Feb. 12, 2014

This was a rather light week on my pull list.  Only a couple things came out and even fewer of merit.  Obviously Batman is one of my top monthly picks right alongside Superman/Wonder Woman. Nightwing, Green Lantern Corps, and Superboy have been quality titles.  Coffin Hill is hanging by the thinnest of threads, falling short of the other titles in Vertigo’s new lineup of titles.  However, The Royals comes out this week, also from the Vertigo Comics imprint, presenting a very intriguing concept.  Here’s how they stacked up:

  • Batman #28 has writer Scott Snyder taking yet another break from the current storytelling to tell a tangent story that introduces his Batman Eternal series which hits stores in April.  While the unexpected hiatus is annoying after last issue’s tense cliffhanger, the story is intriguing and whets the readers appetite for what to expect from this weekly title, out in two months.  Beginning with Harper Row on the mean streets of Gotham after an imposed curfew, she is caught by the cops and taken to a very swanky night club.  From here Scott Snyder introduces the atmosphere Gotham is living under.  Some mystery condition has beset Gotham, viral or other, that necessitates a cure which the owner of this club has sole access to.  The club’s owner and kingpin of the Gotham crime underground is another intriguing twist that maintains Snyder’s reputation as one of the emerging Batman writers of the new millennium.  For me personally, there were two elements of the plot that excited me and put my frustration at not getting closure from last issue’s cliffhanger to bed.  The first one comes in the form of Harper Row.  Harper was introduced by Snyder early on in the rebooted Batman title and then slowly brought to the forefront.  She is an incredible, alternative young woman that is intelligent, quick witted, and tough as nails.  It was really looking like she was going to be the new Robin following the heartrending departure of Damian Wayne.  This is not the case, and while Batman said he wouldn’t allow her into the fold, she does enter the fold in a Robin-esque role, but not under the nom-de-guerre of Batman’s Boy Wonder legacy, of which two girls were once a part.  That actually works well for me, because Harper is very different from the other kid sidekicks Batman’s worked with.  She is an alternative teen with dyed hair, a septum piercing, and a very distinct style. For all their differences in social class, background, and motivations, Dick, Jason, Tim, Damian, and Barbara all seemed to be different shades of conventionality. Harper is a bird of a different color, both figuratively and nominally with the heroic identity she dons in this issue.  What I think really hits for me with Harper is that vast majority of young women I know that are hardcore into the Batman titles are remarkably similar to Harper, not really mirroring Barbara or any of the other female members of the Bat Family. Harper is just really cool and a perfect fit in the re-imagining of the Batman mythos.  Apropos the mentioning of female members of the Bat Family and batgirls, the second element of Batman #28 that got me giddy was the introduction of Stephanie Brown, current Spoiler and “once and future” Batgirl, to the New DCU.   Dustin Nguyen provides art on the book and does a great job capturing the darkly elegant underworld of the criminal elite in this issue.  It’s like a blast from the past back to his days on Batman: Streets of Gotham.  Overall a really great issue that has me primed for Batman Eternal.
    Enter Bluebird . . .

    Enter Bluebird . . .

     

  • Superman/Wonder Woman #5 continues the title in the vein with which it began last October.  Superman and Wonder Woman are very similar, but also very different.  The title has been very Super-centric, having mostly dealt with Supes and his pantheon of characters, i.e. Doomsday, Cat Grant, and Zod and Faora.  While there was a shirt interlude of Superman going toe-to-toe with Wonder Woman’s dickish older brother, Apollo, her world has been in the background for most of the previous four issues.  In this we see her visit Themyscira to “speak” with her mother and sisters Amazons whom the gods turned to stone.  She looks to them for counsel considering her attempt to reconcile the differences between her worldview and Superman’s.  It’s really fascinating, because if you look at each from the other’s perspective you see diametric differences that almost cast the other in a questionable light.  Wonder Woman comes from a proud race that exalt their strength and extraordinary qualities.  Clark comes from a humble Midwestern upbringing that espoused moderation and humility.  Seeing eye-to-eye is a struggle that they both wrestle with and Wonder Woman’s journey to do so is very honest in this issue, exposing her inner virtues as well as some not so flattering prejudices.  However, while these musings go on, Superman is fending off General Zod and his recently emancipated lover, Faora, whom Zod pulled from the Phantom Zone at the end of last month’s issue.  Once he is rejoined by Wonder Woman, you get a “mirror darkly” collision of two couples, one altruistic and noble and the other sinister and brutal.  That is not the only difference, however, as Superman and Wonder Woman are not well suited to fighting side by side, but Zod and Faora are as one and fight like linked appendages of a single body and mind.  Working as they are it becomes clear that Superman and Wonder Woman need to regroup.  The writing and art on this book are superb and at the top tier of any books being put out by any comic company.  Charles Soule is amazing and Tony Daniel’s artwork is some of the best being produced.  This title is well worth the cover price for anyone that like Superman, Wonder Woman, or good character driven comics.SupermanWonderWoman5
  • Nightwing #28 is a beginning of the end for this title.  With only two more issues before its conclusion writer Kyle Higgins is starting to wrap up the final notes of his narrative of Dick Grayson’s journey as Nightwing.  Tony Zucco, his parent’s murderer, is finally in prison and Dick concludes his associations with Sonia Branch, Zucco’s daughter and ambiguous love interest to Dick.  The parting is bittersweet, because while Sonia is a high power businesswoman who isn’t always straightforward, she is a good woman who has always looked out for Dick and I think genuinely cared about him.  With Nightwing’s revealing to the world that Zucco was alive and part of a corrupt mayoral administration in Chicago Sonia was let go of her job as a bank executive, owing to the bad press.  These developments leave Dick in a state of ennui that quickly transitions with the sudden murder of a couple that live in his building.  The couple’s daughter, Jen, had stumbled across Nightwing’s paraphernalia in Dick’s room and discovered his identity.  After her parent’s death she asks Dick to help and tells him she knows he’s Nightwing.  He tries to pretend that she is imagining things, with disastrous results.  The dynamic become almost the same as his when his parents were murdered and he tried to get Batman to help him.  However, with the imminent cancellation of the title it’s not likely this relationship will reciprocate his with Bruce Wayne/Batman.  Kyle Higgins has been on this title since the first issue and terminates with next month’s #29 issue. It’s a shame that he wasn’t able to make it through all 30 issues of the regular series, but unfortunately that is how the cookie crumbles.  His run has been solid, character-driven, and a keen, thoughtful look into the life of Dick Grayson.  His excellent writing has kept me reading the title, despite Dick being the the most “vanilla” Robin in my opinion.  Higgins made me care, and for those that love Dick I can only imagine how great this series has been.  It is uncertain what the future holds for Nightwing, but for two more months we’ve got him.  Here’s hoping they are a good two months. 
  • Green Lantern Corps #28 begins an arc entitled “The Hunt for Von Daggle.”  With the larger event of the Durlan crusade against the Green Lantern Corps looming large over the GL family of books, locating the person of Von Daggle becomes a key front in the supremacy of that  conflict.  Daggle is a Durlan that broke from the Ancient’s control and became a member of the Green Lantern Corps years prior.  Now in deep cover and gone to ground after the fall of the Guardians, he is a person whose loyalty could turn the tides of war in favor of those with whom he chooses to align himself.  Obviously the Durlans are not his favorite people to begin with, and though he would be welcomed back with open arms should he choose to return, why would he?  Conversely, the Guardians (rot in Hell) were equally awful and exploitative, leading him to break ties with the Corps after the fall of central authority.  Robert Venditti and Van Jensen have been working closely to tie the two core books of the Green Lantern line close together and the universal landscape they paint is quite troubling, in the best way possible.  The Corps is facing a MESS! The Durlans have blindsided them with devastating blows.  They stuck deep at the heart of the Corps’ sense of security, blowing up their central command center on their new homeworld, Mogo, and vastly, striking numerous Corps chapterhouses throughout the 3600 sectors.  Even more devastating, a Durlan impersonating Hal Jordan revealed to the Universe that the rings the various Lanterns wear drain the universal reservoir of  light and that the Green Lanterns will not cease to use their rings, but stop anyone else from draining that same energy they are squandering.  Their plan is genius and it leaves the Green Lanterns with both feet knocked out from underneath them.  These devastating blows may have been a death stroke, but for two serendipitous developments: 1) the turning of the Corps worst enemies against their Durlan benefactors in favor of the Green Lanterns, and 2) the existence of Von Daggle, who could tell them all they need to know about taking the fight to the Durlans.  Jensen and Venditti have made the Green Lantern books once again a family of titles worth reading.GreenLanternCorps28
  • Coffin Hill #5 is a series which I want to get behind.  Lord knows Inaki Miranda’s art is awesome.  The plot in a hypothetical way is very good.  I mean if I were to make a rough synopsis of what is going on currently in the title, the backstory, and the general concept it sounds great.  I think Caitlin Kittredge is just having difficulty making it come off.  Eve Coffin is a hard protagonist to relate to, because Kittredge has given us little in the way of understanding her.  She was an angsty teenager who was raised in affluence as part of the venerable Coffin family of Coffin Hill, apparently descended from a fable witch of “Coffin Hill.”  Her and her friends cast a spell in the woods in 2003, but apart from her waking up afterward and finding her one friend naked and covered in blood and the other completely MIA, we don’t know anything about what happened.  She became a cop in Boston, got shot by someone who Kittredge heavily infers has a history with Eve.  Do we know that history?  Not at all.  Whenever there is something that could possibly shed light on who Eve Coffin is or why we should cut her slack for her annoyingly angsty demeanor, Kittredge pulls the “dog treat” away to tease us.  Eve’s surviving friend, Melanie, has woken from her decade long coma, but fallen victim to a demonic possession.  This is an interesting, though slow moving development.  What is lacking is something for the reader to latch onto.  Perhaps all these story elements are best held off until a later date, but again, if you withhold substantial bits of exposition from your readers like the proverbial dog treat they will eventually bite your hand or just lose interest and wander off.  I can’t say that I can strongly recommend this title to anyone.  Right now it is horrendously plotted and shoddily written.
  • The Royals: Masters of War #1 launches yet another groundbreaking Vertigo miniseries.  The Royals: Masters of War begins in 1940 during the height of the Blitz.  Britain’s royal family live opulently behind the walls of their palace while the rest of the country endures of the horrors of the the war with Germany.  However, in this world, due to divine right and purity of blood, the royal families of the world have superpowers.  Writer Rob Williams creates a very intriguing alternate reality with The Royals that hones old superstition and traditionalism into compelling storycraft.  In the history of his series, the French and Russian Revolutions, as well as other depositions occurred specifically because the powered Royals had forgotten their place and lorded their powers over the unpowered masses.  The current king of England was born without
    The Old Order

    The Old Order

    powers and spread the rumor that his three children were born without them as well.  They were not, which sets the stage for our story during Britain’s critical moment in WWII.  Royals DO NOT participate in warfare.  This is a modern gentleman’s agreement that is honored, regardless of whether said royal has powers of not.  King Albert is weak, his eldest son and heir to the throne, Prince Arthur, is a debauch wastrel, with a mean streak when he has imbibed.  The king’s twins and youngest children, Prince Henry and Princess Rose, are raised with their heads in the clouds and only small whisperings of the conflict at large.  Deciding to venture outside the walls of the Palace both witness the full horrors of the German bombing of their countrymen.  For Henry it is far too much to bear and he clandestinely enters the war, downing scores of planes with his bare hands.  With this GIANT breach of international etiquette the floodgates are opened for the remaining Royals to enter the fray. The artwork by Simon Coleby is very somber and robust, almost seeming like Edwardian paintings, which adds a good deal of ambiance to the title.  Rob Williams’ writing is austere and candid, paying the respect to the British Crown one would expect, but the honesty of the characters that live under it.  Just a fantastic beginning to a very promising new series from Vertigo.

    The New Order

    The New Order


A light week, but a very decent batch of excellent comics.

Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Batman #28: Drawn by Dustin Nguyen, Colored by John Kalisz, Inked by Derek Fridolfs.

Superman/Wonder Woman  #5: Drawn by Tony S. Daniel, Colored by Tomeu Morey, Inked by Sandu Florea & BATT.

Green Lantern Corps #28: Art by Bernard Chang, Colored by Marcelo Maiolo.

Royals: Masters of War #1: Art by Simon Coleby, Colored by JD Mettler.

Feb. 5, 2014

This week begins the February batch of comics and with it some of the best titles, in my humble opinion.  Green Arrow is a series that has me ravenous month to month, ready to devour the next issue at the conclusion of each brand new one.  Detective Comics is nearing the end of writer John Layman’s run. Trillium remains one of the best titles Vertigo has in their lineup.  Also out this week: Green Lantern and Red Lanterns share a physical issue this month, Batman: Black & White ends its six issue run, and last but not least Ms. Marvel #1 comes out, written by the incomparable G. Willow Wilson and introducing a promising young lady into the realm of superheroics.  It’s looking like it’s going to be an awesome week!

  • Detective Comics #28 unfolds the second chapter of the three part “Gothtopia” storyline.  Batman has realized the horrific truth behind the shiny city which Gotham has been masqueraded.  Somehow Scarecrow has engineered an airborne toxin that has the populous in a state of euphoria.  With everyone so perfectly enthralled under his chemically enhanced euphoria Batman’s rational thoughts seem like insanity, prompting his allies to capture him and put him in the only place that can treat someone in his condition: Arkham Asylum.  Working with Scarecrow are a ragtag group of Batman villains correlated only by their medical degrees: Harley Quinn (former psychiatrist Dr. Harleen Quintzel), Professor Pyg (surgeon Dr. Lazlo Valentine), Mr. Freeze (medical scientist Dr. Victor Fries), and Merrymaker (fallen psychiatrist Dr. Byron Meredith).  These rogues have Batman and delight at the various draconian means with which they can “attempt to cure him.”  Luckily for Batman, Arkham Asylum’s security is something he’s made a hobby of and even more lucky, the one person who has the inherent traits to counter the toxin is also currently an inmate: Poison Ivy.  Batman’s got these two points on his side, but Scarecrow has more than just the psycho version of the television show The Doctors on his side.  John Layman is ending his run on this title with style in what is shaping up to be a very intriguing bookend arc.  Unfortunately his longtime collaborator in art, Jason Fabok, has left the title to begin his work on the upcoming weekly series Batman Eternal.  It would have been great if they could have hit the finish line together, but c’est la vie.  Next month’s issue will mark the end of a really quality run of Detective Comics and herald one of the most exciting runs to date with the advent of writer/artist duo Francis Manapul and Brian Buccellato, whose run on Flash cemented it as one of the top titles.  It’s an exciting time in Detective Comics and Layman is setting up a killer final issue of his run.
    The Doctors.

    The Doctors.


  • Green Arrow #28 presents another killer issue in Jeff Lemire’s “Outsiders War” arc.  Picking up with last issue’s unbelievable revelation that Robert Queen is still alive, Ollie wrestles with the implications.  Not only is his father alive, but it was his dear old dad that stranded him on the island in the first place and who, as the oni-masked mercenary, had him mercilessly tortured and personally hunted Ollie upon his escape.  Robert spins a yarn of his intentions and only having Oliver’s best interest in mind, but from all angles, not just the inhuman treatment he endured, Ollie has so many reasons to be angry at his father and Shado, which he makes no effort to hide.  Elsewhere, Fyffe and Naomi meet John Diggle in
    Father and Son.

    Father and Son.

    Seattle and are drafted by him in Ollie’s absence to help stop Richard Dragon, the Fist Clan warrior who has his sights on ruling the Emerald City.  Also of note is the return of Komodo, aka Simon Lacroix, to the main narrative.  Komodo is the pretender to the chieftainship of the Arrow Clan, selected by the Outsiders to fill the role once the true holder of the Totem Arrow, Robert Queen, has been dethroned.  This honor bestowed on him is not something that the Outsiders, namely Spear Clan chief Golgotha, let him forget.  Komodo’s entry into the Outsiders inner circle is perhaps the most ominous and captivating development within the issue.  As ever, Jeff Lemire and artist Andrea Sorrentino deliver a phenomenal issue of Green Arrow and an iconic statement in comic production.  As both a writer and an artist, Jeff Lemire has a keen mind for visual storytelling and an apparent affinity for the character.  Over the course of thirteen issues his writing of Oliver has been somber, honest, and thrilling, showing that while Lemire may not love Ollie (he probably does though), he respects him.  No one who’s been on the title since the Reboot has given Oliver his due, playing him as a flippant buffoon with no idea what he is doing.  Green Arrow took up the bow as a vigilante for a reason and Lemire understands that where others have not.  Helping Lemire realize his vision of Green Arrow is artist Andrea Sorrentino, whose stark realist style adds drama and immediacy to the acts portrayed.  What Sorrentino also adds is an artistic approach to multi-sensory depictions of Lemire’s scripts.  Comics are a largely visual medium.  Sound can be insinuated through awkwardly inserted effects that are often overlooked and ignored by readers and touch, taste, and smell can be described contextually by characters or the narrator.  The lattermost three are not easily conveyed, but several times since November Sorrentino has employed an interesting technique of inserting the overwhelming sound effects that characters are hearing and using those as a visual filter for what the reader sees.  In November’s Green Arrow #25 Sorrentino displayed characters reaction to a violent explosion seen in the lettering of the explosive sound effect BOOM!  Sorrentino did it again last issue with the advent of the Shield Clan to the island.  This issue he utilized this effect for two more sequences that immediately made readers aware of the cacophonous din the characters were experiencing in a way that was inescapable but also visually stimulating.  With two graphic geniuses on this title how is it possible for comic book fans to NOT be reading it?!  If you haven’t read it, rectify that error and pick up Green Arrow #17 and take the fast train to having your mind blown.

    Sorrentino Word Art.

    Sorrentino Word Art.

