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.

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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

Week 89 (May 15, 2013)

  • Batwoman #20 is yet another game changing issue in a game changing series.  Years ago Batwoman fought a madwoman in the guise of a Religion of Crime prophetess names Alice, who looked like a latex fetish version of the famous Wonderland heroine.  Spoke a lot like her, too.  After defeating her, and only moments before she fell to her “death”, Batwoman realized that Alice was in fact her long “dead” twin, Elizabeth.  Well for the second time Beth has defied death to be found in the land of the living, this time in the custody of the D.E.O., comprising yet another manacle Director Bones has chained to Kate Kane’s leg to assure compliance with the agency’s whims.  On the other side of the narrative are the family and friends of Kate.  Up until last issue they had no idea that Kate was a D.E.O. puppet, being forced into doing their bidding.  Thanks to Kate’s dad, Col. Jacob Kane, the Colonel, Kate’s cousin and one time sidekick Betty (aka Flamebird), Kate’s stepmother Katherine, and Kate’s fiancee Det. Maggie Sawyer all know what she is doing and more importantly WHY she’s been doing it.  Within the close circle of confidantes is a great deal of dissent.  Kate hasn’t spoken to her father since she learned about Beth’s still being alive.  Katherine is livid that her husband has kept the secret of her stepdaughter and step-niece’s nocturnal activities a secret, amongst other things.  Det. Maggie Sawyer is still a little on edge after finding out the woman she loves is in fact the criminal whom she is tasked by Gotham Central to bring in for vigilantism.  All of these quibbles are quelled with the revelation of the horrible situation that Kate has fallen into, for all intents and purposes being enslaved by a shadowy government agency to do their dirty work, as well as the situation facing Beth Kane and her fragile psychological state.  From the looks of it, this could be the turning point from the beginning of the series that will emancipate Kate and turn the book onto a completely new status quo.  I am hoping that it does.  Cowriters J.H. Williams III and W. Haden Blackman have kept this series constantly evolving and its readers always on their toes.  For that reason this series has been a must read book and a delight to read month after month for twenty-two straight months (both zero issues included).
  • Batgirl #20 is another issue that changes the entire flow of its series.  With issue #19 of Batgirl the dominoed daredoll seemingly killed her brother, James Gordon Jr. With that she has lost the good grace of Gotham police commissioner and her own father, James Gordon Sr.  But apart from that she has also exacted the heavy toll of having to finally take responsibility for putting her psychotic little brother down once and for all.  If she didn’t, her mother was prepared to, and like a trooper she took the burden of killing him from her mother’s hands.  In this issue she bursts in on her psychiatrist and makes her veiled confessions, keeping the details that would reveal her masked secret, but still attempting to gain some semblence of catharsis. The issue also reintroduces a classic Batman villain, the Ventriloquist, who comes on the scene.  This time around the dummy is named Ferdie, not the gangster doll, Scarface, and the ventriloquist is a timid young woman named Shauna that has lacked the ability for self-expression.  In the past it’s always been hinted at, but never concretely proved that the ventriloquist dummy somehow was calling the shots, yet still maintaining the reality of deep psychosis in the human involved.  However, this version is dangerously close to shattering that by having the doll seem to move by itself with no strings attached in several panels.  I can’t say that I am a fan of that kind of fourth wall tipping.  However, other aspects of the emerging Batgirl mythos merging together in this issue, such as the crippled former gang member that Barbara has been flirting with and the sinister socialite/vigilante Knightfall lends a sense of long term world building under the capable hands of writer Gail Simone.  Definitely an excellent issue.

    Fourth Wall Broken

    Fourth Wall Broken

  • Nightwing #20 has our title character nestling into his new life in Chicago.  It’s not idyllic to say the least.  He is awoken from a sound sleep after a looooong night of crime fighting by the woman who’s apartment he’d been subletting (unbeknownst to her) kicking him in the chest and brandishing a baseball bat over his head.  Not the best way to wake up in the morning.  Then comes the discovery that Tony Zucco, the mobster who murdered Nightwing’s parents, is under the protection of the mayor’s office.  The Alderman who the Prankster forced to burn his amassed wealth to fend off ravenous wolves is found early the following morning alive, albeit with his arm ripped off and being eaten by said wolves.  A confrontation with the masked anti-hero or villain (hard to nail down) is inevitable and culminates in a very intriguing cliffhanger ending.  Kyle Higgins has been writing this series exquisitely since issue one and the fun doesn’t look to be close to stopping anytime soon.  Brett Booth’s artistic contributions to this series have been considerable, lending a deal of smooth, effortless lines that jibe exceptionally well with Dick Grayson’s persona as an acrobat/aerialist.  I look forward to seeing further adventures of the former Robin in the Windy City.

    It's Always Funny Until Someone Loses an Arm . . .

    It’s Always Funny Until Someone Loses an Arm . . .

  • Red Hood and the Outlaws #20 picks up after last issue where Jason Todd, after a month of horrors (told over several months of issues) goes to the Acres of All, home of the All-Caste, and has his memories voluntarily erased.  Last issue, his friends and comrades Roy Harper (Red Arrow) and Princess Koriand’r (Starfire) tracked him down to help him in his moment of need only to find him erased of all his memories and as well as the darkness they engendered inside him.  Angered by this Roy and Starfire accost the gatekeeper of the  Acres of All (also the only remaining member of the All-Caste left alive) for his part in it.  The resultant conversation takes the two “Outlaws” through a tour of the accumulated memories extracted from Jason’s mind to give a sample of just what pain and torment the gatekeeper had expunged from Jason’s mind.  What also comes about is an exploration of who Roy and Starfire are as well.  In the past Roy was in a bad spot with Green Arrow  and life in general and out of the blue, the newly minted Robin (Jason) showed up and with great optimism and kindness helped Roy through a really tough moment.  From that point on, Roy had an anchor that has connected him with Jason compelling him to help out the anti-heroic former Robin.  Starfire’s past is also laid out, albeit far less complementary.  Upon the conclusion of this issue, one thing is certain, things have changed and for good or ill, Jason is moving forward without the keystone events that have thus far shaped him into what we have come to know as the figure called the Red Hood.  In the last couple of pages, new writer James Tynion sets up the intro for what will be the Red Hood and the Outlaws first ever annual, coming out in two weeks.

    A Red Arrow and a Red Hood

    A Red Arrow and a Red Hood

  • Legion of Super-Heroes #20 marches forward towards its blowout conclusion.  Glorith, Ultraboy, and Chameleon Boy escape Rimbor for Sorcerers World only to find that planet also under siege by another member of the Fatal Five, Validus.  The three legionnaires link up with their former comrade and ruler of Sorcerers World, Black Witch, and her legionnaire lover, Blok to combat this evil.  Glorith and Black Witch are able to deal with the ravaging monster, but the cost is quite dear.  It also lands Ultraboy and Chameleon Boy in a heap of trouble.  Elsewhere on the Promethean giant we see further trevails of Legion leader, Phantom Girl, and her surviving colleagues, Invisible Kid and Polar Boy.  Though the true meaning of these events aren’t fully explained, they could mean another tragic end to a valiant hero.  Paul Levitz’s Legion is a testament to the title and its characters and a shining example of the possibilities of such a massive concept populated by round, dynamic characters.  Levitz’s is the best Legion of any run, and I will stand by that assertion.  However, DC is cancelling the series after August’s issue #23, so we are indeed looking at an endgame in the storytelling.  A total shame.
  • Supergirl #20 closed last issue on a very alarming conundrum.  Power-Girl, the Kara Zor-El of Earth-2 exiled to our reality, teams up with Supergirl, the Kara Zor-El native to our universe, and the two convalesce in the latter’s submarine sanctuary called . . . Sanctuary.  However, Sanctuary is comprised of Kryptonian A.I. and one of the key cultural heresies following the clone wars on Krypton is the existence of clones.  Well, both Kara’s are genetically identical meaning that Sanctuary intuits one of them to be be a clone.  Ironically, the one deemed to be a clone is in fact the true Kara to our reality, Supergirl.  Not to say that Power Girl isn’t as perturbed as her other self nor that she doesn’t do her utmost to rectify the situation.  This issue is basically a giant brawl between the two Maidens of Steel and the Kryptonian base they are trapped within.  The issue seems simple in this way, but in fact this conflict is quite complex, fitting within a larger drama.  Supergirl left Krypton as a teenager, unlike her cousin, Clark, who left as a baby, and as such laments a world and culture that were her life.  When she came to Earth she had  to cope with the loss of everything and everyone she knew and loved.  When H’el came on the scene she was tempted with the promise of having that life restored, only for it to come crashing down again in front of her.  Sanctuary was the last shred of Krypton that she had.  In this issue that one last piece of home turned on her and ruthlessly tried to kill her.  She is slowly losing her identity piecemeal, and a situation is developing wherein she will be forced to make a life among the humans and become a completely new woman.  I really feel pity for her, but am enthusiastic at the chance for her to become the incredible character she was pre-Reboot and develop the relationships she had in the past with other superheroes.  Michael Allan Nelson as well as his predecessors Mike Johnson and Frank Hannah have done a killer job writing her in complex, engaging ways that give her leeway to be a dumb teenager doing foolish things without demonizing her or making her any less compelling of a heroine.  Her hero’s journey has been and looks to continue to be something worth watching.

