves, Colored by Tony Avina, Inked by Vicente Cifuentes
This first week of March brings together a very decent batch of comics to kick off the month’s crop. Superman #17 concludes the massive “H’el on Earth” event, Green Lantern #18 brings the “Wrath of the First Lantern” into the Realm of the Dead, Green Arrow #18 strides on towards redeeming the title, Swamp Thing and Animal Man FINALLY get their true conclusion to the “Rot World” crossover, and Before Watchmen: Rorschach also reaches its conclusion. So much ending and so much marching on. Here it goes:
Superman #17 was a little late, but delivered a blowout finale to the “H’el on Earth” crossover event. At issue’s beginning NOTHING is going the right way for the heroes of Earth. H’el’s craft has been fueled by the Sun’s electromagnetic field, which if not returned immediately would cause our solar system to collapse in on itself, ergo the Oracle arrival to witness the death of our world. A high paced, thrill-a-minute issue, there is very little that can be said that doesn’t spoil the amazing events chronicled and concluded within. What can be said is that the Justice League here is written head and shoulders above the team’s portrayal in their flagship title by Geoff Johns. It’s almost like comparing a college thesis to a first grade science report. Maybe now that Lobdell is on the verge of leaving Red Hood and the Outlaws he can take over Justice League and salvage it like he did Superman. Lobdell truly shows his brilliance throughout this “H’el on Earth” event and artist Kenneth Rocafort draws it gorgeously in his incomparably style. Literally, there is nothing that resembles is artwork in detail or in the surreal ambiance it elicits. Truly A-grade material.
Green Lantern #18focuses almost entirely on Hal and Sinestro’s current exile in the “Dead Zone.” There have been little snippets alluding to the fate of the two Lanterns after being sucked into the black ring at the end of the Green Lantern Annual this past August, but this issue finally reveals what the Dead Zone is, why they are there, and what its relevance to the existence of the First Lantern are. As these last issues of the four Green Lantern titles progress, it is getting more and more apparent that the end is nigh. The fundamental forces of the Universe are the enemies that dog our heroes as they progress toward that apocalyptic event that will be Green Lantern #20, out this May, and the end of the Green Lantern Universe as we’ve known it since 2005. Simon Baz and Sinestro find their places in the coming showdown with Volthoom, the First Lantern, but Hal’s is perhaps the most frightening. In the aforementioned Green Lantern Annual there was a prophesy in the Book of the Black that Hal Jordan will be the greatest Black Lantern. This issue caps off on the precipice (literal and figurative) of his fulfilling that prediction. Geoff Johns started this series from Rebirth like a rocket and it’s still soaring high with this phenomenal issue. Series artist Doug Mahnke, who has been on the title since 2009 is absent this issue, replaced by Adrian Syaf, who draws the real world segments, and Szymon Kudranski, whose eerie art style aptly provides the Dead Zone portion. Overall the issue tantalizes and informs in wonderful, captivating fashion.
Detective Comics #18accomplishes two monumental things. Firstly, and to lesser degree issue-wise, this installment of Detective Comics tells us that DC is playing for keeps with the death of Damian Wayne last week in Batman Incorporated #8. It comprises a very small part of the plot, but the small scene of Bruce visiting the grave of his son is very powerful. This is a man who buried his parents at a very young age, and now as an adult man scarred by that traumatic event and having dedicated his life to preventing such tragedies from happening again, he has to bury his ten year old son with whom he was just beginning to bond on a level I doubt he has since losing his parents. Writer John Layman hints all of this beautifully in a mere two pages comprised of nine panels. Brilliant. The rest of the issue is dedicated to the aftermath of the Penguin’s part in the “Death of the Family” storyline. Whisked away by the Joker, Penguin has been away from his empire and his holdings for a little too long and left them in the overly capable, but equally untrustworthy hands of his chief lieutenant, Ignatius Oglivy. Layman presented in the first issues of his run the establishment of himself as Gotham’s favorite son once again. With that image, he keeps Batman at bay, preventing him from bringing punitive action against Penguin for his part in the Joker’s plot. However, with his wealth and holdings withdrawn he is not able to evade Batman in the ways he had previously enjoyed. Oglivy and Batman constitute two rivals whose indefatigability finally break the Penguin as he has never been broken before. For those who view the Penguin as a keystone Batman villain, this first arc by John Layman tells a massive Penguin epic that promises to be one for which he will be remembered for years to come. In the backup feature with art by guest artist Henrik Jonsson, Victor Zsasz gets his origin told for the first time, cementing his place in the New DCU canon. Integrally tied into his origin is the Penguin, playing a part in his ruination that led him into the psychotic breakdown that lead to his obsession with chronicling his kills. Their past and Penguin’s current state of vulnerability waxes ominous for Oswald Cobblepot in future issues of Detective. Time will tell where and how far the Penguin will fall.
