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 #27begins 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.
Teen Titans #27appears 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.
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 #4brings 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!
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.
Worlds’ Finest Annual #1provides 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.
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.
Two weeks in and Villains Month is heating up. There are some grade A characters being represented this week and expectations are high. The much sought 3D covers can only take them so far. Here’s hoping this week maintains the momentum built last week.
Action Comics #23.2: Zodbegins the exploration into the mystery that is Zod. To be fair, I believe I went into this issue with extremely high hopes. For those readers that have read my thirteen page review of this summer’s Man of Steel film, they know that Zod is dear to my heart and only the most faithful adaptation to the integrity of the character would do. His entre into the New 52 came in the final installment of Action Comics’s backup feature, “World of Krypton” as Jor-El and Cadet Lara Lor-Van are saved from an overzealous Colonel who would overthrow the government by the loyal commander of Krypton’s military forces, Dru-Zod. Even though this appearance is short there was still promise in the way it was written by Scott Lobdell and Frank Hannah. This issue, written by Greg Pak, is a little more heavy-handed and portrays Zod as a monster forged in youth by his battle with actual monsters in the Kryptonian wilderness. Though it’s neither stated nor inferred in the text of the issue, it is reminiscent of the Frederick Nietzsche quote: “Battle not with monsters, lest ye become a monster.” Throughout his rise through Krypton’s military and his befriending the Brothers El he came off a little strangely in my opinion. In Man of Steel there was a harshness that belied a deeper nobility in the Kryptonian general and a certain efficiency. Waste not, want not. Unless something had to be done, Zod didn’t do it, but if it was necessary, he did it and did it right. The Zod I imagined in the “World of Krypton” also had a nobility about him that came from utilitarian ideals and a love of Krypton. In this version by Pak, I don’t believe he follows the same footfalls as the other two versions I mentioned. I believe he IS as monster and lacking many of the quintessential qualities of a patriot of Krypton. I will reserve my judgement for what looks to be his next appearance under the pen of writer Charles Soule in Superman/Wonder Woman #3.
Aquaman #23.1: Black Manta is a penetrating look at perhaps the greatest antagonist of Aquaman. While he is no longer the man who murdered Aquaman’s infant son, Arthur Curry Jr, he is still tied to Aquaman in a mutual circle of death and hatred. It is revealed that Manta accidentally killed Arthur’s father by inducing a heart attack, and in retribution Aquaman attempted to kill him only to accidentally murder Manta’s father. What results is a deadly spiral of two sons attempting to avenge the inadvertent killings of their fathers. This issue is billed as being conceived of by Tony Bedard and Geoff Johns, but words by Bedard. Considering that most of the actual interactions and dialogue in this issue are taken verbatim from Forever Evil #1 I am assuming that Bedard merely filled in the captions to give Manta’s perspective. What is clear is that Manta’s “evil motivations” is nothing more than killing Aquaman. After that, there is no malice left to rule the world, or continue to kill or oppress. Just avenge his father’s death with his own hands. Enter the Crime Syndicate who subjugate the world and proclaim, “The Justice League is dead!” and offer Aquaman’s trident as proof. Essentially, a man whose sole motivation for continuing on was vengeance is denied that very impetus. So if he cannot avenge his father’s murder anymore, he can replace that hatred with vengeance against those who robbed him of his chance at retribution. Though this is Villains Month, this issue imbues Black Manta with a twisted humanity that makes him very relatable and almost noble. Though it’s just a brief glimpse, this issue tells everything that is really necessary in the understanding of this iconic comic book character’s New 52 iteration.