    Kryptonian Sunrise

    Kryptonian Sunrise

  • Vibe #4 begins with the armored intruder in the Ramon household introducing himself as Breacher, the first interdimensional traveller to come to Earth and be imprisoned by A.R.G.U.S.  He came to warn Earth of Darkseid’s impending invasion, but was ignored and incarcerated.  He also warned Cisco not to trust his employers as they are hiding something from him.  Breacher is unable to elaborate as he is pulled against his will to another dimesion, probably his place of origin.  In the mean time, Vibe is sent to catch the escaped inmate, codenamed Gypsy.  Like Kid Flash last issue he fights her but eventually comes to speak with her in private and learns she is not an interdimensional warmonger, as he had been briefed, but just an interdimensional wander who was imprisoned like Breacher.  Finally bucking the system, Cisco shakes his A.R.G.U.S handlers and agrees to help Gypsy get home.  In the process he runs afowl of A.R.G.U.S head Amanda Waller and opens a can of worms that could spell dire consequences of him and his future as a superhero.  Sterling Gates takes over for Geoff Johns and Andrew Kreisberg with great skill, maintaining the feel and excellence which began the series.
  • Wonder Woman #20 brings the family of Zeus closer to all-out conflict.  Artemis is dispatched to England to kill Zeus’ last born child, Zeke, and Wonder Woman yet again comes to the aid of her baby brother.  In the meantime, Lennox returns and escorts Hera and Zola in the attempt to get Zeke to safety.  However, Artemis and Apollo are not the only ones of Zeus’ children looking for the Last Born.  The First Born also knows that Zeke is the key to the throne of Olympus and looks to commune with his baby brother in the attempt to claim what he feels is his birthright.  Brian Azzarello certainly has a vision for this title and pushes onward setting a very sordid, complex gameboard upon which the Greek gods politick against one another.  Ares, or War as Azzarello likes to refer to him, comes off as a blood-soaked philosopher, and perhaps a way of Azzarello inserting himself into the title.  He does bear an uncanny resemblance to the Wonder Woman scribe.  Also revealed is the reason for Cassandra, the First Born’s attache’s, metal throat.  There is some messed up family politics behind that number.  I’ve fought with my sisters before, but I have never ripped their larynges out.  Yikes.  Azzarello with the help of artists Cliff Chiang, Tony Akins, and Goran Sudzuka have knocked this title out of the park.  I think what I like about the series thus far it that it is a completely different take on the saga of the Amazing Amazon than most fans have seen on a large scale.  It really roots her in mythic origins and divorces her from the contemporary DCU events, if only for the moment, to really give voice to the Greek drama that is her life.  Intriguing to be sure.

    Sibling Rivalry

    Sibling Rivalry

  • Sword of Sorcery #8 is finally here.  Though I hate to see this wonderful series come to a close, I am geared up for the incredible finale that has been so wonderfully built toward.  Eclipso has subdued both House Onyx and House Diamond, the two bloodlines that once gave him power.  They again fall under his sway.  It falls to the newly minted lord and ladies of House Amethyst, House Citrine and House Turquoise to stop him.  Amaya has a plan and it is a risky gambit that turns the very premise the first issue was based upon on its head.  Amaya’s ancestor, Lady Chandra, was the one who defeated the undefeatable Lord Kaala (Eclipso) when he first appeared in Nilaa. The question arises as to whether Amaya, young though she may be, can emulate her forebearer and put him down once more.  The course of this title has been circuitous and fraught with medieval political intrigue not unlike Game of Thrones.  It’s strange that this fact didn’t save it from cancellation, but the hope remains that somewhere down the road someone will resurrect it from the pivotal moment upon which it ends.  Writer Christy Marx can be proud of herself with this title and artist Aaron Lopresti presents his usual level of excellence in its depiction.  All nine issues of this series (zero issue included) are well worth reading.

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

Illustration Credits:

Batgirl #20:  Drawn by Daniel Sampere & Carlos Rodriguez, Colored by Blond, Inked by Jonathan Glapion & Vincente Cifuentes

Nightwing #19: Drawn by Brett Booth, Colored by Andrew Dalhouse, Inked by Norm Rapmund

Red Hood and the Outlaws #19:  Art by Julius Gopez, Colored by Nei Ruffino

Supergirl #19:  Art by Mahmud Asrar, Colored by Dave McCaig

Wonder Woman #19: Art by Cliff Chiang & Goran Sudzuka, Colored by Matthew Wilson

Week 81 (March 20, 2013)

This was a huge week, both in the number of comics I picked up and the quality.  First and foremost, Grant Morrison concludes his run on Action Comics with an oversized issue that promises to be one of the hallmarks of his comics career.  Batwoman enters into a new era after a seventeen issue mega story came to an EPIC end last month.  Legion of Super-Heroes has descended into unmitigated horror as of its preceding issue and moves into what promises to be the biggest story in LOSH history since writer Paul Levitz’s “Great Darkness Saga” plot from the early 80’s.  And who could forget three Bat-titles that follow in the wake of Damian Wayne’s tragic passing.  I am shaking just recounting the possibilities this week holds in store.  Let’s jump in:

  • Action Comics #18 concludes Grant Morrison’s MASSIVE opening arc of this flagship Superman title.  As with most things Morrison, I’m not entirely sure I got all of it.  It is steeped in 5th dimensional nonlinear geometry and what could vaguely be filed under the heading of quantum mechanics.  Superman is fighting Vyndktvx, and by extension Superdoom and the Anti-Superman Army.  It’s pretty technical, but insanely engaging to read.  Superman’s position seems impossible to extricate himself from, except when he realizes an inherent flaw in the logistics of Vyndktvx’s attack.  As he discerned on Mars when fending off the Multitude, the unfathomable numbers of this angelic hoard were merely a fifth dimensional projection of one being, Vyndktvx.  Likewise, by choosing to attack Superman at various points throughout his life, Vyndktvx is able to optimize the torture quotient of his assault upon the Man of Steel, but conversely traps himself in a relativistic conundrum hinging on Superman’s perception of the situation.  When Superman realizes that he’s been attacked at other points in his life he also realizes that due to the quantum physics of the 3-dimensional plane in which we exist he would have survived all the previous assaults by Vyndktvx and therefore would have gained de facto the knowledge of how to defeat the mad 5-D villain.  Grant Morrison and his dynamic duo of artists, Brad Walker and Rags Morales, really did a great job of tying together their entire run on the book and making it meaningful.  Lex Luthor made an appearance defending the Man of Steel and another antagonist from earlier in this series, Adam Blake, and his Neo-Sapien brotherhood come back to Earth and lend Superman a hand as well.  The people of Earth are promised immortality and eternal happiness if they shun Superman in his moment of greatest need, but humanity rallies behind their savior and grant him the key to victory.  The backup feature by Sholly Fisch was a little insubstantial, but in fairness his amazing backup feature in #17 was no doubt supposed to be the ending of the arc until Morrison got DC to extend his run by one issue to fully tell the grand finale as he envisioned it.  This one features kids in a Superman Museum in the 31st century featuring almost no dialogue and just seems propped up with toothpicks.  There was meaning behind it, but it still had the air of being rushed.  Despite that, this issue as well as the other eighteen issues of the series (remember there was a #0 issue in there, too) were amazing and a tribute to Grant Morrison’s genius.  A must read, whether in single issues or graphic novel format.

    Vyndktvx's 5-D Dilemma

    Vyndktvx’s 5-D Dilemma

  • Justice League #18 was a nerd spasm with the League auditioning new members and writer Geoff Johns pulling out all sorts of fan favorites along with some really obscure characters.  Zatanna, Firestorm, and Black Canary come up , but Johns also brings in Platinum of the Metal Men, Element Woman (female version of Metamorpho) which he’d messed around with in Flashpoint, Goldrush, and a female version of the Atom.  Other than exploring the need of a new member to the team and introducing the hint of a coming conflict, there wasn’t much point to this issue.  The Shazam backup feature had good art from Gary Frank, but vexing plot development: Billy Batson running away from responsibility, because he’s a punk.  If he were any other version of the character than this it could be legitimately reasoned as a kid afraid to fail, but it’s not.  It’s Geoff Johns’ bizarre attempt at rebooting an edgier Billy and his running away from conflict just comes off as him being a self interested brat.  This series just does not work for me, main feature and backup.
  • Justice League of America #2 brings about Geoff Johns’ second attempt at a team book.  The first issue was a really solid opening chapter that showed promise, albeit suffering slightly with its breakneck, abbreviated introductions to six lead characters.  This second issue continues that promise with a pretty substantial plot.  Its shorter in length, giving some of its page count to the Martian Manhunter backup feature.  There is some quality character development on Catwoman, as well as Steve Trevor.  The main villain seeking to create the “Secret Society of Super-Villains” from the end of Justice League #6 a little more than a year ago finally shows his face and seems to be a completely new character, or perhaps a drastically different take on an old one, because I do not recognize him at all.  All in all, a really enjoyable, edgy series.  I think that Geoff Johns is trying to be edgy with the two Justice League titles and that is where he fails with the main series.   When you have tertiary characters like Catwoman, Katana, Hawkman, etc, you can be edgier.  When you try that same thing with the main DCU characters, even to a degree with Batman, you just alienate them from the audience reading them.  Maybe that’s what Johns is going for, but that’s a really low bar to aim for and a really crappy status quo for readers to expect.  The Martian Manhunter backup was too edgy for me and I did not like it.  If J’onn J’onnz was to die at this point I wouldn’t care at all.  That is sad, because I always liked him.
    Kindred Spirits

    Kindred Spirits

     

  • Batwoman #18 is a new beginning for the character, but also a reaffirmation of what her life has become.  Medusa and her kidnapping of dozens of Gotham children was the plot that pervaded the first seventeen issues of the title, but with last issue that has been laid to rest.  However, in fighting this titanic battle for the innocents of her city, Batwoman had to make a devils deal with the D.E.O. and become their leashed super-agent in order to complete her mission with impunity and keep her father out of prison for his outfitting of her with Army equipment.  This latter aspect of her life was overshadowed by the pressing quest to find and subdue Medusa before the children came to harm.  With the mission accomplished she is becoming aware of the shackles she’s got herself tethered with.  As she plays her role in this issue taking down Mr. Freeze to obtain some of his freeze tech for the D.E.O. she runs afoul of Batman and confuses her father, cousin Betty (her sidekick Hawkfire), and the Batman as to what her motives are.  After defeating Medusa, Batwoman proposed to her alter-ego Kate Kane’s girlfriend, Capt. Maggie Sawyer.  This issue picks up with Maggie looking for a new place for the two of them, completely overstepping any reaction from the Gotham policewoman as to the revelation that her lover was the vigilante she had been hunting.  Probably the right decision by J.H. Williams III and W. Haden Blackman, but I still would have been interested to see what the initial conversation was before her acceptance of this rather unorthodox situation.  This series continues to be amazing, although this particular episode was a little less exciting after the high octane ride the past couple of months have given us with the conclusion of the “Medusa” mega-arc.  Also Trevor McCarthy’s art pales in comparison to Williams’.  I feel they do him a disservice, as he is a good artist, by pairing his artwork next to Williams’.
  • Green Lantern: The New Guardians #18 brings Volthoom’s wrath upon Carol Ferris, Saint Walker, and Larfleeze.  To accomplish this, series artist Aaron Kuder has been replaced with three artists for the three different sequences in the narrative.  The Carol Ferris segment is drawn by Hendry Prasetyo and features Carol living a life without love.  She’s completely ignored her obligations to her father and their family company Ferris Aircraft, following her dream to become a fighter pilot.  Though this sounds ideal for her, with Volthoom’s altered timeline it is anything but.  Larfleeze’s segment is drawn by Jim Calafiore and features the paragon of greed first with his family that he has desperately wanted to find for ages and then as a Blue Lantern.  Both times, he barely gets into the altered reality before his inherent greed overpowers his senses and collapses the concept in on itself.  Saint Walker doesn’t so much live a life without hope, so much as lives a life without loss, this time around having gotten a green power ring saving his planet before his family died in the quest for the blue one.  He also is unable to follow the reality through as in his heart he knows it is not true.  Like Kyle last issue, each of the other “New Guardians” prove too powerful in their spirit for Volthoom to truly get the better of forcing Volthoom to seek out someone he knows he can manipulate: Atrocitus.  That may be a lead in to next week’s Red Lanterns issue, because Atrocitus hasn’t been a New Guardian for awhile.  This issue was really well written and really cut to the heart of these three incredible lanterns.
  • Supergirl #18 presents a major turning point for the Maiden of Steel.  She has been alienated upon waking up on a planet whose language and culture she is unfamiliar with.  Things looked up for awhile as she made a friend in Siobhan McDougal, aka Silver Banshee, but then with the introduction of H’el onto the scene she was given the hope of returning to her homeworld and being reunited with her family.  With last month’s issue of Supergirl as well as the conclusion of Superman #18 it is now an intractable fact: Supergirl can never go home again.  That is sadly pointed out in a moment where she emerges from a solar satellite where she is convalescing from green kryptonite poisoning.  After exiting the solar chamber she begins to say “I want to go home,” but stops and corrects herself, “I just want to get back to Earth.”  Her expression in this moment is truly heartrending.  In the meantime, Lex Luthor plots against her from his state-of-the-art, super-prison, via neural implant that projects his consciousness to an offsite computer.  Also a strange connection between Kara Zor-El and Karen Starr, the Kara Zor-El of Earth 2, is teased at.  This issue featured a guest writer, Frank Hannah, and he picks up and continues the series in intriguing new directions.  Coming off of a massive event like “H’el on Earth” can be dangerous, providing a jumping off point for readers of certain series if they don’t sink a hook right away.  This issue sunk a hook.  What’s to come has great promise.