Requiem for a Robin
Before Watchmen: Rorschach #4was, in my opinion, a little bit of a let down. The series had promise as a blunt, hard edged look into an episode of Rorschach’s life that best exemplified his core essence. Maybe that was the point and it just goes to show how pointless and nihilistic our modern society is. Azzarello started the series out with a killer of women called the “Bard” carving poetry into the dead bodies of his victims. On the other side of things, Rorschach goes up against a criminal kingpin called “Rawhead” owing to the massive scarring on his head from Vietnam. In between fights with the underworld, Rorschach meets a cute waitress at his favorite all night restaurant, the Gunga Diner and they make plans to go on a date. This waitress, Nancy, is approached by a man we know immediately to be the Bard at the end of the third issue. Logically one would assume that there would be a connection, even a tertiary one, between Rawhead and the Bard so as to facilitate the two things happening at the same time. Azzarello does not deliver on that and it is rather trite and arbitrary, which may be realistic, but is far from literary or cinematic, making the story fall apart at the end with little to walk away with. Lee Bermejo doesn’t disappoint throughout all four issues and is the only consistently quality factor.
Swamp Thing #18 is the true conclusion to the “Rot World” event as well as Scott Snyder’s run on the title. Scott Snyder is the one who truly got this series off the ground and imbued it with the genius that made it the success it was. Creating with Jeff Lemire the idea of the Red to go alongside the concept of the Green which Swamp Thing has served since the 80’s, as well as taking perrenial Swamp Thing antagonist Anton Arcane and molding him and his into the avatars of a third force, the Rot, Synder has reimagined and reinvigorated what was once an incredible title into an even more complex, engaging series. With the help of the Parliament of Rot, Swamp Thing and Animal Man are sent through a portal through the very fabric of death itself back to before Anton Arcane finished his bid to turn our world into Rot World. In this way, Alec Holland is returned to Abby before her uncle can kill her. And by that same token he is able to actualize in her the potential for which she was born and that which will prevent the Rot from inheriting the Earth. This issue was truly spectacular, with both triumphant events readers have been anticipating for almost two years and tragic events they’ve been fearing to witness. Scott Snyder crescendoes with this final issue of his run, nailing it down and assuring the continued survival and success of the title while also adding his name to the list of visionaries who have been custodian of it, namely Len Wein and Alan Moore. Artist Yanick Paquette also concludes his run on the series, which was another factor that led to its success. His floral panels made in nonlinear layouts made the title free flowing and organic looking. His depiction of Abby Arcane was both strong and sensual which taken with Snyder’s writing made her a captivating heroine. Paquette also drew the warrior king version of Swamp Thing which quite frankly dwarfs anything that had come before it. This run, now ended, was one that will have its legacies and be remembered as one of the best runs on this very underutilized property.
Death Never Looked So Beautiful
Animal Man #18was less of a conclusion to “Rot World” than its sister issue in Swamp Thing. Buddy Baker, the Animal Man, is sent back by the Parliament of Rot, like Alec Holland, to the moment that would precipitate the downfall of the Red. In so doing he saves his daughter, the true avatar of the Red, but loses something ewually important to him. Jeff Lemire is staying on the title so he does not wrap up his story with this issue, so perhaps it didn’t have that dynamite ending, but it also was the weaker of the two titles. Also Steve Pugh’s art has never been anything to write home about. This will probably be the last single issue of this series I will buy.