Spiral of Hatred
Green Lantern #23.2: Mongul is an interesting issue that redefines the character while maintaining his essence. In this issue the moon sized War World, Mongul’s vessel, appears suddenly in the territory of the Oblivoron Federation. When the admiral of the Federation armada demands the surrender of the War World, he is beamed aboard the artificial planet and brought before Mongul. Mongul then leads the Admiral around his “home”, displaying its defensive capabilities and the oddities that he has amassed from his travels across the cosmos. All the while he waxes philosophic about the art of war, conquest, and ruling, while simultaneously giving glimpses at his past, demonstrating his principles through their context toward the immensely powerful being he has become. Though the issue is almost entirely him just pontificating to his humbled “guest” it keeps the reader’s attention with the stark imagery juxtaposed against the quasi Sun-Tzu/Machievellian rhetoric. Mongul is changed a bit in the New 52 from former tellings, but remains true to the inherent nature of his past characterizations. This is largely because the issue was written by Mongul’s co-creator, Jim Starlin. Admittedly, Len Wein was the writer who first wrote him and Starlin the artist, but this time around Starlin finds himself penning the character with the help of famed artist, Howard Porter. The look and the feel of the character endures, and as the title he appears in foreshadows, the issue ends with War World closing in on a Green Lantern Corps chapter house. It stands to reason that we will see him in the not to distant future in the pages of Green Lantern Corps.
“We Shall Never Surrender!”
Batman & Robin #23.2: The Court of Owls is a fantastically woven tale of the Court, of course, but more so of Gotham itself and how the Court has entwined itself irrevocably into the very fabric of the city’s infrastructure, its culture, and the people who populate it. James Tynion IV (writer of Talon and protegé of the Court’s creator, Scott Snyder) pens this issue brilliantly. His writing tends to alternate between good and uninspired. This issue REALLY captures the essence of the subject organization, driving home to those familiar with the Court why they are so immensely powerful, and does the same for those who may never have read about the Court, while also introducing them in a very conversational tone. The issue begins in 1974 with a murder orchestrated by the Court, then cuts to the present day with Gotham tearing itself apart after the events of Forever Evil #1. Watching all of this is a youngish, yet senior member of the Court (wearing his owl mask, of course) explaining to his daughter (masked herself and looking to be around 9 or 10 years old) why they have nothing to fear from the havoc that is tearing Gotham asunder. The Court has weathered civil discord, plagues, riots, and the like many times before and only come back stronger. The issue then alternates between the present and the past, showing how the Court has asserted its power time and again as the father owl tells his daughter more about the principles that bind them to Gotham’s very foundations. These trips into the past range from 1974 all the way back to 1862, featuring the exploits of the Gotham Butcher. Each episode drives home further the point that the Court can never be fully extinguished so long as a single stone of Gotham remains. It also foreshadows a looming threat from the further past known as . . . the First Talon. Considering the sinister nature of the Talons (assassins of the Court) we’ve seen so far, especially the Gotham Butcher, for the First Talon to be that frightening to members of the Court, it must be something quite horrifying. Tynion writes it extremely well, but he gets a lot of help from artist Jorge Lucas, whose art is very gothic, with beautiful lines hashed out or blackened to give the impression of shadows and darkness in all areas and all times of day throughout Gotham. No one is safe anywhere or anytime from the Court . . .
Batman #23.2: The Riddler was very blase. I had high hopes for the issue, considering that Edward Nygma is playing such an integral role in Scott Snyder’s “Batman: Year Zero” storyline, however the problem lies in the delivery. As the title page reveals, the issue’s story was conceived of by Scott Snyder and Ray Fawkes, but was written by Fawkes. You can feel the presence of Scott Snyder’s style in the skeleton of the story, in which a recently escaped Riddler makes his way to the Wayne Enterprises Building and stages a very elaborate break-in. His goals and the means in which he infiltrates the building is very Snyder-esque and you know that there is a lot of possibilities inherent in it. The problem is that Ray Fawkes has a certain way of writing that isn’t always the best and unfortunately for this issue he really makes the character obnoxious and uninteresting. The Riddler is a character that skews that way naturally and it takes a careful hand to write him in such a way that he is engaging and interesting, not pretentious and grating to the reader. Unfortunately, Ray Fawkes hasn’t displayed any such talents in his time on Batgirl or Pandora. The Riddler is a character I have enjoyed in the past, but not overly so, so the fact that this issue wasn’t written the best didn’t sadden me too much. I did enjoy the art by Jeremy Haun, which was very reminiscent of Phil Noto. An okay issue, but definitely not a “MUST get.”