    You C Never Go Home Again

    You Can Never Go Home Again

  • Legion of Super-Heroes #18 continues down the cataclysmic road that issue #17 began.  The United Planets are still reeling from the assault of Tharok against the technological advances of the 31st century and the death toll mounts.  The last issue focused on Legionnaires stranded on Rimbor and the Promethean Giants.  This one goes back to both locations and the plight upon them, but also adds Earth and the Legion’s headquarters in Metropolis to the stage.  Mon-El, Shadow Lass, Lightning Lass, Shrinking Violet, and Cosmic Boy leave Earth for Webber World, an artificial planet that is nothing but technology to try and establish the devastation there.  Brainiac 5, Dream Girl, Star Man, Chemical Kid, and Element Lad attempt to get a cruiser prepped for their own departure from Earth. Ultraboy, Glorith, and Chameleon Boy attempt to escape Rimbor using Glorith’s magic, and Phantom Girl, Invisible Kid, and Polar Boy continue to try and regroup after their crash landing on the fabled Promethean giant.  This arc has all the hallmarks of another cosmic epic on the scale of writers Paul Levitz and Keith Giffen’s 1980’s opus, “The Great Darkness Saga.”   This issue lost a little steam, but issue #17 had two advantages.  Firstly, it had the element of surprise, following a very calm “nothing is happening” issue directly into a sucker punch in the readers’ collective gut with literally all Hell breaking loose.  Secondly, it had Keith Giffen’s Kirby-esque artwork magnifying the already nuts plotline into a tour-de-force thrill ride.  Scott Kolins and Tom Derenick do a good job, but like McCarthy above in the Batwoman review, they have the misfortune of standing in the very long shadow of Giffen.  I am pumped to read further into this amazing arc which promises to be a historic one.
  • DC Universe Presents #18 is a one shot like last month’s issue that gives spotlight to Jason Todd’s fellow outlaws.  Issue #17 was a focus on Roy Harper that really laid bare the kind of person he is as well as his hidden strengths and virtues.  This month we are shown Princess Koriand’r, aka Starfire.  Born into royalty, her sister sacrificed her to slave traders to buy peace for the realm.  This issue tells about her time as a slave on a ship that is larger than the Earth.  Inside are entire civilizations that the slavers raid and sell when needs be.  This issue wasn’t large in the action department, but did present an interesting study into the mindset of the enslaved.  How sometimes those that aren’t free are so weighed down by their bondage that they do not want to be free because of the terror it inspires in their comfortable minds.  This issue was once again written by Joe Keatinge, who wrote the  Arsenal issue last month.  The art is done by newcomer Federico Dallocchio.  The writing is thought provoking, if not action packed, and the artwork is very lovely, representing the beautiful heroine well.  Not a bad issue at all.
  • Nightwing #18 hits Dick Grayson while he’s down.  Last issue had Nightwing mourning the loss of his friends and the circus he grew up in and was trying to save.  It had Dick struggling with his own sense of denial, telling those that still cared about him that he was fine when he was really anything but, festering pain and anger deep in his belly until the pressure burst.  All the while Damian, the most socially inept, insensitive member of the Bat Family, followed him to intervene when the inevitable sword dropped.  Damian stopped him from stepping over the line and told him exactly what he needed to hear to ease his battered and bruised soul.  This issue opens with Damian dead and the old wounds he’d seemingly healed torn open and wrenched deeper by the loss of this “little brother” who knew him possibly better than even Batman.  What it comes down to is that he is losing his past.  The circus he grew up in was terrorized and some of the older members like the clown, James Clark, and his former girlfriend, Raya, brutally murdered by the Joker, the circus folds, and then Damian, who had served as his Robin when he donned the cape and cowl of Batman, dies suddenly saving Gotham.  Then Batman comes to him with information that a criminal scavenger that sells crime artifacts in underground auctions has plundered Haly’s and put John Grayson’s trapeze outfit up for sale.  The Collector last showed up in Scott Snyder’s Detective Comics run, pre-Reboot, running afoul of Dick Grayson’s Batman.  Now its a rematch in his Nightwing identity.  Though he goes in angry, the outcome of the confrontation ironically heals him and proves the truth in something Damian told Dick before he died.  But of course Dick can’t be happy for long.  When deciding to finally meet with Sonia Branch (nee Zucco), daughter of gangster that killed his parents, she reveals something about her dad that once again shows how Dick’s past is continually eroding beneath him, leaving him very little closure.  Kyle Higgins is KILLING IT!  His Nightwing run is seminal.  I may have liked other runs as much as this one, but I’m not sure.  All I know is that this is a really emotionally driven, introspective, thought provoking title that continually amazes.  Juan Jose Ryp yet again provides equally stunning interior art, really drawing out the latent potential in every heartbreaking frame.  This two issue interim arc between “Death of the Family” and the next major story arc of the title has been phenomenal on every imaginable level.