  • Green Lantern/Red Lanterns #28 is a special flip issue combining Green Lantern and Red Lanterns into one book.
    In the Green Lantern portion writer Robert Venditti picks up where Green Lantern Corps Annual #2 left off with the deputizing of a slew of the Corps worst enemies into a loose alliance against a common enemy: the Durlans.  Despite this swelling of manpower, Hal Jordan still has a lot on his plate after the blindsiding assault the Durlans and their Khund allies launched, the decimation of the Blue Lantern Corps, and the conscientious objectors within his ranks that refuse to use their rings owing to their draining of the Universal Reservoir of Light.  There’s little else Hal can seemingly take, but unfortunately he gets a Red Lantern surprise in the form of a raged out, red ringed Supergirl spewing corrosive blood from her mouth.  With Saint Walker, the sole Blue Lantern, out of commission there is only one person left that Hal can call on to extricate this Kryptonian Red, prompting the flipping of the issue.  Red Lanterns picks up on Earth with Guy interceding on behalf of Skallox and Zilius Zox who are being assaulted by the Shadow Thief.  Guy attempts to defuse the situation without resorting to violence in order to show his former lover, Tora Olafsdottir (Ice), that he has changed.  Shadow Thief doesn’t make it easy, but with Ice’s help the situation is defused, albeit not in a way that Guy intended.  With dashed hopes he returns to Ysmault to find Hal Jordan waiting with a contingent of Green Lanterns and tenuously restrained Supergirl.  Guy and Hal’s reception is very icy, but with the wrath of Superman (whom at this point they only assume is related to this mystery Red) impending, cooperation is given.  Elsewhere, Bleez and Rankorr have come face-to-face with the reinstated Atrocitus who has brought a new Red Lantern into the ranks.  Atrocitus, true to his intrinsic nature, bears a massive grudge against Guy Gardner and those Red Lanterns that remained with Guy.  A fight ensues, which Bleez and Rankorr are unprepared for, prompting Bleez to make a strategic retreat for reinforcements while Rankorr pulls rearguard.  This issue by both creative teams of Green Lantern and Red Lanterns is enthralling to read and highlights the interconnectivity of the Lantern titles.  It is revealed here that Hal never actually said that Guy could have Sector 2814, just that he could have A sector.  Guy just presumptuously took 2814 without clearing it with anyone.  That makes me feel a little bit better about the situation, but I do still harbor a bit of an annoyance at Charles Soule and the Green Lantern Group editors for the Ysmault in 2814 decision.  It’s illogical and seems like a lazy plot-device.  Whatever.  The issue also came out before the actual sequence in Supergirl where the ring seeks her out, which happens later in the month in Supergirl #28, so her appearance is a little jarring considering the lack of explanation behind her transformation.  Those points aside, the war with the Durlans is a very intricate, multifaceted concept, and the reemergence of Atrocitus as the head of a tangent Red Lantern group, creating a schism in the Red Lantern Corps is rife with possibilities.  Venditti and Soule are the right men for their respective titles, even if they have their little hiccups.
  • Swamp Thing #28 opens a whole new chapter for our main character.  The Parliament of Trees is no more.  To save our world from a monster unleashed by the out of touch Lords of the Green, Alec Holland destroyed the Parliament from within, making himself the soul voice of the Green. He did this for the greater good, but this action could also appear to some as him basically making himself immortal, as his power will run in perpetuity from the Green giving him life without end.  Regardless of motive, the die has been cast and good or bad he will reap the whirlwind.  Before he brought the house of cards crashing down, he did pull three former avatars from the Parliament into the material world: the Wolf, Lady Weeds, and a third, very ancient Swamp Thing from pre-Roman times.  All three reenter the world at the age in which they were inaugurated into the Green as Avatars.  Though they are now mortal and are destined to live mortal lives, they meet the challenge with eventual gratitude. However, with his return to the mortal sphere Swamp Thing must find his former charge, the elusive Capucine, and make good on his promise to protect her.  It is while undertaking this task that we are finally told the tale of Capucine’s origin in 12th century France.  Her immortal youth, vigor, and martial prowess were the result of an alchemical experiment performed on her brother, herself, and another child by monks to forge them into immortal protectors of that Order.  Through the march of time and the shift of governing powers she was released from her bond, but not the price that the magics used on her exact.  That is why she seeks Holland’s help.  Charles Soule has really taken this series by the horns and made it his own.  It follows in the spirit of excellence that Scott Snyder began when he started the series in 2011, but the plot and world have completely shifted to fit Soule’s new paradigm.  I respect this a great deal.  Writers, even great ones, that try to live completely in the shadow of their predecessors rarely succeed.  With the departure of Snyder I was afraid this series would languish from the transition.  With the selection of Soule Swamp Thing will continue both in excellence and innovation.  I look forward to seeing what comes down the road for Alec Holland.

    Swamp Thing and the Avatars.

    Swamp Thing and the Avatars.

  • Batman: Black & White #6 concludes the six issue anthology series of innovative black and white stories following Batman’s exploits on the streets of Gotham.  This time around Cliff Chiang, Olly Moss, Becky Cloonan, Adam Hughes, and Dave Johnson render six interesting tales pertaining to the Dark Knight.  Cliff Chiang’s tale follows a young Dick Grayson in his initial days as ward to Bruce Wayne and the Boy Wonder, Robin.  In both instances Dick feels he has something to prove and Chiang’s narrative brings the reader into the young headstrong perspective of almost every teenage boy.  Olly Moss writes a story of a pretty, young socialite who spends a night with Bruce Wayne, only to wake up in the morning and find him gone.  Meeting with friends who had similar experiences, this story fleshes out quite interestingly the cloaking element of Batman’s dual identity.  In all cases, the women Bruce Wayne uses to perpetuate his playboy image are often in the background, but rarely are their thoughts and emotions given voice.  He is always cordial and in no way mistreats or disrespects them, apart from keeping them in the dark and sometimes ditching them.  All of the women in this story seem mildly vexed, but never offended, as Bruce later helped to propel their careers or social standings afterward.  Becky Cloonan does a fantastic job rendering these lovely women and the lavish scenes they are treated to by Bruce.  Adam Hughes writes and draws a very intimate story about Catwoman and the inextricable hold she has on Batman.  With Selina in a hospital bed, never to walk again the doctors say, Batman is forced to take responsibility for her condition and realize just how important she is to him.  It’s a very stark tale, beginning to end, that is good, but unsettling as well.  Dave Johnson provides another stark yarn dealing with the Dark Knight in a tertiary fashion.  Following the exploits of a cheap hood who tries to impress a woman with expensive appetites the reader sees how slowly through his own nemishness and greed he is brought low time and again by the Batman.  Batman is the impartial executor of the law that can never be escaped.  This story was entitled “The Man Who Beat the Bat” and it’s in those dark final panels that we see how a two-bit criminal can beat one of the most indomitable human beings on the planet.  Overall, this series has been a must read for Batman fans presenting some deeply thought provoking stories by some of the greatest writers and artists in comics today, and set in black and white, capturing the intrinsic ominousness of the material.  Six incredible issues that do the Dark Knight proud.

    The Man Who Beat the Bat.

    The Man Who Beat the Bat.

  • Trillium #6 marks the return of the title from hiatus.  When last we saw William and Nika they had switched places following the temporal shift of the Atabithi/Incan temple that served as a conduit between their respective space/times.  Now William is living in the 38th century as a human colonist fleeing the dreaded Caul virus and Nika is an Imperial officer in the 1920’s administering British authority in South America.  Both have memories of their past lives before the rift, which leads them to believe themselves insane.  Their perseverance despite this lends credence to the strength of their belief in their cause, but also the bond they share with each other.  Writer/artist Jeff Lemire credits this as “the last love story,” and by Jiminy that looks to be what he is delivering.  His storytelling is deft and subtle, and his artwork is without comparison, adding a very unique, enthralling ambiance to the reader’s immersion into the plot.  Lemire is one of very few writers with the mind to conceive such a story, and the even rarer talent of bringing it off almost single-handed.  There are only two more issues left and the suspense mounts with the ending of this issue. 
  • Ms. Marvel #1 was an unmitigated disappointment.  It should be noted that I haven’t spent my money on a Marvel comic in years.  I’m not a fan of what they had been doing with their brand across the board several years ago and I found the vast majority of their books to be unhinged from what made the characters good originally.  Not a general rule, but true enough from my perspective to preclude me from buying their products.  Ms. Marvel #1 offered several things that appealed to me, so I was eager to pick it up.  I am a HUGE fan of writer G. Willow Wilson’s previous work, most notably her postmodern series Air, and the concept of Kamala Khan, an Islamic teenager taking over the Ms. Marvel persona from her promoted predecessor, Carol Danvers, was also a really intriguing touch.  I, for one, am always a proponent for diversity in comic leads.  I’ve been a huge fan of the Batman Inc. concept and especially original Batwing, David Zavimbe, and his trials and tribulations as the Batman of Post-Colonial Africa.   Nightrunner, the Algerian teenager that became the Batman of Paris, remains in my top ten list of underutilized characters.  And of course, Batwoman was a series that took on a lead with an alternate lifestyle and made an instant classic out of her heroic journey.  Alas, Ms. Wilson wasn’t able to accomplish anything similar with Kamala.  Or rather she didn’t by the end of the first issue.  Basically, to sum up this issue, the reader is given a thorough look at the life of the modern American teen of Near Eastern descent and Islamic faith, through Kamala and her family.  Her parents seem religiously liberal, but socially conservative.  Her older siblings by contrast are more religiously conservative, leaving Kamala to wrestle between her familial culture and the ever pervasive counterculture of being a teenager.  With difficulty she holds off the temptations of keggers and bacon double cheeseburgers, but allows herself her vices such as superhero fan-fictions.  In essence this issue’s sole drive was selling the reader that Kamala is an angsty teen, that she is Pakistani by heritage, and she is a Muslim.  If this were an indy comic or an artistic imprint like Air or Wilson’s seminal Cairo that would make for a very compelling story.  It isn’t, though.  It’s the first issue of Ms. Marvel, a superhero comic.  In the last three pages Kamala becomes Ms. Marvel, but with no rationale.  First of all she has a dream that Captain Marvel bestows the powers on her, which is kind of weird and deus ex machina, leaving the reader with no legitimate idea of how these powers are granted.  Even by comic book standards of gamma waves, radioactive spiders, getting struck by lighting, and intergalactic power rings, having a dream and waking up with powers is farfetched.  But even that underscores the second and more crucial detraction to the title.  There is no REASON for her to be Ms. Marvel.  Probably everyone has heard the adage “When the need is great, the hero shall appear.”  That is an indispensable rule of thumb when it comes to superhero comics.  Batman wouldn’t exist if Gotham City were a paradise.  Without Superman, Metropolis would be a smoking crater from the ill-deeds of any number of his villains.  No matter the superhero there is something, established in their first issue, that gives their move into super-heroics not just purpose, but necessity.  Of the caveats to be played with in writing innovative, avant-garde modern superhero titles this is NOT one of them.  At the end of this issue we have a decently rendered teenager with a colorful personality that gets superpowers.  Great.  Hope she has fun with them.  Inherent in any competent origin issue you need two key elements: 1) development of character, 2) development of conflict.  The first requirement was delivered in spades, a testament to Wilson’s talent for characterization.  However, the second was barely attempted, given the bare minimum of effort in the form of a mysterious fog developing at a kegger Kamala attended earlier in the evening and left before.  No reason or consequence comes of the fog, apart from kids beginning to get sleepy.  Of these two elements, you ALWAYS err on the side of developing conflict over character.  Conflict sets the hook and develops the suspense that draws readers back to the next issue.  Characterization is something that continuously and organically happens as the title progresses. You don’t need to know EVERYTHING about a character before you introduce actual plot.  Wilson could have cut 40% of Kamala’s story out of this issue, distilled the important things that are imperative to know in order to understand her, and given us something to juxtapose her youthful idealism against, i.e. a consumerist crime kingpin, or an evil businessperson with sinister aims.  I’m spitballing here, but this most certainly was NOT a superhero comic, nor a befitting introduction of an altogether delightful young woman into the role of a venerable superheroine legacy.  I’m disappointed because of my respect for G. Willow Wilson as a writer and I am disappointed as a reader.  I might catch up with this series again when it releases as a graphic novel, but I am not going to gamble on its future with my hard earned, already stretched money.  It looks to be several more years before Marvel gets me to buy any more of their comics.  Better luck next time, folks.

    The New Face of Marvel.

    The New Face of Marvel.

 

Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Detective Comics #28: Drawn by Aaron Lopresti, Colored by Blond, Inked by Art Thibert.

Green Arrow #28: Art by Andrea Sorrentino, Colored by Marcelo Maiolo.

Swamp Thing #28: Art by Javier Pina, Colored by Matthew Wilson.

Batman: Black & White  #6: Art by Dave Johnson.

Ms. Marvel #1: Cover Art by Sarah Pichelli & Justin Ponsor.

Jan. 29, 2014

This week rounds out the month with some classic series like Teen Titans and The Flash and adds a few Annuals to the mix.  It also marks the end of the very intriguing Damian: Son of Batman series.  Not the most perfect week of comics, but certainly a few gems to be read.

  • The Flash #27 begins the last arc of writer Brian Buccellato’s run on this title.  Beginning in the 19th century when the Gem Cities of Keystone and Central City were mining camps, we get a two page glimpse at a murder centuries.  Cut to the present when Flash is running down (pun intended) a few of his lesser foes, only to discover a hidden chamber beneath the city streets containing several long dead bodies.  They fit the M.O. of a killer put away on a life sentence, but according to forensics were killed AFTER said person, Hollis Holden, was sent to Iron Heights Prison.  As Barry looks into the facts it slowly dawns on him that this could be the case that clears his father’s name of killing Barry’s mom.  It’s a sad thing that Buccellato is leaving the Flash, because his collaboration with Francis Manapul on the title has truly invigorated this series and made it one of the “can’t miss” series of the current DC lineup.  Though Manapul is absent in art, Patrick Zircher takes over art duties and his panels bring the Flash alive in a whole new way.  I won’t say that I like the art better than Manapul’s, which is in it’s own category, but I definitely love his work and would seek it out in other titles once this title transitions. With this being Buccellato’s last hoorah on the Flash, it’s a distinct possibility that Barry might ACTUALLY solve his mother’s murder.  The question comes down to how well that answer could be given under the current circumstances and the size of Buccellato’s ego.  My opinion could swing favorably or unfavorably on this one.  Two more issues to go . . .
  • The Red Lanterns #27 begins properly the new phase in the Red Lantern mission.  After “Lights Out” Hal Jordan gave Guy Gardner and his Red Lanterns a sector of Space for their own, free of interference from the Green Lanterns.  Guy took 2814, home most notably to the planet Earth.  Writer Charles Soule says Ysmault, the Red Lantern homeworld, is in Sector 2814 and that is the rationale for its selection.  I’m not buying it.  This is one time when I have to question Soule’s logic, considering that Ysmault was used as the prison to house the survivors of the Manhunter massacre of every living thing in Sector 666, except the six Inversions imprisoned on there.  They were imprisoned to keep them out of sight and out of mind so they couldn’t tell the rest of the Universe what the Guardians let happen.  So . . . why would they put these dangerous criminals in a heavily populated sector like 2814 when they could use any of the THOUSANDS of deserted planets in 666 where nobody ever goes and where there are no Green Lanterns patrolling?  I’m pretty sure they did even say Ysmault is in 666 somewhere in one issue or another.  A very ill-conceived gambit to justify the annexing of 2814 by the Reds.  With that taken into account, Guy intends to inspect Earth and show Skallox and Zilius Zox his homeworld, as they have never seen it before.  I am fairly certain Skallox went to Earth in Red Lanterns #10 or the crossover issue of Stormwatch #10.  Soule is appearing to not have done his homework.  Rankorr and Bleez, who have been to Earth many times, are dispatched to find a newly minted Red Lantern and reign them in, only to come face-to-face with Atrocitus, who found new ring himself and initiate the new toad-like Red into the fold.  On Earth Skallox and Zox are left to their own devices, invariably finding trouble.  The main thing that Charles Soule accomplishes with this issue is the reintroduction of Tora Olafsdottir, aka Ice, into the New DCU, as well as recapping the former relationship that Guy and Tora once had.  I like the series, but I do think that of the many things that Charles Soule is currently writing this is the weakest series and the one that probably has the least of his attention.  That’s not to say that it’s bad, but it could be way better.
    An Icy Reception.

    An Icy Reception.


  • Teen Titans #27 appears to be Scott Lobdell’s attempt to make a liar out of me.  Last issue, he and artist Tyler Kirkham went about detailing the secret origin of Kid Flash, aka Bar-Tor, as a “psychotic anarchist” who led a bloody rebellion in a tyrannically oppressive future.  At least that was their aim.  What they showed was a level headed kid that did everything within his power to protect and provide for his little sister, Shira, and make a better world.  He is nothing more than what any person would be in that situation and far from the psychopath they’d depicted him as.  This issue changes that.  It also, to a small degree, changes the rationale behind his surrender to the galactic “Functionary” that oppressed the lower classes of its citizens.  In issue #26 it appeared that the near death of Shira due to his actions snapped Bar out of his revolutionary fervor, making him give himself up to authorities.  While I still believe that he loves his sister and that she is his primary reason for doing what he has done, Scott Lobdell shows that Kid Flash’s surrender was both strategic and deceptive.  Though he was granted witness protection and a new identity in the past, the Functionary show when they try Bar in this issue that they never had any intention of letting him live.  They only meant to break his rebellion by putting on a show trial with him ratting out those that believe in him and fought for him, killing their spirit, and then executing him afterward.  Bar knew this and turned the tables.  After admitting his utter guilt to the charges laid against him the ceiling is literally blown off of the courthouse and the prison guards arm the rebels and teleport them to the scene.  Bar has the Functionary bigwigs in a snare that will ensure that all the government’s heads will roll in one swing of the sword.  No one is going to survive Bar’s coup, not even the innocents present.  In his demeanor and his actions, Kid Flash does take on the crazed temper he’d be cast in leading up to these last two issues.  It’s madness, but the question is whether it is a good kind of madness.  What is happening seems very much like the French Revolution with the prison guards turning against their masters and opening the prisons in an all out breakdown of the system.  I am very curious to see how this predicament pans out and how the crazy Kid Flash from this issue reconciles with the very grounded, moral version that perhaps only I saw in the last issue.  With a character like Kid Flash it’s hard to believe he would get kamikaze’d like, that regardless of whether the title is getting cancelled in April or not.  Scott Lobdell hasn’t let me down so far and has written this series superbly throughout the two and a half year run.  Artist Tyler Kirkham is hitting it out of the park in the realm of art, really making this title a jewel in his resume.  I’m onboard this train till it’s last stop two months from now.  What a ride . . .