Detective Comics #23.2: Harley Quinn was a giant contradiction and I say that in a way that is not condemning or negative. I don’t really know whether I liked it or hated it, but I like that I don’t know. That uncertainty underscores the essential nature of the character as depicted in this issue. Writer Matt Kindt really hits on the contradictions of the character herself that seem irreconcilable, yet form the bedrock of who she is. To the casual observer Harley Quinn is the ditzy blonde that epitomizes the stereotype into which she aptly seems to fall. However, before the grease paint and the red and black costuming, she was a brilliant psychiatrist, Dr. Harleen Quintzel. The issue shows her as a young overachiever who used her intelligence and immense drive to escape a traumatic, lower class childhood. As a rising star in psychiatry she went to Arkham Asylum to cut her teeth on the sickest minds in the world. After awhile of grinding her gears, she tried a revolutionary tactic of infiltrating them as a new “inmate” and studying them and treating them under the radar. While occupying this persona and experiencing life from their perspective, everything she pushed herself to be and all the hard work and diligence fell away and she learned what it felt like to be truly free, releasing Harley from within Harleen’s confined, regimented psyche. The rest plays out in a giant cathartic explosion of chaos and self-discovery. This is the part of the issue I really liked. The part I wasn’t too fond of was her actions in the present, disseminating handheld gaming devices to that masses laced with explosives that kill both adults and small children. She also murders at least one cop, if not dozens in a pretty brutal fashion. As stated before, I really enjoyed the look into how she split from a paradigm of order to a paragon of chaos, but her brutal actions in the present that are extremely harsh and without any rationale given in the narrative jarred me quite a bit. I think this does cement her as a more feminized Joker-like character than she has been in the past, but I am not sure if her actions as they stand push her past the limits of her anti-heroic depiction in Suicide Squad. I will give Matt Kindt a thumbs up for a very thought-provoking issue.
Justice League #23.2: Lobo was an issue that didn’t need to be written. Worse, it didn’t even need to be thought. The controversy surrounding this issue was something I tried not to jump into, being that DC was saying that the man we have seen since the character’s creation in the late 80’s was NOT in fact the real Lobo, but rather an imposter. A BOLD proposition, but I chose to hear them out and not get bent out of shape until there was an actual reason. Well, this issue presented nothing new. Nothing interesting. Nothing different. To be fair, there are differences, but not good ones. Lobo, as created by Keith Giffen, was a big, muscular, space biker that was the last of his race (him having murdered his entire species) who bounty hunted across the universe for some spending money. He did BAD, morally repugnant things, but you read him because of his penchant for over the top violence and his pseudo-swear words like “bastich” and “fragging.” He won you over. What writer Marguerite Bennett replaced him with is a thinner, more morose facsimile with a stupid looking pompadour. Worst of all, she gutted his endearing vernacular for a schizophrenic, hipster style, no longer calling people “bastiches” when he does his business, but rather one who says, “Sorry. Not Sorry.” Once or twice that might simply be tolerable, but by the fifth time you pray that the “fake” (REAL!!!) Lobo would come out of nowhere and cut the hipster bastich’s fraggin’ tongue out with something blunt. Sorry, new Lobo. Not sorry. I don’t know whose fault this utter piece of tripe is, Bennett’s or DC’s execs who have been REALLY throwing out terrible ideas of late, but this experiment is a failure. Sorry, DC. NOT sorry!