    Painful Memories

    Painful Memories

  • Red Hood and the Outlaws #18 following the shocking ending of last issue vis-a-vis the booby trapped helmet that the Joker whipped together, Jason lays in a medically induced coma, facing his greatest enemies.  With the revelation a few months prior that the Joker for all intents and purposes created him by selecting him and guiding him towards the Batman, the Clown Prince of Crime is the first of Jason’s adversaries.  However, the real adversary he fights is himself.  A mob of Bat family members, past and present, as well as his former allies converge on him at once and Batman is the one who pulls him out.  This is writer Scott Lobdell’s last issue on the series and he might be taking his character from his complete alienation of his past as Robin and bringing him back into the fold, or perhaps he’s just tempering the fiery character of the failed Robin, but in either event, he presents a single heartwarming tale for the jaded anti-hero.  Despite all he has done and the pain he has put them through, Bruce and Alfred love him and do everything in their power to help him come back to life, literally and metaphorically.  Tyler Kirkham does fantastic guest art on the title, really bringing out the twisted nature of Jason’s psyche.  Well worth picking up.RHATO18
  • Vibe #2 was a half and half issue.  Half of the issue played catch up and was boring for those who have read Justice League of America #1 & 2.  Recounting all of the snippets of Cisco Ramon’s appearances in the first two issues of the overarching JLA title, it does inform those who didn’t read the aforementioned title and gave context to those that did, but still, didn’t hit just right.  The other half of it hit a cord with DC fans that know their obscure characters.  A transdimensional invader comes through to deliver a note to an emissary.  It hands it to Vibe right before an A.R.G.U.S. agent zaps him.  The note was meant for the character, Gypsy, whose father apparently is a potentate in another reality.  A far departure from her previous back story, she is exactly like Vibe.  Few know who she is so few care if they do a MASSIVE overhaul.  What is clear is that A.R.G.U.S. likes to kidnap the daughters of powerful men.  Darkseid’s daughter is their prisoner.  This unknown king’s daughter is also their prisoner.  They better pray that Gypsy’s homeworld doesn’t form an alliance with Apokalips, because they are literally playing with fire and poking some VERY big dogs with an annoyingly sharp stick.  I want to believe Geoff Johns knows what he’s doing, but he is quitting the only good book he is currently writing.  So I put my faith in cowriter, Andrew Kreisberg.
  • Wonder Woman #18 concluded a maxi-arc in the odyssey of Zola’s baby.  In Wonder Woman #1 writer Brian Azzarello and artist Cliff Chiang introduced us to Zola, a human woman who bore Zeus’s newest bastard.  The Amazing Amazon has gone on a long journey to protect the young woman from the various gods of Olympus and upon its birth, to recover the baby from those same, meddlesome gods.  That story finds its conclusion a year and a half later.  However, it continues the tale of Zeus’s first born child, exiled and awoken millennia later with rage and vengeance on his mind.  Those same gods who tried to strong arm and kidnap an innocent child, now have to contend with a vengeful demigod fueled by distilled hatred.  Also Azzarello has re-introduced us to the New Gods of New Genesis, represented primarily by Orion, foster son of High Father and (perhaps still unbeknownst to him) the eldest son of Darkseid.  Azzarello keeps this series afloat, sometimes peaking on the wave of awesome, and other times lulling in the trough of mediocre.  This concluding issue of that first major crisis features art by alternating artist Tony Akins and Cliff Chiang, as well as a third penciller, Goran Sudzuka.  This one was pretty good and a must read if you have been one of the faithful, reading it from the inaugural issue.
  • Sword of Sorcery #6 accomplished quite a bit.  It fully introduced us to the new lord of House Turquoise after the death of Princess Amaya of House Amethyst’s grandfather, Lord Firojha.  It also introduces another newly minted House head following another shift in power.  Most importantly to the DCU in general is yet another reason why I want to see John Constantine strung up by his toes.  He singlehandedly brings the harbinger of utter ruin upon Princess Amaya’s home, but what’s worse, he uses her to invite it in.  In fairness to Constantine, however, the doom that he has sent to Nilaa was born in the Gemworld and exiled to Earth thousands of years ago.  Still, its a pretty low thing to do, considering how Amaya pulled his bacon out of the fire in the Justice League Dark Annual.  The Stalker backup feature isn’t even worth talking about.  Just horrible.  Get this issue for the main feature and then close it up after the conclusion.
  • Batman Beyond Unlimited #14 begins with an interim chapter in Batman Beyond following the conclusion of the hellacious “10,000 Clowns” arc and the coming one called “Undercloud.”  Though its a one shot, it is monumental if one followed the animated “Batman Beyond” series.  In the series Terry McGinnis constantly had to bail on his long suffering girlfriend, Dana Tan, and play it off like he was doing errands for his boss, the aged Bruce Wayne.  After the events of “10,000 Clowns” and her brother Doug unleashing hell on earth upon Gotham in the form of 10,000 suicidal Jokerz from around the world Dana is put in a situation where everything clicks.  When Doug attempted to kill their father in the ICU, Bruce Wayne, 80+ years old and dying himself from liver failure, got out of his hospital bed and fought the twenty something maniac, allowing the Tans to get Mr. Tan to safety.  When Doug took his sister as a hostage, Batman referred to her by name.  The math is right there and Dana FINALLY figures it out and a new era in Terry’s tenure as Batman begins.  The issue is also good, because Dana was often a set piece on the show and more of a plot device than an actual character.  This issue was her issue.  It was narrated by her, gave her history with an intimate look into her traumatic upbringing with a psychotic for an older brother who despite his evil nature she still loves, and tells us what gives her peace.  Adam Beechen makes this series come alive for those of us who mourned the TV series’ cancellation.  Although, I do have one beef.  In the “Justice League Unlimited” episode entitled “Epilogue” we are told that Terry discovered that Bruce Wayne was his biological father when they did the liver transplant and found out him and Bruce were identical tissue types.  In this issue the liver came from someone else.  You messed up, Mr. Beechen, but I’ll forgive you because the rest of this issue and those preceding it were truly mind blowing.  Also, kudos to Peter Nguyen who takes over for regular Batman Beyond artist Norm Breyfogle.  The art is truly beautiful, underscoring the moving narratives within.  Unfortunately, the Superman Beyond plot is leaving me whelmed.  I thought there was going to be some moral ambiguity with the Trillians claiming Superman destroyed their world, but really they are just an overclass that resents having their property taken away.  Superman freed their slaves and now they are angry.  Boo-effing-Hoo.   On to the next.  The Justice League Beyond Unlimited  story finishes off in this third installment with a new Flash, this time a young African American woman named Danica (last name to come soon, I am sure).  This arc was over relatively quickly when compared with the previous Kobra arc that spanned almost an entire year’s worth of issues.  However, despite the brevity and the quick take down of what could have been a truly formidable foe on the level of most of the greats this issue had its poignant moments that really speak to the superhero genre, why they do what they do, and gives a comprehensive intro to the next scion of the Speed Force.  Perhaps the best moment came after Superman personally extended an invitation to Dani to join the JLB.  After accepting his gracious offer, she challenged him to a foot race, which every speedster since Barry Allen have done.  Derek Fridolfs write this one as well as providing inks for Jorge Corona’s pencils.  Truly a great end to a relatively short arc.  This issue was phenomenal overall.BatmanBeyondUnlimited14

This crop was amazing, though statistically they had more shots at it with the increased number of entries.  Several of these are must gets to comic fans in general, regardless of genre.

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

Illustration Credits:

Action Comics #18: Drawn by Rags Morales & Brad Walker, Colored by Brad Anderson, Inked byCam Smith & Andrew Hennessy

Justice League #2:  Art by David Finch, Colored by Sonia Oback

Supergirl #18:  Drawn by Robson Rocha, Colored by dave McCaig, Inked by Oclair Albert, Julio Ferreira & Mariah Benes

Nightwing #18: Drawn by Juan Jose Ryp, Colored by Bret Smith, Inked by Roger Bonet & Juan Albarran

Red Hood and the Outlaws #18:  Art by Tyler Kirkham, Colored by Arif Prianto

Batman Beyond Unlimted #14: Drawn by Peter Nguyen, Colored by Andrew Elder, Inked by Craig Yeung

Week 77 (Feb. 20, 2013)

This was a massive week with so many incredible books coming out.  The conclusion of Batwoman’s main storyline begun September of 2011, the beginning of the last arcs of the Green Lantern titles as they have been since 2005, the introduction of two new series, and perhaps the most powerful issue of Legion of Super-Heroes we’ve seen since Paul Levitz returned to the title in 2010.  A lot of stellar storytelling, without further ado:

  • Justice League #17 concludes the “Throne of Atlantis” event in perhaps one of the most morally ambiguous, honest endings.  With Arthur’s former adviser and friend, Vulko, revealed as the architect of the war between Land and Sea, Arthur has to subdue his brother King Orm, aka Ocean Master, to usher in peace.  Of course, he succeeds, however the cost is very painful to behold.  Since the first time he appeared in Aquaman, Ocean Master has been a very fair leader.  His home was attacked and he responded harshly.  No one can deny that point.  His treatment by his brother and the Justice League, who already have been portrayed as unsympathetic bullies, is hard to watch.  This is the birth of a villain and I can’t say that I won’t be cheering Orm on in the future.  When you marginalize a person with legitimate grievances you create concrete animosities.  And the hollow victory bought by offering his brother up like a herring on a silver platter is very hollow, considering that people still do not trust Arthur.  Perhaps its super realistic, but I again find it lackluster and hard to love the protagonists.  Better luck next time, Geoff Johns.

    The Birth of a Super-Villain

    The Birth of a Super-Villain

  • Action Comics #17 delivers the first half of Grant Morrison’s big finale on his Action run.  The issue’s really a recap of all the things that define Superman as a comic book icon and as a paragon of heroism.  Starting with the Kents who shaped this young, omnipotent alien into a compassionate everyman, the issue shows how many people Superman has touched over the years and to what degree.  The fifth dimensional madman Vyndktvx offers the people of Earth eternal life and their hearts desires if they refuse to help Superman in his hour of need.  That hour is now, and even with a multiversal behemoth throwing him around like a ragdoll, and depsite his own warnings to stay back, the people come to his aid.  Also rushing to his aid is perhaps the most unlikely of people.  Morrison tells this story brilliantly, tying everything he has done together with a quick narration by Vyndktvx himself, breaking the fourth wall and talking directly to us.  Sholly Fisch tells a heartwarming backup story that will have occurred after the next concluding issue of Action Comics.  Superman goes back in time somehow to talk to his father on the night he and Ma both die.  It’s sweet, it’s heart warming, and very personal.  Superman doesn’t tell them they are going to die, and even though Pa intuits that this might be the case, he doesn’t want to know either.  The two just share one last moment of happiness together, and Clark gets the chance to, in essence, say goodbye.  The scene is very reminiscent to but much briefer than Grant Morrison’s All-Star Superman #7 in which Superman gets that chance in that story’s reality.  Just a great issue heralding the end of an era to come next month in Action Comics #18.
  • Justice League of America #1 is a decent introductory issue.  When starting a group book there are two ways to go about it: assemble immediately or have the team snowball, with members joining as the issues accumulate.  In this one issue, writer Geoff Johns harkens back to a brief moment at the end of his first arc of Justice League with a scene involving two men meeting, hinting at the formation of a fraternity of supervillains.  Beginning with this interaction, the comic then goes to an overarching conversation between former League liason to A.R.G.U.S., Col. Steve Trevor, meeting with current liason Amanda Waller in the interest of creating a second team sanctioned and moderated by the American government.  A Justice League of America.  As they discuss each member, the story cuts to the recruitment of said member in whiplash cutaways that do the bare minimum to introduce that character to you.  If you haven’t read Catwoman, Green Lantern, Stormwatch, The Savage Hawkman, or the two new ongoing series Katana and Vibe, that’s just too bad.  On the outside of this conversation also is a quick, tense scene of an Oni masked hero racing through a jungle from unknow assailants, bleeding out and attempting to get a message through.  This was the aspect of the book that buoyed the plot up and compelled the reader to know more.  At issue’s end he makes it back to A.R.G.U.S. and his identity is revealed, but his message has yet to be delivered.  I liked this first issue.  I am familiar with the characters and was able to fill in the blanks, but that may not carry over to new readers.   Art provided by David Finch is liney, dark, and ominous, really setting a harsh and uncertain tone to the overall plot which engages the reader almost immediately.   I will liken this series to a baby born of a diseased mother, the metaphorical mother being Justice League.  Geoff Johns has shown in JL that he seems incapable of writing a team book without losing the characters within to pettiness and ego, rendering them unrelatable caricatures of their current solo selves.  Here the new series is exhibiting what could be the beginnings of these symptoms of the diseased parent, but not without some signs of vitality.  Time will tell as to how this series comes out.  Martian Manhunter is perhaps the most disgusting character that the reboot and, I am assuming, Johns himself has birthed into this New DCU.  J’onn J’onzz was an alien that came to Earth as a stranger in a strange land, curious and full of optimism.  His delving into human society was about finding what was good in this strange new species.  Here he is a cold, hollow figure with incomparable power that dwells on the harsh, sinister motivations in men and offers it back in kind.  Maybe Johns and his bosses are trying to be edgy, but they are failing horribly and taking down beloved characters as collateral damage.

    The Mission

    The Mission

  • Batwoman #17 is a red letter issue.  There has been a continuous plot stretched over three story arcs of missing children in Gotham having been kidnapped by Medusa and Batwoman attempting to find them and bring them home safely.  That has also been the goal of Capt. Maggie Sawyer of the Gotham City police, who also happens to be the girlfriend of Batwoman’s alter ego, Kate Kane.  This third arc has had Batwoman teamed up with Wonder Woman to stop the crazed gorgon, Medusa, from using the children as a sacrifice to lure Ceto, the Greek goddess who birthed all monsters into the world, back into reality.  With this final issue Ceto is summoned forth and Batwoman and Wonder Woman must find a way to stop her from tearing the fabric of reality to pieces.  There is so little I can say about this issue because of how remarkable it is in both story and art, brought to us by J.H. Williams III in both capacities with co-writer W. Haden Blackman’s assistance.  In both her identity as Batwoman and Kate Kane, this issue changes everything.  The missing children plot that consisted of these first seventeen issues was interesting, considering the main issues that dominated her first solo appearance, pre-Reboot.  Well with this overarching plot concluded, Williams and Blackman tease us on the last page with a return of Batwoman’s personal ghosts.  I am dying to read the next issue in March and would urge you to do the same.