    The Face of Teenage Revolution.

    The Face of Teenage Revolution.

  • Talon #15 is yet another comic by Marguerite Bennett that I went into with high hopes, only to have them dashed.  The issue has NO story. Yes, there is something resembling a plot, but at the end of the issue the reader is left with two questions: 1) What did I just read? 2) Why should I care?  The plot (or what passes for one) begins with an African American Talon taking down William Cobb to become the Court of Owl’s new assassin.  It should be noted that this Talon is male, meaning that it is not Strix, who came into her second life in the 50’s. The pacing of the issue is also very jarring, following the reverse order paradigm of Christopher Nolan’s seminal film, Memento.  Slowly we work our way back through this guys life, and while the imagery is very depressing and often tragic, the rationale of why we are even hearing about this guy is not answered.  This is a one-off for Bennett, the title will transition to Tim Seeley’s hands for it’s final two issues, so again the possibility that this is setting something up is dubious.  There was even the possibility in my head that in some way this gentleman was a relative of Casey Washington, but due to the time period and the circumstances described this is just a nameless Talon we may never hear from again.  Every time I come across a title that Marguerite Bennett writes I get a twinge.  Maybe she’s good at writing her own material, but so far everything of hers I have read is her writing a one-shot issue of someone else’s property like her Batman Annual #2 last year, the TERRIBLE Lobo issue she wrote during Villains Month this September, and her lackluster Batgirl #25 in November.  She’s writing two one-shots next month and both have me worried.  Joker’s Daughter features the title character whom I do not care for one iota, so that sounds like a giant waste of money.  Lois Lane is a horse of a different color, because that has the potential to be amazing . . . assuming the writer has the talent to actually pull it off.  Lois Lane is a character that can be incredible, but can also be absolutely terrible if the writer doesn’t know what they are doing. Bennett does not instill faith.  Also the artist on Lois Lane, Emanuela Lupacchino, is an up and coming talent and I’ve enjoyed her past work a great deal, so that is another reason Bennett’s authorship is troubling.  No one wants to be the weakest link that breaks the chain, especially when that chain is Lois Lane, one of the most beloved female characters in comics and someone that fans have been screaming to have her own solo book.  Marguerite Bennett said this of her controversial Lobo issue this past September:
    You can hate me by Page Two. But if I do not have your attention by Page Four, you don’t have to read something of mine ever again.”
    Well Ms. Bennett, you have until the last page of Lois Lane #1 to sell me that you can write anything.  Then I am going to take you up on your previous offer.  
  • Damian: Son of the Batman #4 brings to a close Andy Kubert’s four issue miniseries dedicated to Damian Wayne, whom Kubert co-created with Grant Morrison.  This series has been and continues to be a very Kubert-esque journey through the life of Batman.  Joe Kubert, Andy’s father, had a very characteristic drawing style that influenced comic art for seventy years, but also a narrative style that is like no one else’s, past or present.  Andy has definitely inherited his dad’s artistic style, but he also emotes the same incredible voice as a writer.  Joe could have written this, but at the same time there is a darker edge that is all Andy.  In a lot of ways that is something of which this comic is an allegory.  Damian is taking over for his legendary father, Batman.  In the first issue, even after the death of Batman (it’s actually Dick Grayson) he is reticent to take on the mantle of the Bat, but as events unfold he is thrust into becoming Batman, but a Batman on his terms.  His father, who is still alive though quite old, chastises him for his wanton brutality which does get through to the young Wayne.  But as this issue concludes and Damian actualizes himself as the new Dark Knight he takes on the role adhering closely to his father’s legacy and being Batman in the ways that matter, but also maintaining an element of his own identity while in the role.  Now I don’t know if Joe and Andy had an idyllic relationship or a rocky one like Bruce and Damian in this series, but the parallels of Andy taking the reigns of continuing his father’s legendary name and legacy in the comics industry rings true to Damian’s struggle herein.  As stated, Joe Kubert’s art can be found in elements of more than four generations of comic artists, but his writing style is far more rare and that is what Andy stands as a torchbearer to.  Top to bottom, this was an incredible four issue miniseries and well worth reading for those that love and miss Damian Wayne.

    Long Live the Batman!

    Long Live the Batman!

  • Green Lantern Corps Annual #2 provides and extended format launch pad for the next major conflict in the Green Lantern family of books. The Durlans have been a problem over the past several months, but in this annual their threat begins to solidify.  They have publicly discredited the Green Lantern Corps in front of the Universe, they have rallied the Corps’ enemies into simultaneous attacks on the Corps’ chapter houses throughout the 3600 sectors of Space, and they have drawn blood by blowing up the Corps’ command center on Mogo.  Writers Robert Venditti and Van Jensen give background into the Durlan threat by showing the horrific ruling council of the Durlan race called “the Ancients,” and gives voice to what the Ancients plan.  What’s more, the annual primarily focuses on the Corps’ many iconic villains, i.e. Kanjar-Ro, Bolphunga the Unrelenting, Darkstar, etc., and gives short one to two page glimpses into each villain’s past with a moment that sums up their individual motivations.  These are the worst of the worst who HATE the Corps, so what Venditti and Jensen do next is even more incredible.  Faced with an alliance with the Durlans who none of them trust, this ragtag group of villains pull a 180 and align themselves with the Green Lanterns to take out the Durlan threat.  It’s a tricky gambit and should make for one hell of an entertaining arc.  
  • Earth 2 Annual #2 finally reveals the origin of the enigmatic Batman of Earth 2.  Spoiler Alert, I am going to reveal the identity of Batman.  I feel enough time has passed since the issue dropped that those that want to know already know, but if someone doesn’t, skip this review.  This series started in Earth 2 #0 with the end days of the Apokalips Invasion of Earth 2 being thwarted by the Trinity (Superman, Wonder Woman, and Batman) at the cost of their lives. So with Bruce Wayne dead, who is this new Batman and why is he doing what he is doing?  The breadcrumbs and clues have been stacking up.  Firstly, through his rhetoric and desire to free “dangerous” inmates of the Arkham cryostasis detention center we are shown that he could be considered a criminal and a monster.  Secondly, while doing so he is revealed to have super-strength and a bulletproof hide. Thirdly, we are told that bioscans reveal him to be human.  Finally, when he goes into the containment chambers and releases the inmates he opens the Joker’s tube only to shoot him in the head, revealing a VERY deep loyalty to Batman as a person, but not an adherence to his stringent codes against killing and using firearms.  All of these paint a tantalizing riddle of who this person could be, opening the door for either a very interesting reinvention of a classic DC character or the introduction of a brand new one.  The reveal was, I am sad to say, underwhelming.  Batman is Dr. Thomas Wayne, father of Bruce Wayne, who faked his death and apparently became a junkie and a murderer out to take down mafiosi.  Maybe in the long run this will be a decent development, but it just seemed really tired and unoriginal.  Thomas Wayne as Batman was something novel that writer Brian Azzarello proposed in Flashpoint: Batman and wrote to perfection.  In that title as well, Batman became something very dark and excessive in his crusade against crime, also adopting the use of firearms.  However, Flashpoint Batman was the architect of the Batman persona following the death of 8 year old Bruce at the gunpoint of Joe Chill and the subsequent psychotic descent of his wife, Martha, into the persona of the Joker.  In Earth 2 the use of Thomas as the new Batman just comes off as lazy from a writing standpoint.  He uses guns, he’s got five o’clock shadow, he’s willing to kill, his costume is red and grey/black with sharper edges.  There are too many similarities with not enough validating differences to make Thomas’ role in the book worthwhile.  Now that may change, but the deadbeat dad concept, while tragic, falls flat for me.  This is a shame as I have enjoyed the series, both under the helm of original writer James Robinson and the new authorship of Tom Taylor.  Whether Thomas was Robinson’s idea or Taylor’s, the brunt of responsibility falls on Tom Taylor to make it work however possible.
    A Father in the Shadows.

    A Father in the Shadows.


  • Worlds’ Finest Annual #1 provides a look into the lives of three very important young women from Earth 2.  The title Worlds’ Finest follows Helena Wayne, known as Robin on Earth 2 and Huntress on Earth 1, and Kara Zor-El, known as Supergirl on Earth 2 and Power Girl/Karen Starr on Earth 1.  This annual showcases their lives as emergent heroes on Earth 2, as well as a brief glimpse at a third young woman whom readers of the series Earth 2 will no doubt recognize: Fury.  Helena Wayne is of course the daughter of Bruce Wayne (Batman) and his wife Selena Kyle (Catwoman), and the first and so far only bearer of the mantle of Robin on Earth 2.  As on Earth 1, Kara is the cousin of Superman and in most ways is identical to her Earth 1 counterpart.  Fury is the enigma, as she is the daughter of Wonder Woman and an unrevealed father, and fights for Apokalips.  In this way, the annual focuses on the female scions of the three great superheroes: Batman, Superman, and Wonder Woman.  Paul Levitz is just the writer to tackle this assignment considering his creation of Huntress in the 70’s and his incredible career writing thoughtful comics about uncertain youths flung head first into incredible circumstances.  For proof of that assertion read any of his Legion of Super-Heroes books.  The episodes depicted in this annual concerning Helena and Kara paint the two girls as novices making mistakes, but those early blunders juxtapose against the past two years worth of issues to show how they became the strong, confident women we have seen in the present.  Fury is more cryptic in her portrayal by Levitz and no doubt that is because her origin and the revelation of her motivations are integrally keyed into the Earth 2 title.  In any event, Levitz brings his A-game to these stories and spins into being three events that define the characters of these two dimensionally displaced heroines.

And thus concludes the first month of comics in 2014.  Here’s hoping to many more awesome issues to fill out the coming eleven months.

Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Red Lanterns #27: Art by Alessandro Vitti, Colored by Gabe Eltaeb.

Teen Titans #27: Drawn by Tyler Kirkham, Colored by Arif Prianto, Inked by Art Thibert & Dan Green.

Damian: Son of Batman #4: Art by Andy Kubert, Colored by Brad Anderson.

Earth 2 Annual #2: Drawn by Robson Rocha, Colored by Gabe Eltaeb, Inked by Scott Hanna.

Nov. 13, 2013-Jan. 15, 2014

It has been a criminally long time since I have been able to sit down and interact with my comics in the form of writing this blog and externalizing my thoughts and appreciation for this incredible medium.  With this post I hope to highlight a few of the issues that I have loved in that interim and get back in the swing of reading my comics and writing about them to illuminate their content to others, but also myself.  So here goes:

  • Batman #25 tells the story of the Blackout in Gotham, but oddly enough doesn’t deal with the Riddler at all or explore the consequences of what he did.  Instead, writer Scott Snyder uses the Blackout as a way of the emergent Batman finding an environment in which his skills and innate qualities find fallow ground to root themselves.  Without the Blackout, Batman might have had to try harder to ingrain himself in the collective awareness of Gotham as a force for good and not just a crazy nutjob in a bat costume.  However, as mentioned before, the Riddler is put on the back burner after blowing the Gotham City power grid and submerging the city into chaos in the midst of an impending tropical storm designated “Rene.”  In his place, Batman sleuths a rash of bizarre . . . occurrences . . . in which victim’s bones grow uncontrollably like trees, bursting out of their bodies and leaving the carcass draped atop like a Christmas tree angel.  With some inadvertent tips from future police commissioner James Gordon, Bruce learns that the serum used was designed by a former Wayne Enterprises scientist, Karl Helfren, aka Doctor Death.  When he probes into Helfren’s past, Bruce also learns of an accomplice that will surely shock readers.  The issue is certainly shrouded in mystery, beginning with a brief two page cut to US soldiers in Nigeria finding a door in the ground hidden in the middle of an arid plain and ending with those soldiers dead and their trucks on fire.  How those scenes are rectified with  the main narrative is an intriguing question.  In the backup feature, Snyder and his protegee James Tynion IV write a tale of the Blackout told from the perspective of the average person, in this case a very young Harper Row and her little brother Cullen.  The two kids don’t have a mother and their father is a two-bit criminal and absentee parent, so it falls to them to look out for one another.  Cullen is scared, but Harper (who grows up to be a burgeoning electrical genius) makes a lamp for her brother to push back the darkness.  It’s not easy, but she’s able to overcome when the needs arise.  She tell Cullen that there are people out there that see fear and darkness and rise up to push these forces back and help those that are also scared.  It’s a brief yet poignant commentary on the superhero ideal and what breeds heroes.  Also noteworthy is Andy Clarke’s gorgeous artwork that creates a beautifully stark ambiance of Gotham life.  It goes without saying that Scott Snyder and Greg Capullo, with the added help of James Tynion IV and Andy Clarke, are making this book one of THE comics to pick up.

    What Makes a Hero?

    What Makes a Hero?

  • Superman/Wonder Woman #2 brings on the much anticipated continuation of last month’s meteoric first issue.  In Superman/Wonder Woman #1 writer Charles Soule delivered a very intimated and thoughtful examination of the relationship between two titanic figures of the DCU and the inherent hurdles they have to leap constantly in order to be together and understand one another.  If that was all the issue was it would have been worth the cover price, but Soule and artist Tony Daniel had far more in store for us, releasing perhaps the greatest surprise appearance of the year: Doomsday!  With Supes busy quelling a storm brought about by the monster’s advent, Wonder Woman finds herself going toe-to-toe with the abomination that in a different continuity killed her boyfriend.  Not something to be trifled with.  As this issue opens the Kryptonian horror delivers a sound beating on the unprepared Wonder Woman until it mysteriously phasing out of reality.  When Superman hears her story he immediately knows what the thing was from Diana’s descriptions and realizes that the seals on the Phantom Zone, a temporal extra-dimensional Kryptonian prison, are wearing thin meaning incursions by Doomsday and the other unsavory menaces imprisoned within might occur more frequently.  In order to prepare for the coming battle with Doomsday, should it reappear, Wonder Woman takes Superman to Mount Aetna to meet Hephaestas and commission custom armaments.  While there Supes also meets Apollo and Strife.  Apollo doesn’t make the best impression, following the very haughty modelling of Wonder Woman writer Brian Azzarello.  I know I am not alone in my dislike of Apollo, which is what makes his encounter with Superman so rewarding to readers.  Apollo is a very overconfident, arrogant ass and while he is IMMENSELY powerful, his being the sun god puts him at a unique disadvantage against the Last Son of Krypton.  One almost feels sorry for the jerk.  Almost.  With their order placed and one Olympian force fed a five fingered slice of humble pie, the stage is set for yet another mouthwatering introduction of a classic Superman character.  Soule and Daniel have this series locked down.  Soule’s writing is topnotch and shows a true love and respect for both the eponymous characters.  Superman is a humble farmboy with powers far greater than ordinary men and Wonder Woman is a proud and noble woman from a proud and noble race of myth.  Every word, every gesture, and every reaction is quintessentially appropriate to each.  Tony Daniel has been one of my favorite artist since he and Grant Morrison took on the Batman title.  As a writer I have enjoyed his work as well.  The man is a consummate professional and whether or not he has any say in the actual writing of Superman/Wonder Woman alongside Charles Soule, his ability as a writer no doubt helps him interpret the scripts to convey minutely the gravity and grandeur of the worlds this book is bringing together.  Wonder Woman and Superman come from two very elaborate time honored mythologies that Soule and Daniel are combining like true professionals.  This first run of the series is off to a commendable start.  If they can sustain it, this could overshadow the actual series of both characters.SupermanWonderWoman2-1

    The Hubris of Gods.

    The Hubris of Gods.

  • Batgirl #25 came off a little lackluster for me.  Dealing with the life of Barbara Gordon, it’s hard to figure out what the purpose of this issue was supposed to be.  It’s already established that Gotham was effed during the “Blackout” and in this tie-in Barbara is put in charge of her little brother, James Jr, while their dad’s at work.  He tells her to “mind the homestead,” but while he is gone the Gordon kids are forcefully evacuated because they are in a flood zone.  In the process young Miss Gordon sees how a disaster can turn regular people into savages.  The point of the issue is more about Gotham than Barbara, which is a little disconcerting.  Normally the Batgirl series focuses heavily on Barbara, which is a credit to series writer Gail Simone’s tenure on the title.  Simone GETS Barbara in a very quintessential way.  Marguerite Bennett penned this one, and I think as a newcomer her writing comes off a little green.  She kind of fumbled the Villains Month released introduction of the character Lobo to the New DCU, and this comic felt equally forced.  The look remains the same with series artist Fernando Pasarin providing art on the issue.  Simone comes back next month with the conclusion of her epic “Batgirl Wanted” arc, which should be worth the read.
  • Green Arrow #26 begins writer Jeff Lemire’s epic “Outsiders War” arc.  In his first arc, Lemire DRASTICALLY altered Oliver Queen’s life, taking away his company, framing him for murder, and clearing the board of a few characters from the initial issues of the rebooted series.  He also introduced the Merlyn-esque archer, Komodo, and the inklings of the larger organization Komodo belongs to called the Outsiders.  In his second arc he introduced the rarely utilized GA character, Shado, unused extensively since her creation in the 80’s by Mike Grell.  Komodo and Shado represent two halves of the life and ultimate death of Oliver’s father, Robert Queen.  With those in the rearview, we now enter into the actualization of Green Arrow’s destiny with Lemire’s third arc, entitled “Outsiders War.”  So far, Ollie has taken down Komodo (relieving the onyx archer of one eye) and on two separate occasions he’s taken down the Eastern European despot Count Vertigo.  Both of these men have strong ties to the Outsiders who themselves have very ominous plans for the Arrow Clan. Now Shado is taking him back to the island to fulfill his destiny by claiming the totem arrow that will grant enlightenment and dominion of those dedicated to archery.  Robert Queen sought the island and combed every inch of it looking for the arrow, explaining the picture that Oliver found of Robert, Komodo, and Emerson on the island in the lattermost’s office.  Shado drags him back and as the issue unfolds Lemire has Oliver slowly relive his time there.  His reticence to return can be summed up by the harsh memories he accumulated while stranded and his shame at being reminded of his past.  Ollie was a vacuous waste of space before being washed up on the island and his initial days there were spent shedding that shallowness and tapping into his intrinsic potential.GreenArrow26-1 Robert had instructed Oliver in archery, which Ollie’d never taken serious and rarely practiced.  Those lessons resurface and the birth of Green Arrow began while Oliver discovered the cost of survival.  The next step will be seen in later issues following Ollie’s capture by mercenaries in ski-masks.  Awakening from his deja-vu, Shado leads Oliver to the cave wherein lies the talisman his father had so desperately sought.  Meanwhile, the Outsiders have sent one of their own, a bear of a man called Kodiak, to stop Oliver from becoming the head of the Arrow Clan by claiming the “Green Arrow” totem.  Jeff Lemire’s hitting this one out of the park with his clear love and respect for the character of Green Arrow and his intricate weaving of a mythos that emanates from Green Arrow, but also through the Green Arrow title.  The Outsiders have figured cryptically into the background of the Katana series, where the Japanese warrior Tatsu Toro wrestles with the Sword Clan.  Whether Lemire came up with them on his own or collaborated with Katana writer Ann Nocenti (from whom he took over the horribly written and conceived Green Arrow title) what is obvious is that Lemire is the one running this ball into the endzone for what looks to be a clear touchdown.  The promise of what the Outsiders represent and the stories that will spring forth from this arc are destined to be comic book gold.  Series artist Andrea Sorrentino continues his tenure on the book adding a realism to it with his pencil and an ominousness with the very stark contrast between light and shadow.  Working together, Lemire and Sorrentino are the ideal team to make Green Arrow one of the best DC titles currently being published.