The Flash #23.2: The Reverse Flash tells the tale of one of Flash’s most iconic villains reimagined for the New 52. The Rogues represent a perennial challenge to the Flash, but its the Reverse Flash that truly underscores the dark side of the Speed Force, the transcendental energy stream from which they both draw their power. This issue, like so much of what co-writers Francis Manapul and Brian Buccellato have done with this title takes the character of the Reverse Flash and reworked him in innovative, intriguing ways, while at the same time staying true to the spirit of what came before. In their run Barry Allen (the Flash) is no longer married to the character who was his wife for decades, Iris West, and indeed as the series opened they had never been in a relationship. Barry instead is dating fellow Central City forensic investigator, Patty Spivot. Reverse Flash also finds himself in the shuffle of things with a new take and a new persona. Whereas once he was Eobard Thawne or Hunter Zolomon, in the New 52 he inherits a third persona: Daniel West, brother of Iris. However, like the two aforementioned Reverse Flashes, Daniel’s abilities and goals are heavily centered on time travel. Thawne was a criminal from the 25th century who came back in time to our “present” with the use of Barry Allen’s original costume, slightly modified. Zolomon was a paraplegic who after being refused help via time manipulation by Barry Allen’s successor and former sidekick, Wally West, took it upon himself to attempt time travel only to end up becoming a twisted psychotic whose powers were actually time-based and did not rely on speed at all. This Villains Month issue tells us how Daniel got his abilities, tied integrally into the Speed Force, and how his past coupled with these abilities drove him insane. I don’t know if I have ever read anything about Iris’ brother, or if Daniel is in fact the father of Wally, but the representation of Daniel in this issue is complex, compelling, and despite his mismanaged rage and many flaws, you sort of find yourself rooting for him. Francis Manapul has been the only one to draw the Reverse Flash since his introduction to the New DCU, even when all but the last page were drawn by someone else. This special issue was drawn by Scott Hepburn, whose style very closely mimics Manapul’s lines, and its shocking ending is truly a hallmark in the New 52’s three year history. This is not an issue to miss.
Earth 2 #15.2: Solomon Grundy is the second issue written by Matt Kindt this week and comes off a little weaker than his Harley Quinn issue, though written in a similar fashion. The last time we saw Grundy, Earth 2 writer James Robinson had Alan Scott’s Green Lantern strand the hulking zombie on the Moon. This issue has him shooting back to Earth like a meteorite, but with no explanation of how that comes to pass. Once back, he begins to do as he did when we first met him a year ago when Robinson introduced him as the avatar of the Grey (Rot), reducing everything living he touches to ash. As he cuts a wide swathe across the American southwest, Kindt cuts the narrative back to Slaughter Swamp of 1898 to introduce Solomon’s human life as a sharecropper and butcher in a the slaughterhouse that gave the swamp its name. His life was lived and ended in a very horrifying manner, resulting in an equally horrible after-life. The parts of the narrative that take place in the past are well done, but when they cut to the present there is a serious disconnect for the reader. Grundy almost destroyed humanity just by being on the planet for a few hours when we first met him, so the ending of him wreaking havoc unopposed is very unsatisfying and raises more questions than it answers. In this way it is very much like Harley’s Detective Comics issue, but in that case the disconnect between past and present was indicative of the character’s persona. This issue didn’t have that same appropriateness and just came off sloppy. Artist Aaron Lopresti did a fantastic job rendering the issue artistically and is the real draw of the issue with a decent, but not entirely satisfying plot. However, Matt Kindt wrote several issues this month, so it is completely understandable that some will be better than their fellows.
Teen Titans #23.1: Trigon, like Mongul above, is another Villains Month issue that features the character’s creator coming back decades later and re-imagining them for DC’s rebooted multiverse. In this version a young, smaller Trigon is brought before a holy trinity of universal guardians calling themselves the “Divine,” who purge evil from the known universes using a cosmic anomaly known as the “Heart.” True to its name, it resembles a giant black, pulsating heart that sucks the souls from those with evil festering inside them. This tactic doesn’t work on the young demon lord, and actually brings about the Divine’s ultimate undoing. From there, Trigon descends upon world after world subjugating universes and realities one after the other through the impregnating of women in each sphere with his progeny. However, few of his children survive birth or their mothers commit suicide before they can be born. All of his sons also prove to be unimpressive specimens, but one human woman who gives herself to Trigon willingly and gives birth to a daughter, Raven, who becomes the greatest of his scions. Raven, as we know, has found her way into the ranks of the Teen Titans and her allegiance is somewhat ambiguous at this moment. Also tying into the Teen Titans title is the introduction of the first bearer of the Silent Armour (currently worn by Wonder Girl) and the only being to ever fight Trigon to a stalemate. Wolfman’s story fits spectacularly into the overall framework of the New DCU, specifically the work that Scott Lobdell has done in Teen Titans.