    That's a Game Changer

    That’s a Game Changer

  • Green Lantern #17 ushers in the “Wrath of the First Lantern” event, which also is the last event in the runs of the current Green Lantern titles’ creative teams.  Obviously, Geoff Johns’ run on Green Lantern is the most lamented of these casualties with his having been on this title longest of any of the current series writers and also being the visionary that brought Hal Jordan back to life and reimagined the GL mythology to the complex, multifaceted marvel it currently is.  After the Green Lantern Corps Annual last month, Volthoom, the first Lantern, is released upon the universe.  The issue begins with a brief explanation of how he came to meet the Guardians and what he embodies and then proceeds billions of years later in our present to show what he plans to do.  Somehow Volthoom is possessed of infinite power including the ability to warp and manipulate time to venture into tangential universes predicated on every single decision ever made or that ever will be made.  That coupled with a sadistic desire to feed off of pain like an emotional vampire paints an even more twisted villain than the inhumanly cold Guardians.  Also in this issue, newly minted Green Lantern, Simon Baz, comes face to face with the Black Hand on his quest to find Hal Jordan and by extension stop the Guardians.  This event promises to be a stunning finale to what has been an incredible eight year run on the title and the Green Lantern line of books.

    VOLTHOOM!

    VOLTHOOM!

  • Green Lantern Corps #17 brings Volthoom into Guy Gardner’s life both literally and figuratively.  The emotional vampire attaches to the surliest of the Green Lanterns like the Ghost of Christmas Past and Christmas Might Have Been preying on the raw feeling that lie beneath Guy’s cynical attitude.  Anyone who knows how abraisive Guy can be can only imagine the horrors from his past.  We are shown them and alternate versions of them as Volthoom tortures Guy over his mistakes the circumstances of his life that held him back from where and who he wanted to be.  Peter Tomasi plays this issue like a stratevarius, plucking the heartstrings of his readers who can’t help but empathize with our sarcastic hero.
  • Green Lantern: New Guardians #17 mimicks Green Lantern Corps with Volthoom trapping Kyle Rayner in his temporal web.  Next to Hal Jordan, Kyle Rayner is my favorite Green Lantern and this issue proves why.  Kyle is someone who had horrific things happen in his past, including his girlfiend being killed and her mutilated body stuffed into his refridgerator and his father walking out him and his mom when he was very young.  Volthoom plays his sick games by altering these events to torment Kyle, but to Kyle’s credit Volthoom has to bust out his A-game, as Kyle continues to see the silver lining to most of the things he’s exposed to by the sadistic First Lantern.  In trying to torment this paragon of will power, Volthoom only proves to us how strong and amazing Kyle is and how the greatest heroism sometimes is just refusing to let life and circumstances get you down.  Tony Bedard is amazing and as stated above his run on this title is ending in May with the twentieth issue of this series.  I have to say that I saddened by his departure considering this issue and all the issues he’s written in this line that has been exemplars of storytelling.  Aaron Kuder’s run also ends with #20 and he will also be missed as he too renders the subject material with grace and eloquence second to none.

    The Unsinkable Kyle Rayner

    The Unsinkable Kyle Rayner

  • Nightwing #17 gives the epilogue to “Death of the Family” from the perspective of Dick Grayson, aka Nightwing.  As a result of him being in the lives of the people at Haly’s circus several members including their clown, James Clark, and his former girlfriend, Raya, are killed and the rest hospitalized after the Joker’s attacks.  Alfred tries to console him and he says he’s fine.  He goes to visit the survivors in the hospital and those that don’t hold a grudge try to tell him he’s not to blame and its not his fault and he says he’s fine.  He goes to the funerals and his ambiguously romantic friend Sonia Branch (nee Zucco) tells him not to blame himself and he says he is fine. However, when criminals try to pillage the remains of Haly’s Circus, he goes bat-sh** crazy.  As solicited on the cover, Damian is the only person that can bring him back from the brink.  Ironic, considering how sociopathic Damian is and what his usual modus operandi when dealing with criminals consists of.  What this issue does so well is underscoring how incredible the relationship is between these two truly is.  When Dick took over the role of Batman following Bruce’s disappearance it was his choice to take Damian on as Robin and his faith that Damian could be more than the psychopathic killer his mother, Talia Al-Ghul, fashioned him into.  As a result I think that this issue shows him looking out for his “older brother” and not letting him cross lines he will regret.  Also it shows how well he knows Nightwing.  Dick told everyone he was fine and did a good job putting up the charade, but Damian knew with complete certitude that he was not.  Damian puts up a facade of apathy that in a lot of instances isn’t a facade, but rather him just not caring.  But here despite his cavalier attitude, he cares enough to follow Dick for several days to make sure that when the pressure building up within him finally burst out, he’d be there to stop him from breaking his moral convictions.  Kyle Higgins writes it quite well and with art by Juan Jose Ryp, the issue comes off quite well.
  • Red Hood and the Outlaws #17 provides a thoughtful epilogue for Jason Todd after the “Death of the Family” storyline.  Jason is someone that was burned early on by the Joker and has thick skin when it comes to such things, but tender flesh beneath.  While the others may have been really messed up by what the Joker did, Jason has already been lured into a trap by the Joker with his supposedly departed mother as bait and beaten to death and blown to smithereens.  However, learning that the Joker was the architect of his becoming Robin and most of the misfortunes that led him to that horrible place doesn’t fail to register.  So going back one last time to the Manor and the Cave he talks to various members of the family and says his farewells once again out of duty.  Though its a perfunctory visit, Bruce tells him perhaps the only thing that could heal a wound like finding out the Joker engineered your traumatic childhood, “No, Jason. He didn’t make you. I never did either. You made you.”  The visit seems to end on a high note, except that the Joker is not one to let things end with his having the last laugh.  When Jason retrieves his signature red hood and puts it on there is a surprise waiting for him within.  I have NO idea what that means for future stories, but its still a chilling ending point.  Scott Lobdell is close to ending his tenure on the title and appears to be  throwing a live grenade into the works for his successor James Tynion IV to pick up.

    We Are Our Own Masters

    We Are the Masters of Our Own Destinies

  • DC Universe Presents #17 follows Red Hood and the Outlaws by spinning a yarn about Roy Harper, aka Arsenal, that captures his history, his flaws and virtues, and how he is viewed by those around him.  Arsenal has been depicted in the past as a hard edged, loose cannon whose actions often result in a self destructive spiral.  In this new DC Universe he is more buffoonish, and jocular.  Starting off with him missing a mission with teammates Red Hood and Starfire, he’s made fun of and called worthless by his “friends.”  In reality he is in Hong Kong, imprisoned by the Triad after attempting to rescue Killer Croc, a Batman villain he ran afoul of in Red Hood and the Outlaws #3 and who consequently helped him get back on his feet.  Shackled in the basement of a Triad hideout, Roy not only steals a “quarter” from one of his tormentors  but also uses it to break his shackles over the course of hours and then cleans out the  place with nothing but a tool box.  Yes he is a bit of a joke, but what he’s capable of doing when he puts his mind to the task is no joke, nor is the lengths he will go to help someone that showed him a modicum of kindness when he most needed it.  Joe Keatinge writes this incredible one-shot and Ricken provides art.
  • Legion of Super-Heroes #17 was brutal.  This issue was incredibly good on all fronts.  The writing by Paul Levitz was phenomenal, taking place on Rimbor as well as a far distant location (whose importance to the plot becomes integrally crucial) amidst explosions and complete chaos.  All of that rendered on the page gorgeously by artist Keith Giffen with his Kirby-esque pencils.  Shortly after being elected leader, Phantom Girl is dealt perhaps the worst hand imaginable as she and two other Legionnaires become marooned after a malfunction of their spacecraft crashes them into an unknown locale.  Across the universe Ultra Boy, Glorith, and Brainiac 5 witness an equally cataclysmic disaster on Rimbor after a massive planet-wide electrical malfunction.  The lead up to this issue has been in the works since the very first issue of the rebooted series almost two years ago, and the consequences will be felt forever.  This is a DARK turn in the world of the 31st century.  If you are a fan of the Legion, you will feel this issue deep in your bones.  I had to set this issue down twice to get my bearings and take a few breaths.  Levitz and Giffen hit this one out of the park. It should be noted that these two collaborated almost exclusively on Levitz’s first run on the characters in the 80’s.  Thirty years later, they’ve come a long way but haven’t taken one step backward.  I can only imagine that Levitz got Giffen on this arc for the very reason that both of them needed to be on it for sentimentality sake.  If you love the Legion read this book.  If you don’t love the Legion, please don’t.  Not to be an elitist, but if you don’t understand and love the characters, you wouldn’t appreciate the truly sorrowful events chronicled within.
  • Supergirl #17 picks up on two of the conflicts Superboy ended on last week.  Wonder Woman took on Supergirl and Superman took on H’el in the hope of giving Superboy a chance to disable the Star Chamber that is literally draining our Sun of its energy to power H’el’s device to travel back in time and prevent Krypton’s destruction.  Wonder Woman proves to be the only one capable of literally smacking some sense into Supergirl.  The latter of which still trying to convince herself that H’el’s scheme won’t be an act of mass genocide.  However, Super Girl’s super-denial is no match for Wonder Woman’s lasso of truth.  The Maiden of Steel is unable to break its hold on her body nor on her conscience.  Superman does prove as successful when dealing with H’el, but after painfully coming to terms with the truth, Kara is unable to continue her association with H’el, regardless of how much she would like to go home.  With this alliance shattered, the heroes of Earth rallied against him, and the Oracle arriving in Earth’s orbit, the stage is set for the finale of “H’el on Earth” in Superman #17.
  • Wonder Woman #17 has Wonder Woman meeting up with her old mentor, War (Ares), in the bar Hera and Zola snuck out to and journeying to the secret hiding place of Demeter where Hermes has spirited Zola and Zeus’s infant to.  On the other side of the world the First Born reveals his benefactor with the metal neck to be Cassandra and with the prophetess’s help goes to seek his weapons, hidden by his uncle Poseidon.  This issue is interesting, but I am really looking forward to the end of this plotline with the gods meddling with one another and progressing to the Amazing Amazon in contemporary settings with some of her classic stable of villains.  Brian Azzarello’s writing is good, if not drawn out, and Tony Akins’ pencils are excellent.
  • Vibe #1 is another case of “here’s to lowered expectations.”  The character was an F-list character to begin with and something of a practical joke whenever he made appearances in second string DC titles.  George Perez, legendary artist and writer, absolutely hated him as a caricature of Hispanic Americans.  However, considering that main character Cisco Ramon is from Detroit, Justice League of America writer Geoff Johns couldn’t help but put him in the line up.  On the plus side, being as under appreciated as he was left Johns and series writer Andrew Kreisberg with the freedom to revamp him however they wanted.  Now having his vibratory powers linked with boom tubes from Darkseid’s invasion of Earth, he’s become something of a dimensional expert and border cop.  Right from the start his role as a superhero is linked to the JLA title and his success tied to his freedom, unbeknownst to him.  Another obscure character cameo comes in an imprisoned woman in a cell labeled “Gypsy,” also a veteran of Justice League Detroit.  Johns and Kreisberg also set the hook at the end by hearkening back to the reference in Justice League #6 to Darkseid’s daughter, and the further shocker that she is in fact in A.R.G.U.S custody.  Bit of a spoiler, but still a good reason to get into this title.  Game well played, Johns.  I’ll buy your series for the time being . . .