    GreenArrow26-2

    The Fabled Green Arrow Totem.

  • Green Arrow #27 continues writer Jeff Lemire’s odyssey toward Green Arrow’s actualization in the “Outsiders War.”  So far Ollie has returned to the island on which he was marooned with the enigmatic archeress Shado in tow seeking the totem arrow that bestows enlightenment upon the ascendant to the chiefdom of the Arrow Clan.  The Outsiders (semi-unified cabal of clan heads) desire Komodo to take this position in their midst and dispatch the Shield Clan’s chief, Kodiak, and his Viking warriors to prevent Ollie from his destined enlightenment.  Picking up with the dramatic ending of issue #26, Ollie and Shado have found the Arrow Chamber, but as this issue opens they find that the totem itself is nowhere to be seen.  Ollie is shocked, but Shado, true to her fox-like, Zen nature tempers Ollie’s impatience with existential questions, all boil down to why and how Oliver came to be marooned on this exact island that his father, Robert Queen, had just so happened to be seeking for so long and upon which the elder Mr. Queen was murder by Komodo?GreenArrow27-2  The exploration of these questions is interrupted by the advent of Kodiak on the island and sporadic ’Nam flashbacks Ollie has to the crucible moments of his time on the island.  Issue #26’s flashbacks showed Ollie being forced to master archery in order to feed himself while awaiting rescue from the island.  The completion of that stage of his development ends with him being captured by masked paramilitary forces on the island.  This issue shows the next and most apocalyptic stage of his transition from soft billionaire playboy to cold hunter/vigilante.  The soldiers under the command of an Oni-masked man torture Ollie for over a week until Ollie snaps and in a survivalist act breaks through from his effete past to the stark figure he has become in the present.  While dodging the Shieldlings and regrouping Shado finally steers Ollie into understanding that his destiny wasn’t mere chance, but an orchestrated effort by individuals to guide him to becoming the avatar of archery.  Once this concept sinks in, Oliver’s Oni-masked antagonist reappears and confirms everything Shado said and removes the demon mask.  With the revelation of this person’s identity the absolute truth of their claim is baldly underscored, but more so the implications of who this person is changes everything the reader has come to believe about the Green Arrow title and what its has fought for.  Jeff Lemire is a genius. Unequivocally, he has taken this failing title and made it infinitely poignant, gripping, and one of the ‘can’t miss books’ of the DC lineup.  Called “Batman with a Bow and Arrow,” GA has been a C-list character with no superpowers who has often times been overshadowed by the more super, more overtly heroic characters of the DCU.  Only a few writers have been able to lift him above the camp and ridiculousness that have haunted the character since his inception.  Jeff Lemire has earned his place in Green Arrow history.  Lemire’s collaborator Andrea Sorrentino provides incredible artwork that in no small part makes this book so engrossing and visually stunning. The two look to be on the title for some time and that is good news for comic readers and the Green Arrow pantheon of characters.

    GreenArrow27-1

    The Bloody Baptism of Green Arrow.

  • Superman Unchained #5 is a turning point in this celebratory “Super” series, revealing not only the nature of the enigmatic cabal known as “Ascension,” but also what their overall motivations, prompting their insane actions thus far.  At the conclusion of issue #4 the leader of Ascension told Lois Lane that General Sam Lane was “father” to both of them.  This turns out to not only be twisted hyperbole, but also a straight up lie no matter how you look at it.  One demerit to writer Scott Snyder.  Through the exposition provided by the Ascension leader, Jonathan Rudolph, Lois Lane and the audience are given incontrovertible evidence that this man isn’t merely misguided, HE’S NUTS!!!  The choice of fabled Ned Ludd as the “face” of their movement is apt considering that the group’s aims have been stated to be the downfall of technology with an anarchist rationale behind it.  The self-righteous rhetoric of Rudolph does nothing to rectify the collateral damage his insane venture will rain down on humanity nor does it in anyway come off as anything but uber-petulant and misguided.  Rarely nowadays are there examples of such clear cut psychopaths in leading comic titles.  Usually some sort of ethos, pathos, or logos is there to somehow give a morally ambiguous justification to the “villainy.”  The use of this kind of character is intriguing and either says something very good about Snyder’s writing or something very bad about it.  Snyder is an amazing writer that has risen meteorically to the top of the comic field in a relatively short period of time.  He is also an overtaxed talent that is writing several titles simultaneously, so it could go either way.  The rest of the title features Superman continuing his emerging relationship with the proto-‘Superman’, Wraith.  In order to continue their quest to locate and stop Ascension, Supes invites Wraith into his Fortress of Solitude.  Superman represents an impartial, unbiased, non-jingoist superheroic doctrine.  Wraith represents the exact opposite and has TOTALLY drunk the US military Kool-Aid.  Just being in the Fortress elicits a philosophical debate about alien technology and who should have custodianship of it: an impartial, responsible individual or the armed forces of one sovereign nation over the nearly two hundred others.  Superman has the moral high ground here, but Wraith cuts back with an equally poignant response involving Superman’s supposed “non-involvement” vis-à-vis his alternate persona of Clark Kent.  In this way, Superman represents what the character should embody and Wraith portrays what Supes was made to be like from the 1950’s through to most of the 70’s, towing the company line and representing “Truth, Justice, and the American way.”  Visibly absent from the first four issues is the looming figure of Lex Luthor awaiting the resolution of Superman’s battle with Ascension to pounce on the battle wearied Man of Steel.  Introduced in this issue is a flashback, drawn by backup artist Dustin Nguyen, that details Clark’s encounter with a sauced up, ignorant farmer that finds out his secret and tells him at shotgun-point that he can’t hide.  Though only seen in glimpses and lacking resolution, this flashback underscores brilliantly the constant dilemma Superman faces everyday by living among us as one of us.  Snyder has created in five issues a multifaceted series that expertly explores the character and all the aspects that have carried over from the original issues 75 years past.  Scott Snyder and artists Jim Lee and Dustin Nguyen have tapped into the pure essence of the Last Son of Krypton.
  • Teen Titans #26 finally reveals the story of Bart Allen after two and a half years of continuous storytelling.  We’ve been told in the past that he was a dangerous criminal that was reconditioned and sent back into the past where he would be cut off from the dangerous elements he incited.  Several months ago when the Titans were first thrown into the timestream Bart and his girlfriend, Kiran Singh (aka Solstice), witness his younger self attempting to commit an act of mass murder against the governmental body known as the ‘Functionary.’  Now after returning to his native time he is made to see everything he has forgotten after being taken back into custody by the Functionary.  After looking at his past I am finding it hard to look at him as anything as terrifying as he has been painted out of context.  The son of religious parents belonging to a Christian-like faith called Creationism, his parents were murdered for those beliefs.  He lets his parents die in order to save his infant sister, Shira, and get her away from the Functionary “Purifiers” that are initiating pogroms against his people.  He becomes a thief to provide for his sister and when she is imperilled he becomes a killer.  He finds sanctuary for her in a safe quarter while undertaking smuggling missions in unsafe conditions that normally killed the pilots after three runs.  Bart makes a couple of dozen until his number finally comes up, but when it does he doesn’t die, but rather attains the superpowers that connect him to the Speed Force and Barry Allen.  Then he initiates the rebellion of the Functionary oppressed that led to his capture and exile.  It wasn’t until his attacks almost killed Shira, that he abandoned the rebellion he started and turned himself in to the Functionary.  I have to say that this origin, while very compelling, failed to depict him as a criminal.  At least in my eyes.  Everything Bart did was for others.  He sacrificed everything for his sister and later for those like himself and his sister who were like rats being oppressed and constantly harried for no reason whatsoever except that their existence was inconvenient for those above them.  There was no Justice League or any apparatus to help the downtrodden so he initiated an armed resistance movement to create a better future.  As stated before there was a scene not fully fleshed out where he was going to do something alluded to being an atrocity.  If writer Scott Lobdell wanted to justifiably depict Bart as a monster he should have given more weight to that moment with more details or circled back around in this issue to that moment or one like it.  That isn’t to say that Lobdell is a bad writer.  On the contrary.  This issue made me feel for Bart and actually I am in his cheering section.  He looks at himself as a monster, just like all the others who have knowledge of who he was (or will be), but I don’t see that and I still see a hero who puts others and their interests before his own.  If I could actually talk to the character I would share with him the words of Barry Allen, the first Flash (in the New DCU): “Keep moving forward.”  Lobdell knocks it out of the park with the help of new series artist Tyler Kirkham.  Kirkham’s art is sharp, it’s vibrant, and his rendering of Bart gives fine detail to every evocative emotion the young hero feels, which once again roots the character in Kid Flash’s experience, making them feel exactly what he feels, enduring his pain as he struggles through unspeakable situations and revelling in his rare moments of triumph bore out of near constant suffering.  Thumbs up to both Lobdell and Kirkham.  This issue was worth the wait, if not shorter than such an immense story deserves.

    Doubt Anything Except a Brother's Love.

    Doubt Anything Except a Brother’s Love.

  • Talon #14 marks an end to the status quo under which the series has been proceeding since its #0 issue.  Calvin Rose was made a Talon after being groomed for the task by the Court of Owls as a young escape artist in the famed Haly’s Circus.  He quit after being sent to kill a beautiful security heiress and her young daughter.  Going on the lam with her, he developed a relationship with her, which he broke to protect her from the Court’s endless search for their missing “toy.”  While on the run, Calvin meets a man whose life was destroyed by the Court as well.  Sebastian Clark.  Clark helps Calvin hit the Court HARD, crippling much of their infrastructure.  In this guided crusade against their common enemy, Calvin meets up again with his former girlfriend, Casey Washington, and her daughter Sarah.  Soon after it comes out that Sebastian Clarke did in fact have his life destroyed by the Court, but it was because he was the disgraced head of the Court at the time of Batman’s interference and the fabled “Night of Owls.”  Danger literally lurks in all directions and Calvin is beset with daunting odds.  His immediate challenges include Sarah’s kidnapping and subsequent brainwashing by the Court, Clarke has a plan afoot to raze Gotham, and a serum has been injected into his bloodstream that melts necrotic tissue, i.e. his entire body.  To a lesser extent Batman has harried most of Calvin’s moves, because no one operates in the Bat’s backyard without his say-so.  However, despite the insurmountable obstacles Calvin is very much like the classic Jack Kirby creation, Mister Miracle.  Both are master escape artists, and like Miracle, Calvin will not be deterred by any odds, even if Batman is counted among them.  With the conclusion of this issue the Court of Owls still exist, but they are once again weakened and the more pressing threats to fair Gotham put to bed for good.  Calvin’s main objectives are accomplished, but his journey toward ending the Owls’ reign continues, albeit under new circumstances and with new allies.  Writer James Tynion has taken the concept of the Court of Owls and made good use of it with the fifteen issues of this series he has written.

    Batman Inc Just Got a Little Bit Cooler.

    Batman Inc Just Got a Little Bit Cooler.

  • Red Lanterns #26 after the big fight between Relic and the remaining Lanterns of all colors, the Reds were given authority of Sector 2814, which contains our solar system.  To demonstrate their authority they attempt to take out one of the greatest evils of our Sector in the form of a despot named Marshal Gensui.  Gensui has enslaved the secondary race of his world and used them as slave labor to build a sphere around their sun to harness its energies to use for his own ends.  Going up against the forces of the planet Kormorax the Red Lanterns, under the command of Guy Gardner are in hot water.  Marshal Gensui has made a career of culling rage, using his intimidation tactics and scientific acumen he has pacified the brutalized masses he exploits.  With those same technologies he pacifies the Red Lanterns, the angriest individuals in the universe.  With that taken into account, writer Charles Soule concludes the two issue arc with an examination of the kinds of rage that exist and how each type fits various situations in better ways.  Peter Milligan, the original Red Lanterns writer did this very well in the past, making a point of highlighting tertiary Red Lanterns who weren’t as popular and whose backstories haven’t found their way into past issues.  One Red, the ox-skulled Skallox, was a murder and a scoundrel sent up the river by his boss as a liability, another named Ratchet was an individual living in an isolationist, dystopian nightmare that craved interaction and was imprisoned and mercilessly tortured for years as a result.  Yet again Soule highlights two lesser Red Corpsman and their individual brands of rage to show the strength of each.  Zilius Zox takes a lead role in these issues, but Ratchet once again shines above the rest.  While he and his fellow Reds are in a stupefied, euphoric haze due to Gensui’s crowd control technologies Ratchet is able to throw off the stupor with his rage, despite the most powerfully ravenous Reds being unable.  What really highlights his character, and it a lot of ways finishes what Milligan began in that bygone issue, was the totality of Ratchet’s capabilities.  Ratchet wasn’t a bad guy.  He wanted friendship and comaraderie and his inability to do so was what fueled his rage.  Being a Red Lantern gave him his hearts desires so slowly his rage was subsiding, which meant that he wouldn’t be able to wield the ring, which also meant that the ring would no longer be able to keep him alive as it did all Red Lanterns whose blood is replaced with a napalm fluid of refined hate.  He was dying no matter what happened, and what he accomplishes in this issue not only expedites that end before prolonged suffering, it also made an enduring place in the hearts and minds of his fellow Corpsmen.  Soule inherited a vast legacy from Peter Milligan and has made proper use of it, penning a fantastic series.

So ends an abbreviated catchup to the weeks missed in my absence. Check back to this post periodically as I will probably take on some other issues that are of note.

Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Batman #25: Art by Andy Clarke, Colored by Blond.

Superman/Wonder Woman #2: Drawn by Tony S. Daniel, Colored by Tomeu Morey, Inked by BATT & Sandu Florea.

Green Arrow #26 & 27: Art by Andrea Sorrentino, Colored by Marcelo Maiolo.

Teen Titans #26: Drawn by Tyler Kirkham, Colored by Arif Prianto, Inked by Art Thibert & Dan Green.

Talon #14: Art by Emanuel Simeoni, Colored by Jeromy Cox.

Oct. 30, 2013

With October being a five Wednesday month, this last week promises some incredible Annuals from DC, and that is NOT lip service.  Action Comics Annual #2 has been teased at with ridiculous shock endings to Superman #0 and Supergirl #0, put out over a year ago and left to simmer in reader’s minds.  Green Lantern Annual #2 promised to changed everything we know about Green Lantern books and with the past three months of developments that is not an exaggeration.  Nightwing Annual #1 delves into the complicated history of Dick Grayson and Barbara Gordon, which is always awesome.  Neil Gaiman puts out the first issue of a “lost” Sandman story.  Andy Kubert draws and writes a comic centering around Damian Wayne.  The promise of quality storytelling is at an all-time high.

  • Action Comics Annual #2 follows up on the end of “Psi-War” as the Man of Steel is pulled from the aftermath of the psychic fallout in Metropolis to an even more dire threat facing the omniverse at large.  Looking upon all realities and infinite universes, Superman sees waves of chronal energy ripping through all of existence extinguishing stars and the countless civilizations they fostered or were destined to foster.  Upon witnessing this, Superman is brought together with his cousin, Supergirl, and the boy partially cloned from his genetics, Superboy.  At this point the mysterious power that ripped the three Kryptonians from their respective missions reveals itself: The Oracle.  Last seen in the “H’el on Earth” plotline where our solar system was going to be rendered into raw energy to turn back the hands of time and save Krypton from its fate.  This meant the extinction of a race and Oracle came to witness it, but did not intervene.  He has witnessed the death of countless civilizations and watched wordlessly. But with the events of the Villains Month H’el issue we not only saw the origin of H’el, but also that his mission to go back in time before the death of Krypton succeeded.  Therein lies the problem.  With the survival of Krypton the rest of the omniverse is imperiled to the point that the Oracle, for the first time ever, intervenes and actively combats the forces that be.  He sends the two refugee Kryptonians and cloned “abomination” (Superboy) back to their homeworld to show them the true horror of H’el’s efforts.  H’el wants to save Krypton and to rule it.  Infused with seemingly infinite amounts of chronal energy that allowed him to go back time and time again after numerous failed attempts at saving Krypton, until one iteration of Jor-El (his mentor and “father”) in his infinite genius finds a way to do the impossible.  H’el’s attempts contradict the laws of temporal stasis and causality, barring his success all those times before. With Jor-El’s help the survival of Krypton shatters the very fabric of time-space and threatens all of existence.  And what’s more, the Krypton he saves becomes a shell of its former glory and a slave colony of proud Kryptonians heeled at his feet.  In this climate, one of Krypton’s worst becomes their only hope at righting the timestream and saving the omniverse.  Faora, second in command to the great General Zod finds herself the right hand of the Oracle, serving as his
    Faora.

