Week 78 (Feb. 27, 2013)

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 #17 brings 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 #17 provides 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

    King of the Seven Sea

  • Batman Inc #8 left 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.

    The Moment

    The Moment

  • Talon #5 keeps 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 #17 is 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

    The Dark Side of Tim Drake

  • All-Star Western #17 brings 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 #4 delivers 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

    The Huntress on the Prowl

  • Unwritten #46 ends 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 #5  begins 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

    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.

Illustration Credits:

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

Joe Kubert Presents #5: Art by Joe Kubert

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