    Daughter of Darkseid

    Daughter of Darkseid

  • Sword of Sorcery #5 returns Amy to Gemworld and to her mother, Lady Graciel of House Amethyst.  With her return the pair travel to the capital of House Turquoise to visit the tomb of Amy’s father, Lord Vyrian.  When they reach their destination not only do they finally uncover the identity of his betrayer, they are also assaulted by two rogue assassins of House Onyx.  More interesting is the choice of the next Lord of House Turquoise after the events of this issue.  In the Stalker backup feature, writer Marc Andreyko attempts to make the revamp of this character work, but fails.  Sorry.  Even Andrei Bressan’s awesome art can’t rescue it.
  • Batman Beyond Unlimited #13  contains both a beginning and and end.  For starters, this issue begins the second arc of Justice League Unlimited Beyond called “Flashdrive.”  The storyline stymies me a little bit as there seems to be two things going on in the plot that don’t have any connection to one another.  The main body of the story picks up on a scene from the “Batman Beyond” movie entitled “The Return of the Joker.”   In the flashback portion of the film, the Joker kidnaps Tim Drake and turns him into a child Joker with chemicals and gene therapy and Tim ends up killing him.  That is the end of what is shown in the movie, but this issue continues it on, with Batman creating a morgue for supervillains so that when they die there will be no resting place their followers and acolytes can use to gather or make into a monument.  This morgue is built on the lowest sublevel of the Batcave that only Bruce and Barbara Gordon know exists.  There is a break in and it is neither Bruce nor Barbara, raising the question of who could have known about it and how they got in considering the fail-safes put in place by Batman, the most paranoid man alive.  Cut to a female docent at the Flash Museum having speedster abilities and an attack on the re-opening Museum drawing in Mister Miracle, Big Barda, Merina, Micron, and Green Lantern Kai-Ro.  I know that eventually there will be a connection made, but right now I am totally lost.  Next comes the conclusion of “10,000 Clowns” in Batman Beyond.  This one is pretty procedural and ends in a logical sense.  Batman (Terry McGinnis) faces off against Joker King and the latter’s defeat is clearly an eventuality, but the consequences are what are relevant here.  The ending of this seems to be heavily influenced by the Christopher Nolan film “The Dark Knight”, with the question lingering as to whether Joker King won or lost, and with the assertion that he didn’t win, the further question of did anyone really win?  In the Superman Beyond feature, the Trillians have captured Superman and put on a show trial for his “crimes” against their race, which again are still pretty vague.  I don’t feel confident commenting on this storyline, so I will abstain until further on into its plotline.    Overall a really good issue that delves into the animated mythology in interesting ways that take me back to the days I watched them as a wide eyed child or adolescent.
  • Womanthology: Space #5 delivers another slew of stories at varying lengths that run the gamut of relevance to the genre of Space.  One deals with an ungainly girl in elementary school who is tall, lanky, and extremely clumsy except when she runs which is when she feels the most free.  In her school’s play she is cast as the comet and all she has to do . . . is run.  The next vignette is entitled “The Wind in her Hair” about a girl living in a dirigible  who desires freedom and a tin-man looking automaton living on the polluted ground below who wants to take the tree he has cared for his entire life up above the poisoned clouds where “she” can grow and thrive.  A chance meeting between the girl and the gardener droid gives both the hope that they need to see their dreams through to fruition.   Writer Allison Pang and artist Chrissie Zullo create a story that is both romantic and ethereal with the bronze daguerreotype look of a 1920’s German Expressionist film.  The remaining pieces, while still very good are more abstract and not as readily synopsized.  This series has proven to be innovated and very compelling.  This is the fifth of six issue, so I would suggest that if you missed these and aren’t in a place to go back and catch up, wait for the collection to come out and then read them all in their entirety.  Truly a breathtaking series.WomanthologySpace5

This really was the most consistantly excellent week of February. Those titles that I have praised highly just prove how poweful and dynamic the comic medium can be to the newcomer and faithful alike.  I pray that next month finds these same titles meet the mark set here and perhaps exceeding it once more.  One thing is for certain, this week was a good week to be a comic book fan.

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 #17:  Drawn by Ivan Reis, Colored by Rod Reis & Nathan Eyring, Inked by Joe Prado, Oclair Albert & Sean Parsons

Justice League  of America #1:  Art by David Finch, Colored by Sonia Oback & Jeromy Cox

Batwoman #17:  Art by J.H. Williams III, Colored by Dave Stewart

Green Lantern #17:  Drawn by Dan Jurgens, Colored by Alex Sinclair & Tony Avina, Inked by Phil Jimenez

Green Lantern: New Guardians #17:  Art by Aaron Kuder, Colored by Wil Quintana

Red Hood and the Outlaws #17: Art by Adrian Syaf, Robson Rocha & Ken Lashley, Colored by Blond

Vibe #1: Drawn by Pete Woods, Colored by Brad Anderson, Inked by Sean Parsons

Womanthology: Space #5 “The Wind in Her Hair” segment: Art by Chrissie Zullo

Week 73 (Jan. 23, 2013)

This week is shaping up to be a juggernaut.  So many incredible titles are coming out in so many amazing events: “Death of the Family”, “Green Lantern: Rise of the Third Army”, “Before Watchmen”, “Throne of Atlantis”, and “H’el on Earth.”  Throw in Batwoman and Sword of Socery and you have a real party.  I am literally shaking with anticipation to crack the first book of this massive week.  So let’s not keep me waiting any longer:

  • Justice League #16 brings on part three of the “Throne of Atlantis” crossover.  I have had a great deal of negative feedback on most of Johns’ current endeavors, and most notably in this title.  He’s bastardized a great deal of things and I stick to my previous opinions.  However, in this issue he returns to doing what he had done  so well prior to the Reboot.  This issue is rich in allusions to other DC characters and concepts, such as Dr. Magnus and the Metal Men, Dr. T.O. Morrow and Red Tornado, Tula of Atlantis, etc., reintroducing them in conversationally appropriate ways and with interesting new contexts.  What he also does is humanize all parties involved.  Though I don’t enjoy how nemish and shortsighted he’s made seminal characters like Batman, Superman, and Wonder Woman, perhaps there is a realism within that is necessary to the execution of this very morally complex plot.  Conversely, what Johns did seven and a half years ago with Sinestro, making him not a straight out psychopathic villain but rather a complex antihero, he does in this series with Aquaman’s brother, King Orm, aka Ocean Master.  Stakes are high and tensions are at a breaking point.  This issue marks the halfway point and despite my aversion to this series, Johns has me hook, line, and sinker.  In the SHAZAM! backup feature Johns has progressed past the ludicrous beginnings of the series and entered into a new version of the Captain Marvel mythology that is both rich and nuanced.  I really enjoyed this one, actually.  Although, Billy does revert back to his child self at the end, which could mean a return to the awful presentation of Billy Batson that Johns so unskillfully presented before.  My hope is that being in an adult’s body for even the short duration that four months of comics equates to will at least marginally mature him so we don’t have to witness his infantile crap for another slew of issues.  I have hope for this series after reading this issue, but retain the past failures of the series pragmatically within memory.

    Atlantis Rising!

    Atlantis Rising!

  • Batwoman #16 returns our protagonist to her hometown of Gotham as it descends into utter chaos with the advent of Medusa herself.  With Wonder Woman accompanying her, the duo this arc dubs the “World’s Finest” sets out to subdue Medusa’s mythological forces (complete with gargantuan Hydra) and rescue the children abducted by the mad gorgon.  Its all hands on deck.  Not only are Batwoman and Wonder Woman on the streets of Gotham, but most of the Gotham City Police Department led by Batwoman’s lover, Det. Maggie Sawyer, and DEO agent Cameron Chase and Director Bones.  In this penultimate chapter of the arc spanning storyline its all or nothing.  Batwoman has found Medusa and the missing children.  Medusa’s horrifying plot is revealed in full as she attempts to resurrect the literal “mother of all monster” into the mortal world with the sacrifice of the innocent children.  However it goes down, next issue is the end of this first overarching storyline and the end of Batwoman’s first real test as a Gotham City superhero.  J.H. Williams III does a stunning job rendering this story from an equally stunning script by W. Haden Blackman and himself.  I don’t know if I will be able to wait until February to find out the end of this conflict that has almost been two years in the making.