    Faora.

    mouthpiece.  With her guidance, Supergirl is sent to Krypton’s distant past to cull his incursion during the Clone Wars.  Superman and Superboy are sent to the homes of the brothers El, Jor-El and Zor-El, a week before the death of Krypton. Jor-El and Kara (Supergirl) are key in those final moments and the next generation of El men are dispatched to ensure they fulfill their roles in the correct path that Krypton was meant to take.  This includes two very polarizing events.  Kon-El (Superboy) meets a younger Kara who immediately treats him as a friend, when in their past interactions (which in this case would be the future), she did her best to kill him for being a clone and an abomination by Kryptonian standards.  Kal-El (Superman) is transported to his father’s lab, where he is greeted by his mother, Lara Lor-Van, who immediately makes short work of beating him to pulp, thinking him an intruder.  Warmly embraced by a girl who had mindlessly sought one’s death, and mercilessly beaten down by the woman who gave the other life and selfless sent him to the stars for survival, Superboy and Superman define irony in their meeting of the women of House El.  With these events chronicled, Scott Lobdell firmly sets the hook on what promises to be a brutally ambitious crossover event of the Super-books in the month of November.  Since he introduced H’el this past year, the rogue Kryptonian has become an instantly iconic character, embodying all the negative aspects of a dying race and serving as a brilliant foil for Superman and Supergirl.  In many ways he is also a dark reflection of Superboy, who is himself apart from fellow Kryptonians in the genetic altering that birthed him.  H’el, while not a clone, we now know isn’t a natural Kryptonian, and bears the horrifying visage not because of his escape from Krpyton but rather from being born accidentally from genetic material sent into space and bombarded with cosmic energies.  Like Kon-El, his powers will always be different from those of his fellow Kryptonians and his mind a battlefield of constant rage.  Providing art on this issue is regular Superman artist and oft time Lobdell collaborator, Kenneth Rocafort, as well as Dan Jurgens, Lobdell’s predecessor in writing Superman and the artist who rendered Lobdell’s H’el issue in September during Villain’s month.  Across the board, this issue hits all the right notes and fulfills a promise made in September of 2012 with the appearance of Superman and Superboy in Superman #0 and Supergirl #0.  Lobdell looks to deliver on that promise with interest.

    Supermom Lara Lor-Van.

    Supermom Lara Lor-Van.

  • Green Lantern Annual #2 is a monumental installment in the ongoing Green Lantern mythos.  After the defeat of the First Lantern and the downfall of the Guardians of the Universe, the Green Lantern Corps faces an even greater threat in the form of a cyclopean figure known as Relic.  The sole survivor of the universe that existed before the Big Bang and the creation of our universe, Relic witnessed the death of his reality and awoke just before the death of another.  The cause of this cataclysm was the same both time: Light-wielders.  In our universe they are ringslinging Lanterns.  In Relic’s time they were staff wielding “Lightsmiths.”  Relic realized too late that the light of the emotional spectrum which Lanterns and Lightsmiths utilize was a finite resource within each universe and the gratuitous use of that light moves the doomsday clock closer to the hour of oblivion.  The Lightsmiths of the previous universe dismissed Relic’s research, so this time around he foregoes talk and viciously attacks the “lightsmiths” of our universe to save their reality, over their dead bodies if necessary.  What’s worse, the various entities of the emotional spectrum ally themselves with Relic to help realize his plan to refill the universal reservoir at the “Source.”  Writer Robert Venditti re-introduces the Source Wall into the New DCU, resurrecting the wall that Jack Kirby created in his Fourth World books which demarcates the edge of the universe, composed of the calcified remains of those that try to escape its bounds.  What follows in this issue as the surviving Lanterns of four corps come to blows with Relic for one last ditch battle truly changes everything that we had known about the Green Lantern books for the past eight years.  Keystone friendships come to an end, loyalties are tested, and deals are struck that alter the dynamics that have driven this comic for decades.  What Venditti has accomplished with this five part “Lights Out” crossover arc is truly inspired and well thought out, providing entertaining, innovative storylines, but also prescient social commentary.  Relic’s findings about impending climate and energy collapse, dismissed by the powers that be, bears a striking resemblance to global warming and the current state of fossil fuel depletion.  As our best scientists currently discover more about global warming or the mathematics about the consumption of oil and coal versus the remaining stores the shortsighted in power try to silence them so the cogs of the status quo aren’t halted.  Both sides of the issue and the rationale of each are portrayed equally and fairly by Venditti as he examines it through the lens of intergalactic whimsy.  Sean Chen provides exquisite art that brings the finale of this cosmic odyssey to a poignant close, matching the art of Billy Tan quite well.  Overall, if you are Green Lantern fan, this annual is a must read, regardless of your thoughts on the direction the Green Lantern titles are taking.

    The Power of Life.

    The Power of Life.

  • Aquaman Annual #1 resurrects the work of Geoff Johns’ from his “Others” arc, but this time under the pen of John Ostrander.  The Others were a group of gifted individuals that Arthur Curry, aka Aquaman, joined after accepting his Atlantean heritage and becoming king of Atlantis.  To each of his teammates he gifted a different relic of ancient Atlantis.  He kept the trident, but gave the others to the Others.  It is precisely this fact that gives conflict to the issue’s plotline.  The Operative, Joshua Cole, is given his fallen teammate Vostok’s helmet for safekeeping because his mobile headquarters aboard an aircraft allows the most security.  However, that doesn’t stop it from being absconded with by literal flying monkeys dispatched by an equally literal wicked witch.  Along with the the monkeys come hoards of magically altered sea life, prompting the appearance of Aquaman.  The danger of one of the powerful talismans of Atlantis falling into the wrong hands brings the surviving members of the Others together once again, with honorary members, Sky and the Operative’s grandson, Aaron.  Once they come together the trail leads them to Morgan Le Faye, last seen in the series Demon Knights.  After the fall of Camelot and the various kingdoms that followed little has been told about what happened to Morgan.  Now we get to see how she’s holding up in the present.  In Arthurian myth, Morgana was always a seductive figure that corrupted through her feminine wiles, magic, or power.  In the present era, she puts the Others to the test, finding some to be wanting.  Ostrander writes a fantastic annual that feeds off of the burgeoning mythology of not only the Aquaman series, but also Demon Knights, building upon that foundation new levels to each.  His characterization of Johns’ characters feels very authentic and cuts deep to the core of who they are.  The pencils of Netho Diaz and Geraldo Borges are similar to the pencils of Ivan Reis, original series artist, bringing further authenticity.
  • Nightwing Annual #1, written by Nightwing scribe Kyle Higgins deals with a bevy of complex issues and characters.  Concerning his native topic of Dick Grayson’s life, Nightwing is transitioning into a new phase of his life.  So much of his past has been tied to Gotham and Batman’s legacy.  With the fallout of “Death of the Family” he has been forced to break from all that he has known since he took up with Batman after the death of his parents and forge his own path.  Bruce and his acolytes have become his family in lieu of the parents he lost and the family he once had in Haly’s circus.  Higgins’ run began with him inheriting Haly’s and reestablishing that bond with his first family.  In one fell swoop, the Joker took both the circus and his ability to trust Batman away.  So literally, he is cut off from everything he has ever known and is venturing into uncharted territory.  Higgins also picks up Barbara Gordon, aka Batgirl, at an equally low and uncertain time in her life.  Barbara is the eldest child of legendary Gotham police commissioner James Gordon and the big sister of sociopathic serial killer, James Gordon Jr.  Recently, when her little brother found his way into her life he set about terrorizing her and their mother to the point of Barbara having no choice but to “put him down.”  The lattermost moment witnessed by her father, which put Batgirl on the top of Commissioner Gordon’s most wanted list.  Hunted by her father in her masked identity and haunted by her actions in her civilian identity, Barbara has forsaken her all-consuming life as Batgirl and tried to figure out who Barbara Gordon actually is.  In the fallout of two lives crumbling, they look to what fragments of their pasts remain for comfort.  One of the hallmark points of both characters’ geneses in masked crime-fighting was a brief teen romance.  Even before the New DCU, back when Barbara was still in the wheelchair, there was a “will they/won’t they” repartee betwixt the two bat-family members.  They’d come close only for fate to pull them apart again.  Higgins picks that up as the two twenty-something vigilantes attempt to save an imperiled actress in a similar situation to their own.  The parallels between their charge’s rocky romantic past and their own draws them closer and closer toward finally realizing what is right in front of them.  Higgins masterfully tells this story of two broken souls, while re-introducing readers to the classic Batman villain, Firefly, all the while layering plot points and metaphor through the narrative.  Helping him in art are Jason Masters, Daniel Sampere, and Vincente Cifuentes, all of whom have done time on the Bat-books and proven their chops depicting Gotham’s cast of characters.  Overall, Higgins hasn’t lost his touch one iota as a writer of Nightwing and those closest to him.

    Young Love.

    Young Love.

  • Teen Titans Annual #2 finds Red Robin, Superboy, and Wonder Girl stabilized in their madcap roller-coaster ride through time, landing twenty years in a seemingly post-apocalyptic future.  The Justice League has fallen.  Batman has fallen.  All that remains is Beast Boy, Rose Wilson, and a ragtag group of meta-teens.  Through this annual, current Teen Titans writer and former Superboy writer Scott Lobdell realizes the near future of the DC Universe.  Even after he left the Superboy title, he came back for the 19th issue, revealing the human heart of the 25th century monster named Harvest and the one thing he loved above all else: his son, Jonathan Kent . . . the first Superboy.  Jonathan comes back in this issue and clone (Kon-El)  finally meets his original (Jonathan).  From issue #1 of Superboy, the boy Supergirl would name Kon-El has been a living weapon molded to cull super-powered individuals.  Trained and honed into a blunt object, a part of him relishes the role, but another part yearns to be free and experience friendship.  The better angels in his soul are what make him Kon.  The part of him that takes pleasure in the sadism he does is the memetic legacy of Jonathan from whom he was cloned.  At the point in the future when this annual takes place, Jonathan has come out of nowhere and nearly eradicated all the meta-humans.  He and Superboy do battle with Superboy actually coming out on top, proving that sometimes originals can be improved upon.  Inheriting Jonathan’s lack of mercy he attempts to coup-de-grace the psychotic super-teen, but as seen in the Action Comics Annual, is drawn from that point in time-space by the Oracle to aid Superman and Supergirl in stopping H’el’s assault on the omniverse.  No rest for Superboy.  In the meantime, Beast Boy councils Red Robin about this future and how it can be avoided and then explains that all the information and preparations he has given them were at Red Robin’s own behest after the three Titans return from this jaunt to the future to prepare themselves to combat this impending doom.  Seems like a time paradox to me, but I suppose with comics you have to check your disbelief at the door.  At the same time Wonder Girl stumbles upon a scrambled holographic record of Red Robin talking about the death of their team and a traitor among their number.  But the most troubling development is that the dying Jonathan is saved by Beast Boy, dressed in Superboy’s costume, and sent back knowingly with the Teen Titans to the past.  A real Hail Mary, but clearly Beast Boy knows what he’s doing since a pysched out Jonathan in the past would endanger his own existence in this future were his intentions untoward.  However, that being the case, it is highly likely that Lobdell is going to have Kon killed in “Return of Krypton” considering that he’s placed a “fake” Superboy among the Titan’s number.  Scott Lobdell has been rocking every DC book he’s touched and his treatment of both this annual and the Action Comics annual has been nothing short of stellar.

    No Mercy for the Merciless.

    No Mercy for the Merciless.

  • Swamp Thing Annual #2 provides a universe hashing interlude between the gauntlet laid down by the Parliament of Trees to decide who should be Avatar of the Green and the actual fight.  Alec Holland is the chosen avatar, but the up-and-coming Seeder has the gumption to challenge that ascendancy.  Writer Charles Soule takes this annual and uses it not only as a way of showing the preparation that Alec has to fight this battle, but also to morph the Swamp Thing mythos into something that is his own.  Original writer Scott Snyder wrote Holland as a prophesied warrior king of the Green.  A messianic figure.  It worked wonders for his run, making it legendary and an epic read.  However, it also left whoever took over the series painted into a corner.  Here Holland is told that he isn’t actually that special and he was just told that by the Parliament to make him believe in himself enough to defeat Anton Arcane and his Rotworld.  Like most political arenas, avatars curry favor and disdain with various members.  When an avatar is retired they join the Parliament.  Holland is championed by a Swamp Thing that looks like a 17th century British gentleman, going by the name “Wolf.”  Wolf shows Alec the ropes and attempts to give him the lay of the political landscape.  He also arranges for him to speak with a very dangerous former Swamp Thing named the “Lady Weed.”  She was challenged for her status as Avatar and she prevailed, showing the depth of her cunning and ruthlessness.  She prevailed through stone-cold brutality and to drive home the point, she brought about the Great Potato Famine in Ireland, the country of origin to her slain rival.  A Swamp Thing must be ruthless if they are to remain the Avatar.  This blow to Alec hits hard, because his humanity has been something he has desperately attempted to hold onto, despite the inhuman thoughts that the Parliament whisper in his mind constantly.  The Wolf sends him to talk to one last person.  The Swamp Thing that the Parliament created artificially to stand in for him, thinking it WAS him.  This Swamp Thing was a cruel joke that despite not being human found humanity and that is what he imparts to Holland. His message to Alec is simple: “If you are asked to do something that will change you in a way you do not wish to be changed, that will compromise the person you believe yourself to be . . . say no.”  The messages given by Weed and the blue Swamp thing are polar opposites and seemingly disharmonious to the goals that the Wolf would have Alec achieve, since he has stock in the retention Alec as Swamp Thing, but what the Wolf has done is give Alec a choice.  He can do as the Green would have him and be the ruthless killer that Lady Weed was to retain her title or he can be the Avatar he wants to be just like the avatars seen at the beginning of this annual did once upon a time.  Charles Soule has taken this issue in hand and made it his own, following in the tradition of Snyder, but telling a story in his own tenor.  Javier Pina and regular series artist Kano provide lush art and incredible visuals to enliven the brilliant scripting of Soule.  This is very much a talking issue and very light on action, but for Swamp Thing faithfuls it is well worth the read. SwampThingAnnual#2
  • Damian: Son of Batman #1 presents an unofficial Elseworld style story about one of the most captivating and controversial characters to come to the Bat-books in the past decade: Damian Wayne.  The sociopathic son of Batman and Talia Al-Ghul, Damian cuts a very rough figure, but beneath the harsh, abrasive exterior beats a human heart that wants the same things his father did and strives toward those goal with equal vigor.  Damian first entered comics in the version we know in 2005 with Batman #647, written by Grant Morrison and drawn by Andy Kubert.  This past year, after a whirlwind tour of writing four series showcasing the characters of Batman and Damian, Grant Morrison killed off the young Wayne.  This series, Damian: Son of Batman, allows Damian’s co-creator Andy Kubert the opportunity to tell Damian’s story in his own way.  In it Batman is immediately killed at the beginning, blown up investigating a crime that seemingly was committed by the Joker.  In the aftermath, Damian is forced to pick up the pieces.  By this time he has grown into a young man, still occupying the role of Robin.  When he goes out to seek justice for his father’s slaying he finds himself alone.  His mother, Talia, and grandfather, Ra’s Al-Ghul, refuse him aid from the League of Assassins and all three of Damian’s predecessors as Robin are not even mentioned.  Ra’s even goes so far as to say that Damian has a greater duty to Batman than he does to the League, even though Ra’s and Talia genetically engineered him to be the next leader of the League, and suggests Damian take his rightful place as the next Batman to carry on his father’s legacy.  Despite his bravado and his overwrought sense of entitlement, Damian can’t even comprehend doing that and continues on as Robin.  As he had in the past and without any guiding light to stop him, his actions are calculated, precise, and brutal as he cuts a trail through villain after villain in Gotham seeking vengeance for his father.  The only voices of reason are a priest insinuated to be former police commissioner James Gordon and Alfred Pennyworth.  Andy Kubert ends the issue with a left field twist that could fundamentally alter everything this first issue led us to believe.  Kubert is a phenomenal artist and has proven so over the past several decades consistently.  The scion of comics legend, Joe Kubert (Rest in Peace), how could he not be.  However, this issue proves that not only did he inherit his father’s artistic ability, he is also gifted with his father’s narrative genius.  This series in its first installment IS Andy Kubert, revealing through pacing, plotting, style, and voice intimately the kind of person and storyteller that Kubert is.  The only things about this issue that aren’t him are the coloring done by Brad Anderson and the lettering done by Nick Napolitano.  Andy Kubert proved his mettle on the Villains Month Joker issue and now proves it again, giving his co-creation his own four issue send off.  This is certainly a series worth reading, not only for fans of Batman, but also fans of comics in general as the son of a deceased father attempts to take up his mantle and carry on his good works.  Am I referring to Damian and Bruce Wayne or Andy and Joe Kubert?  Therein lies the question.

    Heavy Weighs the Cowl.

    Heavy Weighs the Cowl.