Earth 2 #10returns to the realm of Nabu and the revelations of Khalid Ben-Hassin’s past concerning the Helmet of Fate, housing the power of Nabu. Wotan has been hired to obtain this artifact for an unknown group and kidnapped Khalid as those with him at the time, Jay Garrick and his mother, to be used as hostages to assure his cooperation in procuring the Helm. On the other side of the world (hard to say) Alan Scott mourns the death of his boyfriend, Sam Zhao, and learns that his death was not collateral damage, but actually the reason for the deadly train crash. Writer James Robinson maintains his reputation of excellence with a very engrossing plot that is its own self contained universe and continuity. Nicola Scott’s art continues to be gorgeous, making the characters spring from the page. Well worth the read.
Worlds’ Finest #10is very much likened to Detective Comics #18 above, as it continues its ongoing plot while at the same time taking a moment to pay tribute to the departure of Damian Wayne. Though they met only briefly, Helena still felt like Damian was her little brother and his death pangs right alongside the deaths of her mother and father, the Catwoman and Batman of Earth 2. But, as Batman taught her when she was still Robin, one soldiers on. Helena breaks into Michael Holt’s laboratory after the aforementioned industrialist and ex-boyfriend of Karen Starr (Power Girl) sent a mercenary group to Karen’s island laboratory/home. While Huntress employs stealth and planning, Power Girl unleashes a biblical list of calamities upon a handful of Holt facilities with careless abandon that imperils the lives of scores of people. The end brings about a curve ball that may prove enlightening considering all that has transpired between the two Earths. Paul Levitz is amazing, truly, and Kevin Maguire renders his script (solo this month) with his usual ease.
An Older Sister’s Lament
Batwing #18picks up from the tense cliffhanger from last month’s installment with the Chinese mercenary, Sky Pirate, “nuking” Batwing’s hideout and the civilian side of Batwing, Police Inspector David Zavimbe, facing off against his former childhood friend, Racheal Niamo, now the mercenary named Dawn. This issue shows the cost taking a stand against corruption can have in an environment as corrupt as the Congo. David Zavimbe is facing off against hell as he tries to prove that justice can’t be bought or traded for any price. With only one more issue to go in his run on the title Fabian Nicieza is pulling out all the stops and making this a must read title on the periphery of the core Bat-books.
Green Arrow #18gives us the second issue of the new and improved Green Arrow title. Oliver Queen has been dealt a really rough hand. His company has been seized, he’s lost his wealth, he’s been framed for the murder of his father’s friend and the corporate regent of Queen Industries, Henry Emerson, and what’s more, he’s been marked for death by a black archer known as Komodo with ties to both the island he was marooned on as well as his father’s past. In this issue we learn the identity of Komodo as well as a little inkling of what he is after. In the meantime, Oliver gets more hints as to his father’s past that by no means come anywhere close to answering the most pressing questions facing him. Only the eyeless mystery man, Magus, knows what is truly happening and as is usually the case with such enigmatic figures, withholds information, telling Oliver to go to Black Mesa, Arizona to get the answers he seeks. Another departure from the first sixteen issues, is the descent into rock solid reality. The events within have consequences that cannot be written away nor held at bay. In this issue especially, writer Jeff Lemire shows that he is playing for keeps with dark, horrific events precipitating a very ominous future for the Emerald Archer. Jeff Lemire is in rare form with these first two issues and Andrea Sorrentino’s art finds a complimentary place with a title in need of its stark, shaded lines.
Komodo Claims Another Green Arrow Ally
Phantom Stranger #6continues on the the Stranger’s quest to locate his kidnapped family. His first stop last issue was an all out brawl with the Specter. This issue has him going to Las Vegas in search of them and getting involved in a card game with the three sons of Trigon: Belial, Ruskoff, and Suge. The main body of the issue is like a telecast of the World Poker tournament. The story reveals the characters of the demonic brothers as well as the Stranger himself through their playing of the game, but doesn’t advance the overall plot very far. The ending, however, is quite intriguing and terrifying if one is a fan of the series. Dan Didio has done a very good job of taking this nebulous, very alien character from the DC pantheon and re-imagining him in a manner that both maintains his integrity and makes him relatable to the reader at the same time. With the Trinity War on the horizon this series promises to be a keystone title in the future of the New DCU.