    The Mother of All Monsters

    The Mother of All Monsters

  • Green Lantern #16 picks up with Simon Baz after learning the truth behind the bombing he was framed for and the appearance of B’dg, Green Lantern of Sector 1014.  The stunning revelation last issue was that the Green Lantern Corps is aware of the Guardians of the Universe’s plot to destroy free will throughout the universe with their Third Army.  B’dg comes to Earth seeking Hal Jordan, the greatest of their number, to enlist his aid in stopping their masters from realizing their mad scheme.  To his dismay, the ringslinger he finds is not only a rookie, but inherited his ring from Sinestro and Hal, both of whom have disappeared.  Baz is needed regardless if the Corps is going to stand a chance against the Guardians.  Before he can leave, he has things to attend to on Earth and despite B’dg’s impatience, Baz proves himself to be a Green Lantern like no other as well as possessing an incredible amount of will, on par with all of his Earth lantern brothers.  Another awesome issue from Geoff Johns and artist Doug Mahnke.
  • Green Lantern Corps #16 unites the Green Lantern and Green Lantern Corps titles in anticipation of next week’s Green Lantern Corps Annual #1.  Stripped of his ring and rank, Guy Gardner returns to Earth a broken man attempting to find a new purpose in life.  As with most things Guy does, he mismanages his actions and ends up being arrested . . . by his brother and sister.  While they are interrogating him in lock up, the Third Army attacks and takes out guards and inmates alike.  Its looking bleak for the Gardner siblings, but help is not far away in the form of Simon Baz, newest Earth Green Lantern, and B’dg, squirrel Green Lantern of Sector 1014.  With their aid a crisis is averted and Guy becomes aware of the Guardians plot and his being a casualty of it.  Elsewhere in the universe, John Stewart continues his mission with Fatality of the Star Sapphires to find the missing pieces of Mogo (the deceased planet GL) and reunite them so the slain Green Lantern can reform and become whole.  Though not much is revealed about this, the reformation of Mogo seems like it will have a great impact on events, but the fact that the Guardians willed it to happen portends ominous tidings.  I cannot wait to see what the Green Lantern Corps Annual next week has in store for us, the GL’s, and the universe in general.
  • Green Lantern: New Guardians #16 is one of those issues that you wait for for a very long time and once it arrives you swoon at its near perfection.  I have compared this second arc of the series after the “Ring Thief” arc that comprised its second year of publication as similar to “Avatar: The Last Airbender.”  Indeed, with Kyle’s transmogrified ring he has the ability to channel all seven colors of the emotional spectrum.  From previous experience in Blackest Night we know that this convocation would lead to him becoming a White Lantern.  He’s obviously mastered Green, and has preternatural talent with Blue (hope) as we saw in New Guardians #0.  With the help of Atrocitus he’s mastered Red (hate), Arkillo with Yellow (fear), and the seeming lack of help from Larfleeze he’s tapped Orange (greed).  Indigo-1’s tutoring of Indigo (compassion) was glossed over, which not only doesn’t make sense, considering its immense power, it also undermines his having to do anything past that, taking into account that Indigo Lanterns (or Tribesman, if you will) can channel any emotion they are in contact with.  That all aside, Violet (love) is the last emotion that stands between Kyle and his complete mastery of the emotional spectrum.  However, Kyle is one that has been stunted in the love department for almost his entire life, finding it hard to vocalize, so this last hurdle is the most difficult for him to surmount.  And wouldn’t you know that this would be the time that Ganthet, his former mentor and now Guardian of the Universe gone mad, would arrive with his Third Army thugs to snuff out Kyle before he can become a threat.  The stakes in this series have never been so high and Kyle will either shine brighter than he ever has or be snuffed out like a candle in the wind.  Tony Bedard is a brilliant.  Period.  Aaron Kuder adds to this masterpiece issue with peerless pencils and inks.  I am bookmarking this issue in the annuls of my mind.
  • Before Watchmen: Minutemen #6 closes out the series and does so with crushing impetus.  The saga of the Minutemen, chronicled narratively and visually by the incomparable Darwin Cooke, has been one that cuts to the heart and character of its band of players.  Most of them were glossed over in the original Watchmen series by Alan Moore, but with DC’s exploration of the Before Watchmen line, each gets their overdue turn in the limelight.  Following the murder of the Silhouette and her long crusade to stop child predators and Nite Owl’s picking up of that crusade after her death events point to Hooded Justice, the most secretive Minuteman of the bunch, as the murderer and torturer of young children.  This issue is the final account that ties up the series and answers questions that has been lingering through several Before Watchmen series.  From the Ozymandias series “What happened to Hooded Justice, and why are the Comedian and the Government so keen to keep it a secret?”  From the Nite Owl series “What is the secret that is so damning that Hollis Mason, the first Nite Owl (and main character in Minutemen), which he is so keen to keep hidden forever?”  This issue answers those questions and more in a truly terrifying and unbelievable sequence of events that will alter forever the way most readers look on the background cast of characters in Watchmen.  Darwyn Cooke’s prowess with a pencil and pen and his genius as a writer are unparalleled here and stand as an eternal monument to his place in comic book history.

    The End of an Era

    The End of an Era

  • Legion of Super-Heroes #16  returns to the Levitz-ian paradigm of storytelling with multiple stories and issues being put forward.  First on the docket, Chamelon Boy, Lightning Lass, and Shrinking Violet go to Takron-Galtos, the United Planets’ prison world, to check on the status of the Fatal Five member, Validus.  Since Legion of Super-Heroes #8 last April, the resurrection of the Legion’s most powerful group of antagonists, the Fatal Five, has been in the offing.  Bit by bit, evidence that they have been reforming in secret is being brought to light.  Validus, thought to be safely locked in a cube of inertron is one of the last pieces to the puzzle.  On the other side of the universe, at the Legion HQ, Brainiac 5 is busy trying to ascertain the cause of Glorith’s abduction last issue to Barcelona and the why and how of her causing a time rift, bringing forth denizens of that city from across its long history.  Lastly, and as an interim plot between these plo tpoints, the Legion election is drawing to a close and the Legionnaires debate amongst themselves who should lead the team as the votes are tallied to decided said leader.  This series is ironically one of the most realistic, because of the writing style of Paul Levitz, who gets that with a team of this size a lot of crazy things are going to happen simultaneously, and that with young heroes like these egos and hormones are going to stir things up.
  • Nightwing #16 brings the “Death of the Family” tie-in of this title to a close as it did in both Batgirl and Batman & Robin, with the Joker holding a platter in front of the title’s protagonist and the solicitation that a conclusion will come in Batman #17.  The twofold storyline of this title’s tie-in was really well played by writer Kyle Higgins.  Last month’s issue setup quite well an inventory of everything Dick Grayson had built up and the people whose trust he had earned.  Following the Joker’s reemergence and Dick’s realization that he had made them all targets, he did his best to cut ties and ferry everyone around him to safety.  This issue shows not only how great his failures are, but to what lengths the Joker would go to make a point and just how resourceful he can be.  One scene I think shows his attention to detail at its most nightmarish +throughout the entire line of Batbooks.  Admittedly the human tapestry in Batman #16 was gruesome, but pales in comparison to the detail and and scope of his carnival show at Haly’s.  Like Tim, Jason, and Damian, Joker really gets to the heart of what should be Dick’s main strengths and shows how they are really his greatest weaknesses. For Dick it’s his compassion and interpersonal nature.  So much of what he worked his entire life to build could very well burn down in the space of a single evening.  I have no idea what the title holds after the final page of Batman #17 and the first several pages  of Nightwing #17, but I am going to be there for both.  Good ending or bad, I sense ill tidings for Haly’s and its owner, the benighted Nightwing.
  • Red Hood and the Outlaws #16 crosses over with Teen Titans as the Outlaws (Starfire and Roy Harper) team up with the Titans to find their respective teammates (Jason and Tim) who were kidnapped by the Joker and brought to Gotham.  Both series are written by Scott Lobdell, who clearly is more than qualified to execute this crossover.  The issue in fact reads more like a Teen Titans issue than a Red Hood issue.  In fact, they don’t actually show Jason or Tim once in this issue.  Jason’s red hood yes, but not the man who wears it. Most of the issue is Roy and Starfire hauling the Titan’s “turkey out of the fire” as they fumble to fix the fallout from the Joker’s trap the Titans fell into, and the aforementioned teens being really angsty and resentful for it.  It is interesting seeing how the two teams gel as they are forced to work together, and some very interesting backstory of Roy’s is revealed as he begins to relate with the overly emo teens he’s having to take charge of.  On the periphery of this issue’s storyline are two seemingly unrelated references, one to Dr. Hugo Strange doing a book signing and the other to Deathstroke throwing knives at three pictures of each of the Outlaws and a brief comment on how he sometimes takes jobs simply for the fun of it.  I don’t know if this is Lobdell introducing plots to the two titles post-“Death of the Family” or what, but they are intriguing to say the least.
  • Supergirl #16 begins with the awakening of the giant crustacean looking beast that blew the Horn of Confluence in Superman #1 seventeen months ago, as well Superman #0 five months ago, and ends with the first image of the master whom the herald’s horn summons.  In between, H’el’s nightmarish plot for our solar system nearly reaches its conclusion and without Superman or Superboy (see last week’s review of Superboy #16) the Justice League is force to muddle though.  Flash’s task is to find Supergirl and get her away from H’el and out of the way of his endgame.  However, the Maiden of Steel is dead set on saving her home planet even at the expense of our solar system and every living thing residing within.  Her hopes and dreams are understandable, but her blindness to the value of human life and our right to existence is deplorable at best.  She’s a teenager who is homesick.  Its no excuse, but a reason to hold onto as she backs the wrong team.  Mike Johnson does an excellent job writing this series, especially its larger implications into a wider storyline, and Mahmud Asrar draws it decently well.