  • Sandman: Overture #1 is the much anticipated prequel to Neil Gaiman’s first issues of Sandman, commemorating the 25th anniversary of the publication of the first issue.  The plot of this first installment is very hazy, ambling like a dream through various locations, situations, and characters.  It begins in a far off galaxy where the dominant form of life are sentient plants, with Morpheus (Dream) taking the form of a white flower upon a tall black leafed stalk.  It is in this visage that he first begins to feel somethingSandmanOverture1-1 strange in the Dreaming.  As the issue progresses, classic Sandman characters are slowly introduced to the reader for any jumpers on to the series, unfamiliar with the previous storylines.  The Corinthian makes an appearance, as does Dream’s big sister, Death, as well as his eldest sibling, the blind sage Destiny.  The issue terminates with Dream being summoned instinctually to a convocation of various versions of himself with the purpose as yet to be revealed.  Though the plot is vague, Gaiman has the style to whet his audiences appetite and entertain them despite the lack of concrete revelation.  As stated before, the plot is drawn out and nonlinear like a dream, adding to the ambiance.  Also contributing enormously to the ambiance is the peerless art of J.H. Williams III who lends his masterful talents.  When Williams and colorist Dave Stewart come together the product is magical and throw in Gaiman’s writing and you know that you are in for a show.  However, the true joy of Williams’ involvement in the book is the fallow ground Gaiman’s script grants him to spread his wings.  Through various segments of the issue his style changes, so while the beginning scenes on the plant planet are rich and vibrant, the following pages in 1915 London are dark, sketchy, and greytoned with inkwash treatments, only to later transition further into woodblocked fully monochromatic panels with the entrance of George Porcullis, and jumping ahead to the end with the four page fold out of different Morpheuses, each version of Dream is done differently some blue line prototypical, some very roughly drawn as though by a child, and some with no lines and just smeared hazy edges as though appearing from the ether.  In short this issue is one with no limitations and endless possibilities.  The pairing of two consummate geniuses on this anniversarial opus is nothing short of inspired and something for geeks around the world to rejoice about.

    Convocation of Dreams.

    Convocation of Dreams.

So ends a truly incredible batch of Annuals and special issues.  There was not one throw away book this week, with every issue put out adding something important to their imprints, titles, and subject material.  A fantastic way to end the month of October.

Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Action Comics Annual #2:  Art by Kenneth Rocafort & Dan Jurgens, Colored by Tomeu Morey & Blond.

Green Lantern Annual #2:  Drawn by Sean Chen, Colored by Andrew Dalhouse & Wil Quintana, Inked by Jon Sibal & Walden Wong.

Nightwing Annual Annual #1:  Art by Jason Masters, Daniel Sampere & Vincente Cifuentes, Colored by Chris Sotomayor.

Teen Titans Annual #2:  Art by Barry Kitson, Art Thibert, Jesus Merino & Scott Hanna, Colored by Pete Pantazis.

Swamp Thing Annual #2:  Art by Kano.

Damian: Son of the Batman #1:  Art by Andy Kubert, Colored by Brad Anderson.

Sandman: Overture #1:  Art by J.H. Williams III, Colored Dave Stewart.

Oct. 23, 2013

This week brings to a close the regular scheduled comics of October and presents some very incredible issues, not least of which being two Forever Evil tie-ins in Justice League and Justice League Dark, and the penultimate installment of the “Lights Out” plot in the Green Lantern books before next week’s Green Lantern Annual #2.  A lot of really great storytelling happening.

  • Justice League #24 is very much an Ultraman issue.  With last week’s issue of Justice League of America we were clued into the basic situation the Justice League and Justice League of America are facing in their enigmatic prison.  So Justice League takes us to the other side of the equation, cluing us into who the new kids in town are and what makes them tick.  As stated above, Ultraman takes center stage in this issue, dictating his life and the formative events that have molded him into the person that stepped through Pandora’s gate from the desiccated Earth-3 to our Earth-1.  In his universe Krypton was destroyed and just before that his parents slaughtered their way to the escape pods, killing everyone so that their son could be the sole survivor and have no competition in his conquest of that universe’s Earth.  Everything is twisted about the world of Earth-3.  The benevolent scientist Jor-El is replaced by a twisted lunatic named Jor-Il, who sends his son away with ultimatums and recordings telling little Kal-Il how worthless he is and that he has to be strong and destroy anything weak.  When he arrives on Earth he is found by the abusive drunk Jonathan Kent and his equally abrasive wife, Martha.  The infant Kal emerges from his rocket and disturbingly tells them in full sentences that they will serve as his parents, shortly after he cuts Jonathan’s hand off with his heat-vision.  Cut to the present where the last son of Krypton-3 goes to the Daily Planet of to see how the counterparts to his Earth-1 self measure up.  First on the docket: his pal Jimmy Olsen.  Considering the polar opposites that Earth-3 predicates from our world’s characters, the Jimmy Olsen of Ultraman’s reality proves to be a very depraved person.  So depraved the he is able to take advantage of Lois Lane, aka Superwoman, and still be left alive, untouched by her and her husband, Ultraman.  Cut next to the end of the issue with the inevitable entrance of Black Adam following the events of his Villains Month issue of Justice League of America. The fight between these titans is then tantalizingly put off for two weeks until Forever Evil #3.  After that solicitations put Owlman as the subject of Justice League #25, promising the debut of even more of his past.  Considering that Ultraman narrates this current issue and the Outsider (Earth-3 Alfred Pennyworth) narrated Justice League #23.4: The Secret Society, it can be assumed that Justice League #25 will be written from Thomas Wayne’s (Owlman) perspective, giving greater insight into the incongruities of Owlman’s actions throughout the Forever Evil books.  Geoff Johns really digs into the inherent psychopathy and malice that is at the heart of the CSA and Earth-3 as a world.  In the past they have always been depicted as very menacing, cavalier baddies that are bad because they are bad.  Here Johns really mines the philosophical beliefs that fuel their deeply malicious drives in ways that are both logical in a very cold way and scientific in their adherence to very strict interpretations of Darwinism.  Ivan Reis, Johns’ many times collaborator on Blackest Night, Brightest Day, and Aquaman, provides stellar artwork to bring to life the very stark, steely life of Ultraman.
  • Justice League Dark #24 kicks off the series’ under the shadow of Forever Evil and the pen of new writer J.M. Dematteis with art still by original series artist Mikel Janin.  The issue picks up as John Constantine awakens from the events of Trinity War, most notably Justice League #23 in which the Crime Syndicate of Earth-3 entered into our world.  He wakes up in the House of Mystery with patchy memories of what happened upon the CSA’s advent into our reality.  When he walks through the house, attempting to get his bearings it transports him across the world, showing him various situations around the world with shadowy creatures lurking around events of negative human emotion.  Most of these events aren’t super malicious or overtly terrible, but as Constantine witnesses them he sees how evil feeds and breeds off of small sins committed absent-mindedly every day, and through this culmination of thoughtlessness and callous actions evil snowballs and coalesces into something greater, like a perpetual motion machine feeding off its own momentum.  At the tail end of this revelation he sees these sins rise up from the collected sins of humanity in the form of a giant serpentine dragon, like a blight on humanity, towering over our world.  Matteis is definitely skewing toward the biblical in his choice of imagery and it is quite apt.  The most poignant thought Constantine strings together from his observations is, “It’s so convenient to blame it all on some sneering, arrogant Satan, sitting on a fiery throne, plotting to corrupt our souls.  But if there is a Devil he’s just another projection of our own sins.”  Pretty astute, considering what a callous jerk Constantine has always been.  When the House returns him from his “vision quest” he is confronted by a version of the Justice League Dark who call him out for his own sins and selfishness.  Zatanna does reveal that he isn’t actually talking to them, nor is he awake, but rather still reeling from the fallout of what happened when he witnessed the second opening of Pandora’s Box.  She reaches into his chest and pulls out a handful of black goo, which allows him to wake up, for real this time, in the House of Mystery.  “Zatanna” is revealed to be the Nightmare Nurse, seen first and last in Phantom Stranger #8-9.  She helps Constantine come to terms with what happened and to ready himself for what is going to happen. To do this she grows a Swamp Thing to aid them since Constantine burned bridges with Alec Holland in the pages of Swamp Thing #22-23. Whereas Justice League of America seems to be about the fate of the Justice Leagues and Justice League appears to be a mouthpiece for the Crime Syndicate, Justice League Dark seems to be a philosophical look at evil itself.  Whether that holds up as Forever Evil continues, or whether there will be a major paradigm shift coming later, remains to be seen, but Matteis has taken hold of this title and made it his own.  Considering the subject material and the tone, this Justice League Dark is ideally suited to Matteis’ style.  It is very similar to his work on the 90’s Doctor Fate series and his current run on Phantom Stranger, giving him lots of room for the dark, twisted, and bizarre.  Mikel Janin remains on the title, retaining a certain degree of continuity over the three writers the series has seen.  Not always the best title, Justice League Dark finds a place among the best as Forever Evil marches onward.

    A Great Blight Upon Humanity . . .

    A Great Blight Upon Humanity . . .

  • Red Lanterns #24 returns to the planet Ysmault following Bleez’s discovery that Guy Gardner is a Green Lantern embedded with the Red Lanterns as a spy. The conversation she witnesses Guy concluding is basically Hal Jordan reneging on the deal that he and Guy made, essentially stranding him in hostile territory and throwing him to the wolves. Thus, Guy finds himself in a situation where he has had enough and washes his hands of Hal and the Green Lanterns forever. So of course Bleez’s reaction is threatening to out him to their fellow Red Lanterns and having him killed. Bleez is a very confident, strong woman and peerless among many of her brethren in blood. It’s one of the things that has captivated my imagination when reading anything that she is involved in.  So going into this she is rather cocky and lays her cards on the table.  But Guy Gardner isn’t new to this game. Guy is a sonuvabitch that doesn’t play by the rules if those rules put him at a disadvantage and ornery-as-all-get-out, he is someone that won’t be pinned to the mat. He immediately throws Bleez’s plan on its head and creates a reverse scenario that puts here in the crosshairs.  She would out him as a spy, but if he said she was a spy, considering her time with Kyle Rayner and the “New Guardians,” it would be a literal case of he-said/she-said.  So politically he has her at an impasse.  As a Lantern, Bleez was never in a position to take Atrocitus (creator and Chief Lantern of the Red Lantern Corps) down in a fight, but Guy DID two issues ago.  So muscle-wise he has the edge.  This culls Bleez’s bravado and makes her docile as a house cat. I’m not sure I am ok with that, but if it is a momentary thing that facilitates Guy’s assertion of the “throne,” I can handle it.  But Bleez CANNOT be cowed like that again. It’s a disrespect to the heart of the character. Guy follows up his defeat of Bleez by escorting her to a meeting of the Red Lanterns and telling them exactly what Bleez was going to tell them: he was sent in as a spy for the Green Lanterns and he has changed his position and wants to lead them. However, Hal chooses that awful moment to show up with the Green Lanterns. Even worse, he still thinks that he can command Guy, stoking the rage within the former Green Lantern following Hal’s betrayal of their deal. Hal tries to placate him and explain the Relic situation, but Guy is seeing red and not listening. Par for the course. When he does calm Guy, Hal explains that the Red Lanterns are the only corps that can stop Relic because their power isn’t strictly light based, but also rooted partially in blood magic which the ancient being can’t fend off with his science. So Guy and Hal broker a deal where in exchange for their help, the Reds get their own space sector where the Green Lanterns will not encroach  Kind of like the deal the Guardians made with Larfleeze. All is agreed and they move forward. Elsewhere Atrocitus and his faithful companion, Dex-Starr the cat, have contained the Red entity the Butcher, morphing Atrocitus into a being called the Atrocity Butcher, giving him horns and bull legs. He kind of looks like Satan in this form.  Carrying on from Green Lantern: New Guardians, Kyle the White Lantern comes and takes the Butcher with the other entities, robbing Atrocitus of his power. Charles Soule is seeding a very different book from the one that began two years ago under the pen of Peter Milligan. To me this is both good and bad. Without Milligan on the book, it would be bad for another writer to try to keep pace with his amazing concepts, but at the same time he set up some very interesting ideas that I would have loved to see actualized. Charles Soule, assuming he doesn’t completely clip Bleez’s “wings,” has the capacity to write an amazing series with great strength and gravitas.  Alessandro Vitti’s art is head and shoulders above the previous work on the series by Miguel Sepulveda, but doesn’t quite match up to original series artist Ed Benes or later artist Will Conrad. However, his lines do emote menace and anger which is 80% of the job.  With these two men on the job, I am optimistic about the future of this book.

    Don't Mess With Guy Gardner.

    Don’t Mess With Guy Gardner.

  • Superman #24 brings about the third and final chapter of the “Psi-War” storyline, picking up from Action Comics #24 two weeks ago.  The H.I.V.E. Queen had been attempting to enslave the world with her collection of human telepaths in preparation for the return of Brainiac.  In this endeavor she came into direct conflict with Hector Hammond, the giant headed Green Lantern villain, who also sought to rule humanity psychically. Both are sucker punched by the Psycho Pirate, a member of the enigmatic “Twenty” that Brainiac created before leaving Earth.  Psycho Pirate was one of the Queen’s prized slaves until he broke his chains and escaped her clutches.  In Action Comics #24 he showed Superman the “Swarm” and told of his intentions to release them and his need of a massive psychic power source to do it.  That source is Superman and instead of asking, he decides to take what he needs by force. His mask, called the Medusa Mask, augments his natural psychic abilities while also partitioning his mind from the intrusion of other telepaths.  It also, true to its name, has golden vipers made of psionic energy that the Psycho Pirate uses to inject a telepathic “venom” into the Man of Steel that warps his perceptions and makes him relive altered versions of hallmark moments in his life.  The trauma these events elicit within his psyche feeds the Pirate the energies he requires.  Lois Lane shows up in a blue, supercharged form and fends off the Psycho Pirate.  Afterward she, Superman, Hector Hammond, and the revived Queen strike a deal to take down the Pirate.  Though they don’t want to, if they don’t work together Metropolitans will rip each other limb from limb and the city will descend into anarchy to further facilitate Psycho Pirate’s goals.  The four work beautifully in concert, allowing Supes to rip the mask off of Psycho Pirate.  We don’t really see what happens to him after that.  The man under the mask disappears and the mask itself attempts to bond with Superman and claim him mind, but Lois again comes to his aid and guides him telepathically to fighting its thrall.  The mask is then destroyed, but at the cost of Lois’s life.  Or so it seems. She actually goes back into a coma after Superman gets her to a hospital.  However, before she succumbs to the fatigue from expending that much energy from her overtaxed mind, she picks up from Superman’s mind that he is in fact Clark Kent.  The question remains as to whether she will remember this when she wakes up or will she think it was all a dream?  Logic would dictate the latter as the most probably event.  It doesn’t make sense that DC would blow his identity two years into the game.  With the defeat of the Psycho Pirate and the weakening of both the H.I.V.E. Queen and Hector Hammond, the Psi-War is officially over. With this door closing the issue ends with Superman being pulled off planet, setting up the coming “Krypton Returns” plotline that I have been eagerly anticipating since September 2o12 with the release of Superman #0 and Supergirl #0.  Mike Johnson once again takes this one home the help of artist Eddy Burrows, whose work on Teen Titans and Nightwing invigorated both titles.

    The Greatest Story She'll Never Tell.

    The Greatest Story She’ll Never Tell.

  • Flash #24 concludes the “Reverse Flash” arc.  The Flash was one of those rare series that wasn’t affected by Villains Month.  While Flash #23 ended with the revelation that Daniel West, brother of Iris West, was the Reverse Flash, Villains Month gave him his own issue which revealed how he got his powers, what his childhood was like with an abusive father, and how the desire for a better relationship with his sister has motivated him his entire life.  The trauma of their childhood under their dad’s tyranny created a divide between them and Daniel desperately wants that closeness back.  This led him to a life of crime, trying to find the quick way to make his sister’s life easier and his own.  It only made things harder though, sending him to prison and taxing his relationship with Iris even further.  After getting out of prison he immediately found himself in the middle of the Gorilla Invasion of the Gem Cities and pulled into the Mirror World where the Rogues were giving citizens refuge . . . while also robbing them, making them pay for the privilege.  Dr. Elias’ Speed Force monorail engine, powered by
    The Wrath of Reverse Flash.

    The Wrath of Reverse Flash.

    the Speed Force energy he had siphoned off of Flash, was also in the Mirror World and exploded, fusing onto Daniel’s body and giving him his Speed Force powers.  After killing other people who were in the Speed Force and taking their energies he gets the ability to travel back far enough in time to kill his father, engineering the childhood he always wanted and “ensuring” the relationship he always wanted with his sister.  Little did he know that the younger versions of himself and sister would be present when he does the deed.  Flash goes back and reasons with Daniel that the trauma he inflicts on the kids is far worse than the continued trauma of their father’s abuses. So he once again is only making things worse for himself, not better.  Barry also enumerates that all the energy coming off himself while he moves through the Speed Force is what actually moves time forward, so the fact that Daniel is the exact opposite of Flash, this is how he is able to travel backward.  While Daniel is distracted he is able to siphon his Speed Force energiesFlash24-2 back and move both back into the present.  Iris is then able to complete the job Barry started by guilting Daniel into submission and he is returned to prison, although completely unrepentant about what he did.  Iris on the other hand tells him that despite how horrific their childhood was it made them both strong and she wouldn’t change the past for anything.  It made her the woman she is.  After concluding this catastrophic time-altering nightmare, Barry is able to make it to Patty Spivot’s parent’s 40th wedding anniversary, meets her dad, and get the last dance with her.  On that note I must once again assert my absolute love of Patty Spivot.  She is an amazing character and I am glad that Buccellato and Manapul put her and Barry together in their run on this series.  After this tender moment, Flash meets Dr. Elias (the two-faced scientist that turned the city against him, stole his Speed Force energies, and tried to kill him a few times) and basically tells him that he created the Reverse Flash, imperiled Iris, and admits that if Iris had been killed Flash would have killed him.  With the ultimatum issued to stay out of Flash’s way, the consequences are left ominously open-ended.  The issue’s conclusion functions as a denouement of the entirety of what Flash as a character IS.  Barry had a really awful childhood, coming home at a young age to find his mother murdered and his father accused of the crime, which Barry has spent the last twenty years trying to disprove forensically, and Lord knows Flash would love nothing more than to go back and prevent it from happening or even witness the crime to discover the killer’s identity and exonerate his dad, but that isn’t who he is.  Probably a nod to Flashpoint, which started this reboot and also created a nightmare world of evil superheroes.  It is an examination of his moral compass and the realization that you can’t go back.  He can only go forward, which is a pretty optimistic perspective for himself and his readers.  You can’t change your past and even if you could you shouldn’t.  If you lived through something terrible it only shows your resilience and gives you strength to take in your forward facing journey.  Brian Buccellato and Francis Manapul really get this character and the world he lives in.  There is so much heart and philosophical brilliance put into the scripting and rendering of each and every panel.  Their storytelling is peerless as is their combined artistic prowess.  This is a one of THE titles to get, encapsulating everything that is GOOD in the comic medium.