Smallville: Season Eleven #11continues the “Haunted” story arc with Clark and Bart attempting to find the answer to the Black Flash and how to stop the Speed Storms that are springing up in Bart’s wake, killing innocent people. The duo go to meet Jay Garrick, the old member of the Justice Society, and the first speedster of the modern era. His forecast for what is to come in not encouraging and all signs point to the death of Bart to allay the death toll. But of course Clark will find a way. On the other side of the Multiverse, we go to Earth 2 and see how Chloe Sullivan from that world is the sole survivor of so many other meteor freaks. Also how, despite his relationship with Lois Lane, Chloe seduced Oliver Queen. Between the two of them, they may even be able to topple the super-powered despot, Clark Kent, aka Ultraman. Bryan Q. Miller keeps the Smallville series alive not only adding to the mythos of the show, but building upon it and answering questions posed in its early seasons, seemingly left to the wind with the cancellation after Season 10. And yet it goes on, and brilliantly so.
Legends of the Dark Knight #6presents three more tales of the Dark Knight. The first one written by Jeff Parker and entitled “Gotham Spirit” shows Batman putting down a liquor store robbery. Reading it one wonders why you even bothered. There is nothing poignant or out of the ordinary about it. Maybe that’s the point. You can’t always have a Poison Ivy, Mister Freeze, or Joker causing trouble. Sometimes its just procedural. That may be the point, but it wasn’t really what someone picks up a comic to read. The next story written and drawn by Michael Avon Oeming tells of Batman fighting a dragon in the sewers beneath Gotham. Yes you read that correctly, a real, honest to goodness dragon, complete with scales, teeth, and leathern wings. Only the fire is missing from this mythic beast. However, its not quite as mythic as it seems, but rather engineered by a man for Killer Croc. Croc wanted something that was his that he could love and would love him in return, like a man and his faithful dog, so he could salvage something real. Even Batman can’t help but be moved by the pathetic nature of Croc’s wish. The third and final story in this issue has the Penguin hiring a supernatural old man to take out his competition. From his white suit to his full on albinic pallor, this man is perhaps one of the most unsettling characters to grace a Batman comic, and as the story progresses that assertion is proved ten times over. Even Batman doesn’t fully grasp the horrors he represents. That Batman can withstand them proves that the Dark Knight is a master of his own inner terror. As ever, hit and miss vignettes for the mythology of Batman, but well done.
So ends the first month of March with an encouraging handful of truly excellent comics.
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.
Green Lantern Annual #1: Art by Ethan Van Sciver, Colored by Hi-Fi
Detective Comics #18: Art by Jason FAbok, Colored by Jeromy Cox
Swamp Thing #18: Art by Yanick Paquette, Colored by Nathan Fairbairn
Worlds’ Finest #10: Art by Kevin Maguire, Colored by Rosemary Cheetham
Green Arrow #18: Art by Andrea Sorrentino, Colored by Marcelo Maiolo
This week and probably from now on I am going to only review the comics I read with which I have a strong opinion. I have been bogged down the past several weeks trying to review everything and I think that that has been a lose/lose situation, holding up my postings and also cluttering them with uninspired, uninteresting nonsense from me. So there may be gaps in my postings where I will review a series out of the blue or skip a month or two. If there is a series you want to see reviewed, feel free to message me at any time and I will try to include the series you are interested in. That said, let’s get to it:
Flash #17brings the gorilla invasion of the Gem Cities to its stunning conclusion. Going through all possible outcomes to the intervention, Flash is unable to see a way in which he can attack Grodd and win. Grodd’s victory is almost assured no matter what is done against him. With his grasp on the Speed Force that he has stolen and his army behind him, his position is impregnable. There is only one factor that Flash gambles on. Barry takes Grodd into the Speed Force where that very principle adjudicates the outcome. On the outside Grodd is King and has immense physical strength, a technologically superior army, and an augmented grasp on the Speed Force. Within the Speed Force, however, the Force itself determines its champion and Flash is the that champion, nearly omnipotent within. In this way, writers Francis Manapul and Brian Buccellato firmly establish the core truths of the Flash. He is the Chosen One of the Speed Force. He is one of the most brilliant tacticians in the DCU, literally living infinite tangential realities in his mind, finding the one in which the day can be saved. But most important of all, he is the Fastest Man Alive. The art and writing of this series are at the top echelon of comics put out today, in a marriage that all should aspire to. My only fear is the hinting of a future relationship between Barry and Iris West. Its bound to happen, but I would rather have it come much later, rather than sooner. I’ve always been a proponent for Patty Spivot and considering how she turned on a dime in her opinion of the Flash, rallying to Barry’s side, I think she’s earned a place with him for a decent stretch of time. Conversely, the way Iris attempted to manipulate Barry in last issue, I think she’s earned a place in the penalty box for an equivocal time period.