Batman: The Dark Knight #23.2: Mr. Freezeis the Mr. Freeze issue that should have been from the start. Scott Snyder is a phenomenal writer, but his New 52 introduction of Victor Fries was totally lackluster and didn’t do justice to the character at all. Perhaps the keystone motivation of the character is his love and devotion to his wife, Nora. He was a man who was literally cold as ice in both demeanor and M.O., but underneath that frigid exterior beats a warm heart filled with love. While Snyder’s introduction to Freeze began that way in Batman Annual #1, it quickly soured as Batman reveals that the Nora in cryogenic stasis wasn’t actually Victor’s wife, but a Jane Doe with whom he grew an obsession. Writers Jimmy Palmiotti and Justin Gray take that imperfect start and re-establish Freeze as a man capable of feeling love, albeit a very psychotic brand of love. When the crap hits the fan with the Crime Syndicate opening the prisons and Arkham Asylum and chaos reigns all throughout Gotham Freeze intercedes in favor of an Arkham nurse that showed him kindness when she didn’t have to. His father walked out on him and his mother when he was a small child and though this sense of betrayal ruined his adolescence and ultimately killed his mother, upon finding out that his father had another family and he had a half-brother, niece, and nephew he never knew about he is excited. Many psychotics would be angry and resentful about this, but Victor’s cold demeanor belies a desire for meaningful human affection and to preserve it at all costs. This presentation of Mr. Freeze rings the most true of any so far in the New DCU. What also gives this the feeling of a true second chance for character is the art from Jason Masters, who was the same artist to first render him in the New 52 in Batman Annual #1.
Superman #23.2: Brainiac could be the most perfect Villains Month issue yet and I would dare say, probably the best that this month will yield. It is literally perfect, just like the subject it depicts. There are many variables that figure into this perfect storm of awesome: 1) Writer Tony Bedard, a proven master that knows how to write complex cosmic drama, 2) artist Pascal Alixe’s art is peerless!, the pencils and inks immersing the reader into a very comprehensive vision of the complex text, 3) both Bedard and Alixe stand on the shoulders of giants, drawing off of and adding to phenomenal Superman stories of the past two years by the likes of Grant Morrison, Rags Morales, Scott Lobdell, and Kenneth Rocafort, to name only a few. The issue begins with the systematic subjugation of three worlds by the “Collector”, colloquially known as Brainiac. On the third world, Noma, the planet’s most brilliant scientist, Victoria Viceroy, is captured by the Collector’s Terminauts and debriefed by her robotic aide, Pneumenoid, slaved to Brainiac’s reprogramming. Pneumenoid attempts to persuade her that what is happening to her world is not a defeat, but rather a triumph for her planet and its culture. He then recounts a tale of the most brilliant mind on the planet of Yod-Colu who became aware of the Multitude, the 5th dimensional hoard created in Grant Morrison’s Action Comics run that ravage planets and erradicate their populations. It is for this reason that the scientist Vril Dox begins to perform extreme experimentations in the “upgrading” of the Coluan species using his son as the guinea pig. When his wife, Lysl Dox, becomes aware of his crimes against their child she brings him before the planet’s justices who listen to his defense as to the danger the 5th dimension poses to their world and what his experiments would achieve toward the preservation of their way of life. His pleas fall on deaf ears and he is exiled into deep space. However, as the chief scientific mind of Yod-Colu, Dox had designed the craft that imprisoned him and the computer systems administering his captivity, thus allowing him easy access to override its programming and aid him in his endeavors. On the way back to Yod-Colu, he has the ship’s A.I. complete on himself the operations he had begun on his son, transforming him into a walking biocomputer. He returns to Yod-Colu and extracts all vital information on Colu’s civilization, history, technology, and culture and shrinks a city (his very first), bottling it to preserve also a small sampling of its people. The poignant detail that bears mentioning is that, despite his cold logic and emotionless nature, the portion of Colu Brainiac bottles contains his wife and son, sparing them from the horrific apocalypse the Multitude rain down on the rest of his world. This process of data extraction and bottling a city becomes his modus operandi on many worlds between Yod-Colu and his eventual advent on Earth. One such world, of course, was Krypton where he stole the capital city, Kandor, which he bottled and added to his collection. This was one of the few worlds that Brainiac failed to destroy before he left, and serendipitously so, because the foremost Kryptonian scientist, Jor-El, achieved the one thing that even Brainiac’s vaunted 12th level intellect could not: defeating the Multitude. Jor-El was the only being to EVER defeat them until his son, Kal-El, did just that in Morrison’s Action Comics run. But even Jor-El was not brilliant enough to prevent the inevitability of Krypton’s destruction by other forces, which we are scheduled to witness in two short months in the “Krypton Returns” storyline throughout the Super-titles. Since then, Brainaic has preemptively preserved doomed cultures in the Multitude’s path and sought out minds that could do what Jor-El did. Enter Victoria Viceroy, a very similar persona to Jor-El, both in intellect and disposition. The issue plays out in a natural cycle of tragic fatalism inherent in the disparity between automated logic and the spontaneity of free will. The tragedy of the comic is very moving and thought-provoking making it all the more enjoyable. If there was a choice of only one issue to get this week, Brainiac would be the logical choice, with the word “choice” betraying the illusion of there even being one. That is what Brainiac would most likely tell you, without bias of course.