    Strength Out Of Weakness.

    Strength Out Of Weakness.

  • Aquaman #24 is the penultimate chapter of the “Dead King” arc, telling a chilling tale of the first King of Atlantis.  It began when a dead king came back to life from the ice of the southern polar ice cap, with the power to control water, as most Atlanteans do, but with the added ability to freeze water, which often is a means of heralding his advent.  He tells Aquaman that he is not the king of Atlantis nor was the throne ever rightfully his, causing some distress for Aquaman, who really sits upon it by necessity, not choice.  In this issue Aquaman wakes up after having passed out from using his telepathic ability to get the aquatic leviathan named Topos (a giant crustacean cephalopod) to attack the villain called the Scavenger from bombing Atlantis with his submarine fleet, thereby saving his subjects lives.  Six months have passed and he is being cared for by Vulko, his former Atlantean adviser who initiated the war between Atlantis and the surface world.  Obviously he is greatly perturbed by this man’s presence, but Vulko takes him to the Dead King’s throne room in Antarctica and shows him the history of the dead monarch.  King Atlan founded Atlantis with utopian dreams of uniting the world, leading many zealots among his court to rise up against him for the affront to their racial superiority.  Headed up by Atlan’s younger brother Orin they attempted to kill Atlan, forcing him into exile and prompting him to forge the six artifacts of Atlantis, seen in the “Others” arc of Aquaman several months ago.  When Atlan returned he found his wife and children were murdered to solidify Orin’s rule.  So the Dead King killed Orin, killed his Queen, and then sunk the continent beneath the sea with the scepter he had forged, killing 90% of the population.  The 10% that survived became the modern Atlantean people.  There were seven nations united under the Atlantean banner who were the scions of the seven seas. Four nations were wiped out and three survived, one of which was the Trench, the fish-like people seen in the first arc of this title.  The other two most likely were the proper Atlanteans and the Xebel, who now live in exile.  That second part is an assumption from context clues.  The issue ends with Arthur realizing that he isn’t the rightful king and Atlan is.  Atlan doesn’t have descendants, and Arthur is the descendant of Orin, a regicidal, fratricidal, racist lunatic.  That’s a tough pill to swallow.  Geoff Johns is a good writer, albeit one that has kind of gone crazy with power, lording over the Reboot willy-nilly.  However, in this final arc he is doing a very decent job writing a compelling story that honors the character and the facets of his character that have buoyed him above the mockery that surrounds the concept of Aquaman with most non-comic fans and a large number of actual comic fans.  This issue is a prime example of “Johns done right.”
  • Larfleeze #4 features the opening salvos of the “Revolt of the Orange Lanterns.”  The series’ protagonist, Larfleeze, is the sole wielder of the Orange Light of Greed making him the only tangible Orange Lantern.  The illusion of there being an Orange Lantern Corps comes from his theft of the life-force of beings he desires to serve him.  They are then recreated as Orange Light constructs and dispatched to do their master’s will.  After last issue, his Corpsmen are not only free of his control, but also returned to corporal life.  With their bodies and self-determination restored they turn on Larfleeze and seek revenge for their murder and subsequent enslavement.  What this issue does that is interesting is fully introduce members of the Orange Lantern Corps and give them personalities.  Conceptually, the members of the Corps always depicted in the background were given names and back stories, but never contextually within the Green Lantern titles.  Glomulus, Larfleeze’s cute little toadie, is the only Orange Lantern besides Larfleeze himself to be depicted with any sort of personality.  In this issue we meet Clypta (a faceless twi’lek-looking woman), Wrap (a cycloptic mummy), Sound Dancer (a fanged, green-skinned swamp monster with long stringy hair obscuring her eyes), Nat-Nat (a lamprey millipede), Tammal-Tayn (a squid-faced, furry arachnid), and a centaur-like character that has as of yet not been named. The depiction of Glomulus, I feel was very off, and falls short of the incredible way he was depicted in the “Ring Thief” arc of Green Lantern: New Guardians.  Tony Bedard hit on something really wonderful, now squandered by writers J.M. DeMatteis and Keith Giffen.  Larfleeze is an obstinate, ornery psychotic, but even he cannot stave off that kind of assault.  Elsewhere in the universe, Larfleeze’s once butler, Stargrave, is escorted by his new mistress, the Wanderer, to the home of her sister, Dyrge, who is just as cheerful as her name implies.  Giffen and DeMatteis write an extremely comical and quick-witted cosmic farce (though sometimes misguided) that both explores the Green Lantern universe and lampoons it.  Scott Kolins’ art enlivens the script with sharp lines and action pack panels.  This is certainly a comic to read on a rainy day when you are down in the dumps.

    Beware the Orange Lanterns' Might . . .

    Beware the Orange Lanterns’ Might . . .

  • Talon #12 returns after the Villains Month hiatus with an insane amount of plot points converging in a perfect storm of chaos for Calvin Rose and allies.  Previously, Calvin had chased exiled Court of Owls grandmaster, Sebastian Clark, to Santa Prisca where the disgraced leader tried to use Bane and his mercenary army to crush the Court.  Bane, however, is not a force that can be controlled and though he sets out for Gotham with a massive strike force of highly trained mercenaries to destroy Gotham he does so with no intention of following someone else’s script.  Back in Gotham, Calvin’s lover Casey Washington and her daughter Sarah were captured by the Court.  Sarah was taken to a facility where she would be subliminally conditioned to be a weapon and Casey given to the 19th century Talon infamously known as the “Gotham Butcher.”  Casey escaped his sadism, finding her way back to Calvin, minus an arm and an eye.  This issue follows the Butcher breaking from Court control after the loss of their trump card against Calvin.  The Butcher gained his name in the 1860’s by slaughtering hundreds of Gothamites in very bloody and public ways, forcing the Court to retire him to protect their anonymity. The modern Court awoke him with the delusion that he could be tamed with science and high-tech restraints.  Where there’s a will there’s a way and the Butcher CANNOT be silenced or leashed, unleashing a whole new level of horror on Gotham, as if Bane and his commandos weren’t enough.  Writer James Tynion reinforces the connection of this series to the initial arc of Batman, which he cowrote, that first introduced the Court of Owls.  After his premature birth, Thomas Wayne Jr. (little brother of Bruce) was supposedly taken to the Carpenter House for Boys, which had been a haunted place since the fire of 1862.  The Butcher started that fire and also set into motion the steady decline of Gotham.  Bane, Clark, the Butcher, and the corner Court.  The stakes are high going into the final issue of Tynion’s run with “lucky” issue #13.
  • Teen Titans #24 is an unseated trip through time and space.  After being flung into the time-stream by Johnny Quick in Forever Evil #2 the Teen Titans are separated and tossed to the temporal trade winds.  When writer Scott Lobdell began writing this series two years ago, he had the Mexican meta-teen Bunker (aka Miguel Jose Barragon) meet Red Robin on a freight train, saying Red Robin had told him to meet him there.  Tim Drake (Red Robin) had no recollection of that ever happening.  Thanks to Johnny Quick and the roller-coaster ride he threw the team into that conversation is actualized.  Meanwhile, Wonder Girl (aka Cassie Sandsmark) and Superboy find themselves in ancient Egypt fending off an invasion of solar intruders called the Sunturnians, last seen in Lobdell’s Superman #19.  Solstice (aka Kiran Singh) and Kid Flash (aka Bart Allen) are sent into the 25th century, Bart’s native time, to witness the events that made Bart into a heinous criminal, unbeknownst to his amnesic mind.  Raven is sent to the medieval era and set against the Demon, Etrigan.  As these moments in time unfold before their eyes, connections are made and slowly the team find one another through the vast reaches of the ages and anchor themselves until Red Robin can find a way to extricate themselves.  However, there are forces within the team that are set to tear them apart.  Scott Lobdell has been one of the keystone pillars on this title.  His out-of-the-box plotting and edgy storytelling has led to some of the most incredible, engaging Teen Titans storylines since the days of Wolfman and Perez and their New Teen Titans series in the 80’s.  Providing guest art is Angel Unzueta, mimicking well the style of regular series Eddy Barrows.  This was really a great issue that carries on the overarching plot of Forever Evil while tantalizing the reader with plot reveals that have been in the works for months, if not years, including the identity of Bart Allen and the horrific acts he perpetrated in the future.  The traitor in the midst of the Titans.  Lobdell maintains this series’ must-read status.

    The Origin of Kid Flash.

    The Origin of Kid Flash.

  • The Unwritten #54 concludes the massive Fables/Unwritten crossover in an epic manner.  Mister Dark has the war with the Fables all but won.  Truly, every single modicum of resistance the defenders of Fabletown offer turn to dust before him.  What Frau Totenkinder knew and shows the reintegrated Tom Taylor is the nature of the world in which they exist and its relation to the power of the written word.  That has been the guiding principle of the entire series and, apropos the conclusion of this crossover event, harkens back to the very first pages of The Unwritten, almost five years ago.  The issue hits its ending hard leaving a cliffhanger whose ramifications resound through an infinity of possibilities.  Nearly all the Fables are dead and those that aren’t by issue’s end are close to it.  Mister Dark is an unstoppable force.  Only the undoing of everything can stop him in his tracks.  But once reality is undone can it be redone?  Will the world be made right again or completely restarted?  Through the imagery of the horn used in the opening pages of The Unwritten in the Harry Potter-esque “Tommy Taylor” books, cowriters Mike Carey and Peter Gross prove that they have been working towards this moment and the answers to come for nigh on half a decade.  THIS is a moment in Unwritten history that is both exciting and terrifying for the series’ faithful.  And what’s worse, it is put on a three-month hiatus forestalling the resolution to those troubling questions.  We’ll just have to wait until March to figure it all out.
  • T.H.U.N.D.E.R Agents #3 brings to light the one of the most pressing questions of the series thus far.  Entitled “The Judgment Tower,” it has seen the international super-terrorist, the Iron Lady, seizing a top-secret T.H.U.N.D.E.R installation in Kashmir and capturing two agents.  The base was so secret the chairmen and women of The Higher United Nations didn’t even know about it until it went dark with two agents down.  When asked to explain her actions Director (Kat) Kane remains cryptic about what the facility’s purpose was and why she kept it secret from her superiors.  Interlaced within these moments are retrospectives of her time as an agent, alongside her twin sister, Kelly.  Kelly has been strongly insinuated to be the Iron Maiden and clearly this whole conflict over the cave not only springs from a power grab, but some familial connection from the past.  That assertion is confirmed in this issue with the revelation that Kane had found a giant subterranean medieval parapet of medieval design not far from T.H.U.N.D.E.R HQ.  The tower, though seemingly from the middle ages, dates back over a million years ago before the evolution of man as the dominant species on our planet.  It also emits a cosmic radiation encountered only via radio telescope from the depths of space.  So . . . who built this tower and for what purpose?  That remains to be seen.  But Kane not only found this tower twelve years prior with her sister.  She also found one in Kashmir.  That is what the facility was built to contain and study and that is why two elite agents fell into enemy hands guarding it.  Though the facility is under Iron Maiden’s control, the newest and perhaps most powerful T.H.U.N.D.E.R agent, Len Brown, aka Dynamo, is inserted into the base and several moles within her organization surface for the good of the mission.  However, the true purpose of the tower and its realization begin with the last page.  My familiarity with T.H.U.N.D.E.R Agents has been painstaking, finding collections of the original series over several jumps in publishers and many decades.  Though not complete, I have read several versions of T.H.U.N.D.E.R and though this has its differences from several of the latter versions, Phil Hester’s attempt with this new series hits uncannily close to the style and feel of the original series by Wally Wood and the writer Len Brown who lent his name to the main character, Dynamo.  Fifty years later and the same characters are rendered with the same quality by Hester and his partner in art, Andrea Di Vito.  For superhero excellence outside of the Big Two, this series is the prime choice.
    The Dark Tower Rising.

    The Dark Tower Rising.

     

Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Justice League Dark #24: Art by Mikel Janin, Colored by Jeromy Cox.

Red Lanterns #24: Art by Alessandro Vitti, Colored by Gabe Eltaeb.

Superman #24: Drawn by Eddy Barrow, Colored Pete Pantazis, Inked by Eber Ferreira.

Flash #24: Art by Francis Manapul, Colored by Brian Buccellato.

Larfleeze #4: Art by Scott Kolins, Colored by Mike Atiyeh.

Teen Titans #24: Drawn by Angel Unzueta, Colored Pete Pantazis, Inked by Art Thibert.

The Unwritten #54: Art by Peter Gross, Colored by Chris Chuckry.

T.H.U.N.D.E.R  Agents #3: Art by Andrea Di Vito, Colored by Rom Fajardo.

Oct. 16, 2013

This week is a one of revelation, bringing quite a few story arcs to their satisfying conclusion and starting a few new ones.  Justice League of America reveals a major secret, Batman/Superman ends its first storyline with unique style, and Supergirl picks up after a “Who Shot J.R.” style cliffhanger dangled over two months worth of issues.  Meanwhile, Forever Evil: Rogues Revenge kicks off this month with its first issue and Batman & Robin emerges from a slew of guest stars with a five issue Two-Face “team-up.”  An awesome week to be sure, so let’s jump into it.

  • Justice League of America # 8 answers the question of what happened to the three Justice Leagues.  Since the beginning of Forever Evil the Crime Syndicate of America from Earth-3 claimed that they had killed the Justice League.  The vision of the world’s saviors defeated at the hands of a superior foe has robbed humanity of hope.  But as this issue opens Stargirl and Martian Manhunter awaken in an open field with only blue skies and green grass as far as the eyes can see.  As they move through it they realize that what they are in is a state-of-the-art prison, but how it works and to what end remains obscured.  Traversing the prison, Manhunter discovers that all League members are in fact alive and penned in very specialized cells that cater to their inherent weaknesses.  Wonder Woman, the Mighty Amazon, is forced to fight a pointless, neverending battle against humanity and her Amazonian sisters to save the lives of the two men she loves, Col. Steve Trevor and Superman.  Captain Marvel, a young boy living in the body of a titan, is placed in a city where the massive destruction he incurs in his superheroics immediately right themselves, even the slain immediately resurrecting.  For a little boy with infinite strength and a victim complex this scenario is intoxicating.  Flash, the Fastest Man Alive, is trapped in his apartment subject to the whims of his imagination, thinking he is going faster than ever when really he barely moves.  Superman, the noble Last Son of Krypton also called “the Boy Scout” by Batman, is weighed down by guilt over supposedly killing his teammates and attempts to fly fast enough to break the time barrier.  Simon Baz, Iraqi-American and fifth Green Lantern of Earth, is a man with great anger and resentment at the social injustice leveled at himself, his family, and his people.  Martian Manhunter’s mental abilities allow him to verify that each person is genuine and not delusions or elaborate hoaxes.  Writer Matt Kindt is given the honor of revealing one of the biggest secrets of Forever Evil, and tantalizes with juicy details that cut deep to the psyches of each character.  I mentioned the inherent weaknesses of the characters, but those weaknesses do not include kryptonite or the color yellow, etc.  Each of the Justice Leaguers has a weakness in their character and exploiting those weaknesses is a more sustainable restraint than their physical limitations.  So the Justice League and Justice League of America are both alive and being held in a customized super-prison.  This reveals a lot, but raises more questions.  1) Why did the CSA leave them alive when they could have killed them and ended any future interference?  2) What is the prison and how does it work?  3) Why were Stargirl and Martian Manhunter left together in the prison and how does the field play into their ideal incarceration?  Matt Kind writes a hell of a Forever Evil tie-in to usher in Justice League of America’s involvement in the greater scheme of things.  Doug Mahnke continues art duties on the title after initial series artist David Finch moved over to the main Forever Evil book.  Mahnke has a talent for rendering very serious material with the subtleties of his art.  Considering the prison’s function of playing into internal flaws, Mahnke’s art, especially in the eyes and expressions of his subjects, effectively displays their delusional states and subsequent madness. Overall, Kindt and Mahnke provide a stellar issue cutting to the heart of the Earth-1 aspect of Forever Evil.

    The Mighty Amazon.

    The Mighty Amazon.

  • Forever Evil: Rogues Rebellion #1 fulfills the promise of its title; the Rogues’ rebellion begins.  Brian Buccellato, cowriter of The Flash, has been writing the Rogues on and off for 28 issues.  The Rogues are compelling villains, because they have ironclad codes of honor that they rigidly adhere to.  That honor is what sets them apart from the “Evil that shall inherit the Earth.”  In this spinoff series of Forever Evil, the Rogues return to Central City after witnessing the Crime Syndicate’s rousing speech reprinted in almost every tie-in book.  What greets them is a city in ruin and mass carnage.  In the Gorilla Grodd Villains Month issue we saw the cause of the carnage.  Grodd was freed from the Speed Force and abhors the concept of gorillas and humans coexisting in peace.  When Solivar, leader of Gorilla City, tried to make amends for Grodd’s attack on the Gem Cities, Grodd comes back to finish the job he began.  Humans and gorillas are slaughtered wholesale.  However, many are left alive for other villains to finish off.  The Rogues prey upon Central City and Keystone City, but they DO NOT kill and they don’t steal from people who can’t afford it.  They also are VERY territorial and any violence leveled at their home is tantamount to a declaration of war against them.  So when they find most of the Gem Cities’ police force chained to trees they let them loose, but assert right from the start that they will work with the police, but will not cow to them.  After the events of the Rogues issue during Villains Month, Lisa Snart, aka Golden Glider and younger sister of Captain Cold, fell deeper into a coma after overexerting her astral form to free her lover, Mirror Master, from his Mirror World prison.  Cold took over leadership of the Rogues after this and her safety became the primary concern of all members henceforth.  So when they visit her bedside in the hospital and the Crime Syndicate’s lackeys come forward to enact Central City’s destruction they show their true colors and give their fellow “villains” a show.  The ending of this issue was heralded before in Forever Evil #2 with the dispatch of Deathstorm (evil Firestorm of Earth-3) and Power Ring (sort of evil Green Lantern from Earth-3) to put down their rebellion.  Brian Buccellato is ridiculously on with this first issue, proving that he understands quintessentially the logos of these anti-heroic figures of comic lore.  The Rogues aren’t bad per se, but their ignominy stems from the tenacious drive they have to achieve their goals and resist anyone or anything that would stop them.  What’s more, they fight tenaciously while still holding fast to their sacrosanct code of honor.  There is a scene after they release the police when Lt. Singh, Barry Allen’s supervising officer, levels a gun at Heat Wave and the Rogue looks him in the eye and very calmly delivers a smooth warning that immediately gets the gung-ho officer to lower his weapon.  That thin line between ceding ground and seizing it is a gossamer thread that can make or break a Rogue story and Buccellato walks it like a pro.  The art of this issue is split between two artists, Patrick Zircher and Scott Hepburn.  Both artists worked with Buccellato last month on his Flash Villain issues, Zircher lending his art to The Rogues and Hepburn to Reverse Flash.  Zircher’s art was outstanding and very emotionally charged.  Hepburn’s fell flat in my opinion when juxtaposed so closely with the evocative pencils and inks of Zircher.  I didn’t mind his art in the Reverse Flash issue, and actually kind of liked it.  However, when so closely placed to such a different style, Hepburns art comes off far less realistic and more cartoonish, and considering the somber tone of the book, that is NOT conducive to the readers immersion in the plot.  Overall though, it was a phenomenal issue and one not to be missed.