Aquaman #17provides an epilogue from the five part “Throne of Atlantis” crossover with Justice League. In this respect it still had the pang of annoyance from the atrocious way that Geoff Johns writes the aforementioned team book. After wresting the crown from his younger brother, Orm, Arthur has ascended the throne of Atlantis. In the wake of his re-coronation those on land still blame him for the massive casualties of the attacks on Boston, Gotham, and Metropolis, and the Atlanteans don’t trust him because of his time living amongst the land dwellers and his leniency concerning their incursions upon the ocean. While talking to Amanda Waller, he is told that Orm is facing the death penalty for his orchestration of the Boston attack, even though Aquaman turned him in under the agreement that his brother would only face imprisonment. So in essence this issue picks up with Aquaman purchasing peace by offering up his younger brother as a scapegoat to slaughter, and is distrusted by both those he above and below the water. So what all did he gain? Who is Aquaman doing all of this for. The answer is given in this issue and it validates him, in my opinion, as a character and raises this title once again above the putrescent stench of Justice League. It also introduces the next arc of the series, hinted at in “Throne of Atlantis” and rife with possibilities. If you don’t know who the Dead King is, you soon will. Great issue by Geoff Johns following a mediocre crossover event
King of the Seven Sea
Batman Inc #8left me at a bit of a loss. Its a powerful issue, but one that makes the reader question what is real and what is only seemingly real. Grant Morrison wrote a way for it to be true, but once again the master storyteller throws a curve ball at the reader, upping the ante and really making us wonder how this thing can possibly end. Talia’s war with Batman is a war of attrition and as the dominoes fall even she is not fully prepared for the horrors she has invoked. The kind of drama and true heartache that this issue elicits in its readers could only be cultivated over years and years of careful planning and composing, as Morrison has done since 2006. Seven years building a beautifully intricate house of cards and now they fall in one swift stroke. This is a Batman series that CANNOT, and MUST NOT be missed.
Red Lanterns #17 takes Atrocitus and the Red Lanterns into the “Wrath of the First Lantern” storyline. In the Green Lantern chapter we are introduced to the concept of the “Great Heart”, a device that houses the emotions of the Guardians of the Universe. Penetrating this inner sanctum, robot watchmen accost Atrocitus offering to remove all emotion from him including his unquenchable rage and the anguish over the murder of his family and race that drove him to his current state. Also interesting is his encounter of the soul of Krona, the architect of the genocide that resulted in the destruction of Atrocitus’ sector of space and his family. On Earth, Rankorr attempts in his own way to purge his rage and live a normal life. It seems possible in this issue, but will time say otherwise? Peter Milligan truly shows his authorial mastery in this series, making monsters twisted by anger into relatable protagonists.
Before Watchmen: Dr. Manhattan #4 concludes this title with Dr. Manhattan altering all realities so that he will always become the entity that the intrinsic field generator forged him into. Yet, still there is a blurriness that obscures his vision of his future, meaning that a large burst of tachyons will be emitted at a certain moment in his future. His initial hypothesis is that this is caused by all out nuclear war at a scale that would annihilate all living things on Earth. When he speaks to Ozymandias about this the latter tries to persuade him that this could be caused by his own self generating energy if it were used to solve the energy crisis on a global scale. This seems logical to him. Writer J. Michael Straczynski then flips the narrative (literally to the point where one flips the comic upside down to read it) and shows how the Smartest Man Alive tricks the omniscient Dr. Manhattan into not only allowing his genocidal plan, but fueling it. Though his assertion of Dr. Manhattan altering ALL possible realities is laughable, J. Michael Straczynski ends the series quite well and perfectly aligns it with the spirit of the original Watchman series from the 80’s.