FBP (Federal Bureau of Physics) #3continues off of yet another incredible Vertigo series launched in a new wave of titles. The premise of the series is that the laws of physics have come undone and random anomalies occur that defy the very principles of normalcy that the reader takes for granted. To counter these freak occurrences a governmental agency is created, which gives this series its name. Last issue Agent Adam Hardy and his partner and mentor Jay Kelly of the Federal Bureau of Physics went into a bubble universe (a small alternate version of an area juxtaposed on top of the original) to rescue four people trapped inside, before the bubble bursts killing them and causing damage to the space/time continuum. No big deal. However, Jay decides to take this moment to pull a gun on his protege and end that relationship. But for effed up physics Jay would have succeeded. However, Adam is able to escape and effect the rescue of his assigned person, James Crest, a disgraced C.E.O. facing an indicted from the SEC. While all this is going on inside the bubble, on the outside the very eccentric appearing chief of the FBP, Cicero Deluca, meets with his own mentor in the latter’s television repair shop. The character of Cicero is pretty cryptic, giving the impression in the first two issues that he’s a very closed off, unilateral bureaucratic sort mixed with a “Beautiful Mind” autistic prodigy, so seeing him defer to another person, especially someone who isn’t vaunted as a world-class physicist and to witness his recognition of his humble origins learning about science through television repair is quite humbling and humanizing. On the other side, his mentor, Yarab, a wizened old Semetic gentleman, poses a very interesting foil for the cold fact character found in Cicero. Bouncing ideas back and forth, you hear the textbook theoretics come out of Cicero’s mouth, countered or abetted by the scientifically back insightful ideas of Yarab wrapped in colloquial, old-world metaphors accentuating his didactics and his characterization. The issue advances the series further toward being a quintessentially Vertigo title, delving intelligently into the realities of our world explored through well-reasoned unrealities. Adam’s odyssey from the sins of his father to becoming an FBP agent to getting shot at by his oldest friend, Cicero’s discourse with Yarab into nightmarish quantum physics, to the horrifying actions of Jay in the very last panels of the issue cement it as one of those Vertigo runs you tell your friends about for years to come to show them what comics are truly capable of.
This week in comics was not to shabby and definitely produces some gems with far-reaching connotions. This week definitely proves it’s GOOD to be a comic book nerd.
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.
Aquaman #23.1: Black Manta: Art by Claude St. Aubin, Colored by Blond
Green Lantern #23.2: Mongul: Art by Howard Porter, Colored by Hi-Fi
Batman & Robin #23.2: Court of Owls: Art by Jorge Lucas, Colored by Dave McCaig
The Flash #23.2: The Reverse Flash: Art by Scott Hepburn, Colored by Brian Buccellato
Superman #23.3: Brainiac: Art by Pascal Alixe, Colored by Hi-Fi
FBP #3: Art by Robbi Rodriguez, Colored by Rico Renzi