    Don't Mess With Fire Or You'll Get Burned.

    Don’t Mess With Fire Or You’ll Get Burned.

  • Green Lantern: New Guardians #24 is the middle mark of the epic “Lights Out” storyline happening throughout the Green Lantern titles.   Oa, center of the universe and ancient homeworld of the Green Lantern Corps, has been destroyed by the ancient being known as Relic, leaving the Green Lantern Corps homeless and in exile.  Former Green Lantern and current White Lantern Kyle Rayner also finds himself reeling from the loss of Oa.  However, in the wake of this tragedy the errant entities of the various lights simultaneously possess him and bend him to their will.  Kyle had previously played host to Ion, entity of Will, and Parallax, entity of Fear, and been able to assert himself with difficulty, but with five of the seven infesting him at once there is no shaking them off.  However, while his incarceration is unpleasant, it does shed light on what is going on with the entities and the universe’s reservoir of light.  Justin Jordan has been helming this title since the apocalyptic events of “Wrath of the Last Lantern” concluded Tony Bedard’s run and his issues have really put the weight of the world on poor Kyle’s shoulders.  If you are a fan of Kyle Rayner, as I am, this issue and its immediate predecessors paint a very epic picture of the artist’s role in maintaining cosmic equalibrium.  Justin Jordan picks up from Robert Venditti and Van Jensen and passes the story to Charles Soule for Red Lanterns #24 with no loss of momentum.  Truly amazing.
  • Batman & Robin #24 opens with a fly landing on a sleeping Two-Face’s bad eye, which never closes when he sleeps.  Waking up, he puts a gun to his head.  By page 2 writer Peter Tomasi has already established a haunted version of the binary bad guy.  Then the story shifts to Batman and the GCPD breaking skulls to find details on the imminent return of an infamous Gotham mobster that has been running the Irish gangs remotely from numerous safe houses around the world: Erin McKillen.  She comes into town for a very important summit with all Gotham City families to determine the future of organized crime in a city plagued with “freaks.”  McKillen is told that she is going to be the one to start the ball rolling by offing Two-Face, the man she created.  Cut to a flashback of that fateful moment years ago.  Harvey Dent wakes in his office, strapped to his desk top, his wife Gilda dead on the floor with a letter opener in her chest, and Erin McKillen wearing Gilda’s clothes.  Mocking him, she pours acid on his face to show Gotham “what a two-faced son of a bitch [he] is.”  Despite the agony he breaks some glass with his shoe and saws the ropes holding him down, freeing himself, then holds his wife one last time and kisses her with his wrecked face.  Again, the characterization and the haunted nature of Harvey Dent is beautifully portrayed by Tomasi and visually rendered by Tomasi’s long time collaborator, Patrick Gleason.  No doubt there is more here than meets the eye, but there is a compelling pathos that accompanies Harvey through his portions of this month’s issue.  Like most villains examined during Villains Month, he has his overwhelming darkness that compels him into acts of villainy, but underneath the emotional (and in this case physical) scarring there is a human being.  Following the death of Damian Wayne, Tomasi has changed the title of the series month after month to accommodate his partner du jour.  Each only last a month and he moves on to the next team up.  This issue begins a five month Batman & Two Face arc.  The two Gotham City strong men might not work together directly, but there goals are the same: taking down Erin McKillen and making her face justice in some way for the heinous acts she has committed against Gotham City.  Will it be in the judicial system or at the end of a knife?  Tomasi knows what he’s doing, so I impatiently await the answer.

    The Death of Love.

    The Death of Love.

  • Batman/Superman #4 brings to an end the series’ first arc and also illuminates the opening arcs of both Justice League and Earth 2.  This first arc brings pre-Justice League #1 Batman and Superman together and sends them to Earth-2 where they meet their older, more established selves.  One thing writer Greg Pak really highlighted well in the past three issues is just how different the Earth-1 and Earth-2 Batmen and Supermen are.  One of the things I personally hated about Superman in the initial Justice League issues was how “in your face” he was and his lack of control.  Superman should be all about restraint and moderation.  The same can be said about Geoff Johns’ Batman from those same initial Justice League books that ushered in the New DCU.  Batman always is dark and brooding, but he’s intelligent and analytical about it, not confrontational and snarky without cause.  That is precisely how Greg Pak explores these two characters.  The Earth-1 iterations of the characters as they were first depicted by the misguided pen of Johns are juxtaposed against the characters as they should be, now relegated to Earth-2.  The most poignant example of this is Earth-1 Supes (whose adoptive parents died when he was in high school) meeting Earth-2 Superman and the elderly Kents.  The Kents note that Earth-1 Superman has a foul mouth and lacks patience.  Earth-2 Batman has a field day picking apart Earth-1 Batman, as does the otherwordly Batman’s wife, Catwoman.  Last issue the Apokaliptian demon named Kaiyo told the Supermen, Batmen, and Earth-2 Wonder Woman and Catwoman that this world’s military have obtained a giant crystal shard with supernatural abilities to alter reality.  This weapon was made to combat Superman, but Kaiyo says it can be used to combat a greater threat that is imminent.  Darkseid.  The Earth-2 Superman and Batman want it destroyed.  Earth-1 Superman and Batman want to save it.  Their initial desires and the people they are ultimately dictate their respective fates and eventual dooms.  The arc was rife with dichotomies between Batman and Superman and between different versions of themselves.  Greg Pak comes into the game late, but takes what has been done shoddily in the past and makes it work toward a larger purpose.  His rendering of imperfect characters is thoughtful and highly entertaining, but raises the question of what he will do in his next arc which looks to take place in a post-Justice League #1 continuity when both Batman and Superman were written better and when, as characters, they began to respect one another.  Also worth mentioning is the breathtaking art by Jae Lee.  Lee’s rendering of characters is very ethereal in the emotionless expressions he imbues them with and a look of effortlessness in everything they do, no matter how incredible.  Considering the clash of titans this arc depicts, Lee is the quintessential choice for it.  Four issues in and this has become a must read series.

    Nice Guys DO Finish Last . . .

    Nice Guys DO Finish Last . . .

  • Batwoman #24 is a bittersweet issue marking the premature departure of writers J.H. Williams III and W. Haden Blackman from the title.  Initially when they decided to leave they were going to write through issue #25 to end the overreaching arc they had begun.  This issue marks the actual end of their run, one issue shy of their intended end.  And what a cliffhanger they left . . .  Since the beginning of the “Weeping Woman” arc in early 2012 Batwoman, a.k.a Kate Kane, has been on the hook by the D.E.O. chief, Director Bones, and his underling Agent Cameron Chase.  Since the mid 90’s when J.H. Williams III worked on the series Chase the D.E.O. (Department of Extranormal Occurrences) has been looking for the holy grail of secrets in the superhero world: the identity of the Batman.  They have tried everything and always come up short.  Batwoman becomes their ace in the hole.  With a vulnerable member of the Bat-family in their pocket they have the means to finally blow that secret wide open.  Chase learns that Col. Jacob Kane (Batwoman’s father) armed his daughter with military equipment and later they get their hands on Kate’s twin sister, Beth, a.k.a Alice.  Williams and Blackman have been building toward this moment for twenty issues and the moment has finally come.  Bones has unleashed renegade Batman villains on Gotham as a massive diversion while Batwoman gets in close.  In the meantime Jacob, Betty a.k.a Flamebird (Kate’s cousin and sidekick) and a select team of operatives infiltrate the D.E.O. safe house where Beth is being held.  Beth is on the verge of being rescued and Batwoman sucker punches Batman, but good.  This issue ends in the perfect way to set up a MASSIVE finale to a storyline looooong in the making, only for the writers to be driven from their title.  Also distressing is the off-putting of the conclusion to December with the last minute inclusion of Batwoman to the “Blackout” event throughout the DCU.  As a Gothamite her involvement does make a modicum of sense.  November marks the regime shift of relief writer Marc Andreyko and artist Jeremy Haun.  J.H. Williams III and W. Haden Blackman are two incredible writers and Williams a peerless artist.  The loss of both could be catastrophic to this must-read title.  In my opinion this distressing possibility is augmented by the awful job Andreyko did on the Sword of Sorcery backup feature “Stalker.”  The original story created and written by Paul Levitz in the 70’s was amazing.  Andreyko’s was version was horrendous to read and completely without point.  His ability to pick up where greater minds have left off remains highly questionable.  We’ll see what November holds for Batwoman.

    Battle of the Bats.

    Battle of the Bats.

  • Supergirl #24 is one of the October issues screaming for release after the shock ending of August’s Supergirl #23. Supergirl had found herself on a constantly morphing colony of hive-minded mechanized organisms called the I’Noxia.  These machines are benign in nature, but forced to cooperated with the Collector (Brainiac) and his creation, the Cyborg Superman.  Supergirl is dying from Kryptonite poisoning after the “H’el on Earth” crossover in the Super-books. The I’Noxians offer her haven by computerizing her intelligence in exchange for Cyborg Superman gaining custody of her body and using her Kryptonian flesh to reconstitute his missing parts, returning his former body, but also the missing memories of his identity.  She resists and he takes what he wants by force.  He gets his body and his memories back and lo and behold . . . he’s Zor-El.  Kara’s father!  Upon regaining his memories and his mind he is immediately struck with horror at what Brainiac’s programming made him do.  In September the Cyborg Superman issue of Action Comics revealed the connection between Zor-El and Brainiac and how he came to be made into the Cyborg Superman.  Zor-El is a good man, but the road to Hell is paved with good intentions.  And in this issue a father’s love takes him once again down the road to Hell.  Kara can live again.  The I’Noxians have the technology to reconstitute her, but that would require the rebirth of the Cyborg Superman.  Writer Michael Alan Nelson writes a compelling version of Zor-El, eldest son of the House of El, and dedicated scientist.  His love of his family and his people forced him to seek help in the most dangerous places if even the slightest chance of survival exists.  Ending this issue, Kara comes face to face with the cosmic entity known as the Oracle, heralding the beginning of the “Krypton Returns” storyline beginning with Action Comics Annual #2. After the lead ins to this event dropped in both Superman #0 and Supergirl #0 last September I have been waiting on pins and needles to see the resolution as to how Superman and Superboy could have been on Krypton prior to its destruction.  In a little over a month we will have the answer.

    Behold the Oracle.

    Behold the Oracle.

  • Red Hood and the Outlaws #24 brings about the final showdown in ‘Eth Alth’eban between the League of Assassins, guardians of the Well of Sins, and the Untitled, ancient embodiments of evil born from the Well. Jason has been chosen to be the leader of the League and fights to stave off the assault that could result in the end of all things. Jason proves to be an adept disciple of the Batman, exhibiting the same ingenuity and resolve against forces far beyond his measure.  Indeed, that is most likely why the League chose him as their leader.  On the other side of fight, Roy Harper also is shown in a revealing light.  Previously, Roy helped the Untitled breach the impenetrable walls of ‘Eth Alth’eban under the understanding that he would be freeing Jason from a pack of vipers (which the League of Assassins are) and saving the world.  That last part wasn’t true at all, which he realized too late.  However, in his moment of reflection on his deteriorating relationships with Jason and Starfire he manages to capture the sympathy and last throbs of human compassion in the heart of the assassin, Cheshire, who in previous DC iterations was the mother of his daughter, Lian.  James TynionIV’s writing of this series is pretty good, although admittedly he has a long way to go to measure up to his predecessor and the series’ creator, Scott Lobdell.  Lobdell created the Untitled, so Tynion’s wrapping up of the fabled cabal begs the question of what Lobdell’s original intentions were for them.  Other than that, the issue comes off very well and reintroduces a venerable figure in Batman lore to the New 52.  Julius Gopez continues his phenomenal work as artist on the series, adding weight and substance to the Tynion’s scripts though his very expressive artwork.  Every emotion is blatant in his lines immediately immersing the reader in the agony and ecstasy of the book’s cast of characters.  Definitely and enjoyable book and a series worth picking up.

    The Heart of Chesire.

    The Heart of Chesire.

  • Vibe #8 dives head first into the wellspring of Cisco Ramon’s powers.  Vibe, as he’s been called, got his powers when he was caught in the event horizon of an Apokaliptian Boom Tube during Great Darkseid’s invasion of our world.  As a result he is attuned to extradimensional vibrations and able to sense and counteract beings from other dimensions.  Up to this point his powers were uses to detect intruders and refugees from other planes and if necessary, combat them.  After being wounded and sucked out of our dimension he begins leaking that energy the Boom Tube endowed him with, hurtling him from dimension to dimension with no control.  In the background as he cascades through all existence are little easter eggs from the two year run of the New DCU, including the recent fight between Green Lantern (Alan Scott) and Bruutal on Earth-2, the Phantom Zone, President Superman from Earth-5, and the gemworld of Nilaa that we last saw in the now cancelled Sword of Sorcery title.   It is while defending Princess Amethyst from the Quartz Hordes that the enigmatic figure called Breacher finds Cisco and puts a patch on his wound that stabilizes his dimensional radiation.  He takes Vibe to his own world, Piradell, and tells of the history that lead to its subjugation by the despotic Queen Mordeth and how that ties back to the same event that gave Cisco his powers.  At the same time that Cisco was imbued with interdimensional energies the Boom Tube collapsed on his elder brother, Armando.  They always assumed that Armando died, when he actually became a creature like Cisco and upon landing on Piradell gave Mordeth the means to subjugate that world.  Now Breacher and Cisco need to save Piradell, Armando who is under the thrall of Mordeth, and Mordeth’s daughter, Gypsy.  Sterling Gates has done the seemingly impossible, making Vibe a good character.  His original iteration in the Justice League Detroit comics was a joke at best.  Now he is substantial, thoughtful, and endowed with a sense of consequence in the larger scheme of the emerging DC multiverse.  Back in the day, the Flash was the keymaster to the multiverse, having the ability to vibrate though realities from Earth to Earth.  While Flash still has that ability, Vibe is pretty much made to solely be the custodian of opening the gates off our Earth, but also keeping those that breach from remaining.  With that in mind, and with the multiverse slowly blooming in emerging DC plots, Vibe is a character to watch.

    From the Icy Plains of the Phantom Zone to the Steps of President Superman's Capitol.

    From the Icy Plains of the Phantom Zone to the Steps of President Superman’s Capitol.

  • Pandora #4 opens in the aftermath of Forever Evil #1 with Pandora, who was present when the Outsider (Earth-3 Alfred Pennyworth) opened the box that bears her name, finding herself transported to a desolate world littered with bones.  Earth-3.  The Birthplace of Evil.  The only living thing she encounters is the blind and mortally wounded J’onn J’onzz (Martian Manhunter) of that reality.  Through his rhetoric she become aware that the Crime Syndicate intend to do to our Earth what they did to this one.  When she returns to Earth-1 she hatches a plan.  First she entrusts a friend with the mission of reforging Pandora’s Box from the shattered remnants left after it opened the portal to the place of its birth, letting the CSA into our dimensional plane.  The next step is getting her OLD friend Vandal Savage to give her the means to infiltrate the Secret Society meeting in order that she can get at the man known as the Outsider.  What she intends to do with him remains up in the air, but that only ropes the reader into buying next month’s issue.  I’ve made no secret that I am not a fan of the writing style of this series’ writer, Ray Fawkes, but it can’t be denied that this issue is very well done and an integral tie-in to the overarching Forever Evil event going on throughout the DCU.  Series artist Francis Portela is always a delight with his lush artwork that has been seen in Legion of Superheroes (LONG LIVE THE LEGION!) and last month’s Killer Croc issue in the Batman & Robin title.  Whether the success of this issue is predicated on Fawke’s writing or the tent pole Forever Evil plotline remains to be seen, but until that event wraps in March this series will no doubt carry its weight in realizing the full measure of Earth-3 and absolute evil.

And there you have it.  An awesome week of comics that overall exceed the mark of this comic book geek.  Here’s hoping next week measures up the same.
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Justice League of America #8:  Drawn by Doug Mahnke, Colored by Hi-Fi & Gabe Eltaeb, Inked by Christian Alamy, Tom Nguyen, Keith Champagne & Marc Deering.

Forever Evil: Rogues Rebellion #1:  Art by Patrick Zircher, Colored by Nick Filardi.

Batman & Robin #24:  Drawn by Patrick Gleason, Colored by John Kalisz, Inked by Mick Gray.

Batman/Superman #4:  Art by Jae Lee, Colored by June Chung.

Batwoman #24:  Art by Trevor McCarthy, Colored by Guy Major.

Supergirl #24:  Drawn by Diogenes Neves, Colored by Guy Major, Inked by Marc Deering.

Red Hood and the Outlaws #24:  Drawn by Julius Gopez, Colored by Nei Ruffino & Hi-Fi, Inked by Walden Wong & Ray McCarthy.

Vibe #8:  Drawn by Andres Guinaldo, Colored by Brad Anderson, Inked by Mark Irwin & Marc