Talon #5keeps to its high octane pace, pitting Calvin Rose against the full might of the Court of Owls. In the past he’s hit their money, he’s hit their symbology, but in this issue his target is the repository of their information located in a fortress built by his lover, Casey Washington’s, father. Originally he was sent to kill Casey and her daughter Sarah so that the Court could take this building and control the most secure network known to man. Now it comes full circle as he takes it back with the help of the woman he went AWOL to protect. The importance of this building merits more than the usual muscle and Calvin may have gotten in over his head. Scott Snyder and James Tynion IV write this series seamlessly and Guillem March takes that story and makes it visually beautiful with his luscious art.
Teen Titans #17is sort of an epilogue to “Death of the Family” but more so, it is a prologue to an event called “Light and Dark.” Several things happen within. First we are introduced to a doctor working with kids that have unwanted metagenes who is solicited as the new Doctor Light. We also are shown Tim moving the Titan’s home from LexCorp Towers to a luxurious yacht. The team begins to settle in, when Tim begins to exhibit some strange behavior. He puts the moves on Solstice, who has been seeing Bart Allen, aka Kid Flash, but despite brief protestations she succumbs to his advances. Next we see him, Wonder Girl comes into his room wearing one of his t-shirts and nothing else. He then seduces her, which raises some more eyebrows. However, the echos of his honeyed words fall into an infernal looking chamber where Trigon’s daugher Raven sits with a goblet of wine in one hand. So it can be assumed that Raven provides the dark to the title and Dr. Light obviously the light. Writer Scott Lobdell looks to be revitalizing two hallmark Teen Titan characters: Raven, who was once a hero, and Dr. Light, an iconic Teen Titans villain. He’s rarely gone astray, so I wait with great anticipation for what he has in store for us in future issues. Also worth noting is that Nightwind and Teen Titans have swapped artists with Eddy Barrows taking over art duties on this issue and Brett Booth becoming the new Nightwing writer. So far no complaints on my end.
The Dark Side of Tim Drake
All-Star Western #17brings a benchmark character of the DC Universe to 1880’s Gotham: Vandal Savage. Coming to Gotham he is almost like a vampire, walking through the streets and instantly invoking awe and terror from those he meets from lowly criminals in the slums to the Court of Owls in the highest eyries of Gotham society. He also brings with him a plague unlike anything the modern world had seen since the days of the Black Death in Europe. Alan Wayne’s wife, Catherine, attempts to bring food and medicine to the quarrantined parts of Gotham only to be kidnapped by the hordes of diseased. Thus Alan dispatches Hex, Arkham, and three others to go into the cordoned off districts of Gotham to rescue her. The stakes are high and all roads lead to the enigmatic Vandal Savage as the cause of the disease and chaos is explored. In the backup there is a Stormwatch story from the 19th century that frankly I could care less about. They aren’t interesting in this century and they fail to be interesting in the two prior ones. Onto the next issue.
Arrow #4delivers another three chapters in the “Arrow” mythology. First up is a yarn scripted by Ben Sokolowski and Moira Kirkland and drawn by Eric Nguyen where Ollie takes out a name on the list who is a hitman that does underground cage fighting in his downtime. Taking him on in the cage where most die at his hand appears to be the only option to cross his name off. As ever, Ollie commits himself 150%. However, when an alternative to the cage is presented, Ollie refuses to back down, raising the question in Diggle’s mind as to whether or not Ollie isn’t doing this for other reasons. Next up is a tale told by Marc Guggenheim and drawn by the incomparable Mike Grell entitled “Huntress: Year One.” After she bugged out of Starling City, as seen in her two issue arc on the show, Helena Bertinelli goes to Sicily, the land of her forefathers, to learn the art of vengeance from the criminal fraternity La Morte Sussurrata. Narrated from her perspective with Guggenheim’s words and depicted with Grell’s stark artwork this story is chilling to behold and rounds out her character into an even more sinister whole than we left her at two months ago. Finally the story “Limbo” has Oliver going aboard a yacht to destroy a drug shipment come in from southeast Asia. However on the dinghy ride out and onboard the yacht his mind is plagued by ghosts of the sinking of the Queen’s Gambitm hampering his ability to react to danger and almost getting him killed. From this we see that his past still is a raw nerve that the slightest reminder can dredge up dark memories. This comic series is incredible when put side to side with the television series each and every week. Well worth the purchase if you love the television series
The Huntress on the Prowl
Unwritten #46ends the two part storyline following Richie Savoy and Det. Didge Patterson in their investigation of zombie attacks in Australia. Upon deeper investigation the case of the boy who is compelled to write the stories that bring these monsters into being only to have them kill those close to him isn’t unique. Similar instances of others warping time and reality have been reported leading to an explanation of the state of the fictional world post-“Wound.” Mike Carey and Peter Gross are creating a world that redefines how one conceives of the relationship between fact and fiction. The idea that if something is thought, there is a factuality about it because it has been conjured into its own existence is a paradox that provokes much consideration. As this series has gone on from its first issue to this 46th installment the concept has gotten grander, more complex, and even more amazing to contemplate. Next issue promises a return to Tom Taylor in the Land of the Dead and resolution as to his fate. Like anything related to this series, its worth the wait.
Joe Kubert Presents #5begins with a Sgt. Rock story, written by his friend Paul Levitz (a genius in his own right) and of course drawn by himself. This piece has a very elegiac tone that makes me wonder whether during its writing Joe Kubert didn’t already know he was dying. He talks about its composition in the editorial section of the issue, but I still find myself wondering if that wasn’t an unspoken impetus behind the funereal feel of this story. Joe drew and sometimes wrote Sgt. Rock, following his interest and passion for war stories and telling the tales of the unsung heroes of the past that kept us free or laid down their lives for reasons both poignant and foolish. This story is the epitome of poignant, anti-war rhetoric, cutting to the bleeding core of what the character of Sgt. Rock embodies. A middle aged son and teenaged grandson of a D-Day veteran go to the Normandy beach where their unnamed progenitor stormed the German lines and lost many friends. This event mirrors a trip that Levitz took with his own son. They talk about how among those that he fought beside was the legendary Sgt. Rock and Easy Company. Speculation was that Rock died on last day of WWII. Another legend states that he lived past the war and fought in other conflicts. The truth doesn’t really matter because he fought among all of those that died that day and his legacy is buried with each and every one of them. So too would their father/grandfather, whose ashes they spread in the G.I. cemetery among the field of white crosses and stars. In Sam Glanzman’s “U.S.S. Stevens” segment, he chronicles the start of WWII from the days just prior to the Japanese attack through the major hallmarks of the war in the Pacific. Whereas the last four installments have been personal and anecdotal, this one, while set up and worded in an engaging manner, was more historical in a fact by fact presentation. Following it, Joe Kubert writes a two page editorial that introduces the Sgt. Rock feature and his friendship with writer Paul Levitz. In it he also talks about his family, including his eldest son, Dave, whom he tells us is a motorcycle enthusiast that lost a leg in a really nasty crash. His son inspired him to write the next feature about a biker with one leg that takes shelter for the night in an abandoned old house. The house hold many ghosts from past, however, both from its past owners and from the main character’s own past as a soldier in Afghanistan. This story feels like the old horror comics told in anthology books of the 50’s and 60’s, but with a modern setting. A testament befitting one of the golden age maestros of comics. Next he tells us another story of Spit as the nameless boy attempts to make his way on the whaling vessel, and after that Brian Buniak gives us a tale in Angel and the Ape of how Angel and Sam first met. This anthology book is phenomenal and I only wish that Joe Kubert could have made it to another run. He’s given the comic medium and comic book readers over sixty years of classic stories and beautiful artwork. I suppose he’s earned his rest. Slacker.
Requiem for Sgt. Rock
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.
Aquaman #17: Drawn by Paul Pelletier, Colored by Rod Reis, Inked by Sean Parsons
Before Watchmen: Dr. Manhattan #4: Art by Adam Hughes, Colored by Laura Martin
Teen Titans #17: Drawn by Eddy Barrows, Colored by Alex Sinclair, Inked by Eber Ferreira
Arrow #4: Art by Mike Grell, Colored by David Lopez & Santi Casas