    Advent of the Oracle

    Advent of the Oracle

  • Superboy Annual #1 was a little trippy, taking place in a pocket dimension contained and generated by a device that Superman took off an evil space pirate in some far off quadrant of the universe.  The whole of the issue revolves around Superboy and his Kryptonian progenitor, Superman, blundering through different, shifting locales within, battling the denizens of this temporal prison as well as the sentient dimension itself.  The title falls under the “H’el on Earth” crossover event, but fails as an issue and an annual to do anything relevant to that goal.  If anything it hinders, rather than explores it.  So what does it accomplish?  Very little.  I think writer Tom DeFalco was aiming to further characterize the two characters in relation to one another, showing their differences and how each would cope with the other.  It did not, in my opinion, accomplish that in any significant way either.  All it did was bring out their worst characteristics of both in caricature.  I respect Tom DeFalco and the work he has done on this title since taking it over greatly.  I also have enormous respect Scott Lobdell, who wrote this series initially, and who tried to show the disjointed dynamic of these two men in the last issue of the Superman title.  He didn’t pull it off, in my opinion, either.  As Superboy #0 primed us to believe, Harvest preprogrammed Superboy to hate Superman and want to kill him.  That hasn’t happened yet, which begs the question of what that was about if they aren’t going to run with it?  This annual falls under the category of not really relevant or necessary to read.  If you fail to read it, you lose nothing in understanding the larger events going on in the series or miss out on a worthwhile yarn.  Better luck next time.
  • Catwoman #16 is a bit of a disappointment as the title goes.  I was a fan of writer Ann Nocenti’s early work on Green Arrow, but that has not translated to good writing on the rest of that series or through to this series.  The “Death of the Family” tie-in turned out to be a joke of an issue, and not a funny one the Joker would take pride in.  This two issue run beginning last issue and concluding here was laughable as well and thoroughly pointless.  Dealing with the current whereabouts of the Black Diamond, perhaps it will be the two issues that introduces Eclipso back into the DCU, but I doubt that will have any importance either.  I tried to find something good to say about this issue, but just couldn’t.  It was the opposite of what is good.
  • Blue Beetle #16 was a swan song to the seventeen issues of this series that have come out, ending in the Tenebrian Dominion and linking the continuance of fifteen year old Jaime Reyes’ (Blue Beetle) journey to the Threshold series and the “Hunted” reality show.  Jaime does his utmost to fight his way out of the grasp of the Ebon warriors of Lady Styx and get home to his family, but that isn’t in the cards . . . at least not yet.  He tries really hard.  However, when his last flicker of hope is blown out, he has his armor send a video file across the far reaches of space (It’s a comic, just go with it) to the emails of his parents and best friends telling them Jaime is going to come home someday, but in the event that he can’t, just how much each of them meant to him.  It is a beautiful moment despite the tragedy that befalls Blue Beetle as it plays out.  His words to each party involved are brief, but just right, clearly touching each person deeply.  Succumbing to his captors the issue closes, but it does so not with finality, but with infinite possibilities.  I was leery about this series when it first came out and for awhile it teetered on the edge of getting dropped.  I am so glad I saw it through to this last issue.  It was worth every step of the journey and I will continue to follow Jaime into Threshold.
  • Wonder Woman #16 brings the narrative back on track, setting the main characters’ sights (literally) on the baby of Zola and Zeus.  With the help of Wonder Woman’s brother, Milan, the group are able to see that the baby is in the arms of both Hermes and Demeter in the latter’s stronghold.  We are given further information about just why Orion has come to Earth and what his intentions are regarding the Gods of Earth.  In the Arctic, we see the First Born battling the forces of one of his unnamed uncles that were sworn to guard his burial place as well as the unmasked benefactor of the First Born who dug him out of the tundra.  The identity of this person caught me a little off guard and I look forward to future revelations regarding that character.  Finally Zola and Hera, who really hate one another and have tried to kill each other often, find a common ground and begin to thaw in their relations with one another.  This issue by Brian Azzarello really was intriguing, as well as giving evidence of greatness to come in future installments.  Cliff Chiang remains an incredible artist and renders all aspects perfectly in the tone dictated by Azzarello’s story.
    The Baby with the Starry Eyes

    The Baby with the Starry Eyes

  • DC Universe Presents: Black Lightning and Blue Devil #16, like last time,  is a placeholder, but one that ends the current story arc.  Here’s hoping the next three issues are better.
  • JSA Liberty Files: The Whistling Skull #2 was yet again confusing.  I’m going to have to do two placeholders in a row, because while this series has yet to come together in any meaningful way, I hold out hope that it will eventually when writer B. Clay Moore decides we should start to understand it.  Honestly though, this issue and its predecessor were just random events thrown into a metaphorical blender.  The only thing that links the two are references to the children disappearing and then being incinerated from the inside out.  Other than that the characters, their origins, motives, and affiliations are all a complete blank.  Holding down the fort is Tony Harris with incredible art.  Barring that and its association with the other two JSA: Liberty Files miniseries, I would say pass this one up.
  • Sword of Sorcery #4 begins with an Amethyst story taking place after she concluded her stint in Justice League Dark #14 but before she returns to her “home world”, the gem world of Nilaa.  Asking Constantine to take her quickly to Chicago for a last taste of pizza before returning to a world without Italian food from which she may never return, she stumbles across more evil magic on Earth that demands her attention.  This little yarn wasn’t that interesting or important to the main story, so we’ll chock this installment up to a less than exciting vacation and continue with the series anew next month, this time back in Nilaa where the character truly belongs, both inside and outside of the narrative. Also this month begins the Stalker backup feature written by the DC Universe Presents: Black Lightning and Blue Devil scribe, Marc Andreyko.  I didn’t care for his above storyline and I can’t say that I liked this one either.  It was okay.  Much better than the Black Lightning and Blue Devil story, but the problem was that he was re-imagining a work of genius from the past with which I had a deep affection.  Paul Levitz wrote four issues of the Stalker series with Steve Ditko on pencils, before the series was cancelled due to the comic book implosion of the late 70’s.  With the original, it was a true swords & sorcery title that had a very straightforward, dark, and twisted character.  This run by Andreyko tried too hard to make him grandiose and relatable and totally missed the mark on all counts.  It then proceeds to show him living through the ages and emerging in the here and now, which again is completely WRONG for this title.  For those who want to know more about what the original series is about, I am going to put this link to my review of the Steve Ditko Omnibus in which the four issue of the Stalker series are collected: https://offthepanelcomicreview.wordpress.com/2012/02/26/review-the-steve-ditko-omnibus-vol-1-starring-shade-the-changing-man/
  • Saucer Country #11 tells the story of Governor Alvarado returning with her ex-husband, Michael, to the farm he grew up on.  Taking a detour from aliens, this story focuses on another folklore very akin to alien sightings but far more terrestrial.  Instead of little gray men, this issue has little winged men and women.  As children, Michael and his sister, Beth, used to see fairies and go on magical adventures.  He relives some of these memories including the last great encounter before things changed and he and Beth were forced to abandon belief in what they knew in their hearts actually happened.  Upon revisiting the events with people who were around back then, Michael realizes the truth behind the trauma that conjured fairies in the mind of two young innocent children.  The harsh reality that he discovers and the way the mind coped by sugaring the event over with fairies leads the reader to wonder what that holds for the existence of aliens and their role in the larger story being told here.  Paul Cornell continues this magnum opus, spawned from a lifelong fascination with alien mythology, with great talent and insight, constantly making the reader think and always keeping any inkling of what is going on cleanly out of reach.

Thus ends an incredible week of comics.  I am giddy as the fallout of the better titles play out in my head.  I dare say this may be the best week in comics I have read this month and perhaps in a long time.  Not all the best, but collectively there was a high quotient of awesome that is rarely matched let alone surpassed.  We’ll see if next week, the final of the January, can stand the test.  While I highly doubt it, I will be there to test them.  Hope you will too.

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 #16:  Drawn by Ivan Reis, Colored by Rod Reis, Inked by Joe Prado & Ivan Reis

Batwoman #16:  Art by J.H. Williams III, Colored by Dave Stewart

Green Lantern: New Guardians #16:  Art by Aaron Kuder, Colored by Wil Quintana

Before Watchmen: Minutemen #6: Art by Darwyn Cooke, Colored by Phil Noto

Supergirl #16: Art by Mahmud Asrar, Colored by Dave McCaig

Wonder Woman #16: Art by Cliff Chiang, Colored by Matthew Wilson

Week 68 (Dec. 19, 2012)

I have been waiting a long time for this week in comics.  Green Lantern and Green Lantern: The New Guardians are without a doubt the two best titles in the Green Lantern line up, Batwoman is a top tier title, two “Death of the Family” intros in Nightwing and Red Hood and the Outlaws, and of course the introduction of Orion and the New Gods into the New DCU in Wonder Woman.  That said, let’s get to ’em:

  • Green Lantern#15 first and foremost tells us that Hal and Sinestro are in a place called “The Dead Zone” which is outside of the land of the living.  It doesn’t say that they are dead, just that they are in the Zone.  On Earth, Simon Baz, newest Green Lantern of Earth, tracks the owner of the van he stole in hopes that he can shed light on who stole the van before Simon did, setting up the explosives.  What Simon finds is much more sinister, especially when the Third Army makes an appearance in all their assimilating terror.  Also interesting is the advent of B’dg, the squirrel GL of Sector 1014, who reveals to the reader that the Green Lanterns have become aware of what the Guardians are doing with their newly minted Third Army.  Geoff Johns is amazing and has made this series so amazing for its whole seven year run.  This main title has seemed to skirt the issue of the Third Army, never directly dealing with it in lieu of introducing Simon Baz.  With the resolution of his innocence in the bombing of a Dearborn factory it would seem that his role in the DCU can become more cosmic, turning more prominently toward helping his fellow corpsmen fight the Third Army.  Though it hasn’t been said directly, it would seem to me that the Third Army is targeting the homeworlds of Green Lantern members.  Time will tell if I am correct in this assertion.

    Enter B'dg of Sector 1014

    Enter B’dg of Sector 1014

  • Green Lantern: The New Guardians #15 picks up with Kyle, his “coach” Star Sapphire, Carol Ferris, and sole Yellow Lantern, Arkillo, heading towards Okaara in the Vega systems to meet with Larfleeze, the sole Orange Lantern.  The idea is to get the master of the Orange light of Avarice to help Kyle master greed himself, thereby getting him closer to complete control over the emotional spectrum.  As with every Lantern title that is coming out under the “Third Army” banner, this issue features an attack by the Third Army that claims a very dear casualty for the readers.  Tony Bedard is slowly mounting the plot towards an incredible vista that is glorious to imagine.  And for the first time since issue #0 three months ago, Aaron Kuder provides interior art.  I am glad to see him back, as I have become a fan of his style, but putting it side to side with the previous issues done by Andrei Bressan, it really isn’t that different.  The end of the “Third Army” storyline is coming close to its resolution in January and this series looks to keep pace with that schedule.  January 30th can’t come soon enough in my humble opinion.
  • Batwoman #15 marks the return of Batwoman to Gotham with Wonder Woman in tow.  However, the issue focuses on Batwoman’s paramour, Det. Maggie Sawyer.  Since the first issue a little over a year ago Maggie has been the lead on the investigation of Medusa’s mass kidnappings of small children.  Batwoman has traversed the darkness and attacked head-on the shadowy pockets where Medusa’s minions dwell with contacts in the DEO and the masked community.  She fights the good fight unaccountable to anyone.  Maggie is bogged down with limited resources, jurisprudence, and a foe that is far beyond her experience.  She is the mouthpiece of the case, who for these sixteen months has had to look the parents in the eyes and give them comfort and confidence that their children will be brought home safely.  Though she isn’t going to the places that Batwoman is or kicking as much ass, she is the one who holds the fort down and gives hope.  This issue pays tribute to her, a bad ass cop and a woman who has been through hell.  Throughout we are made privy to her thoughts, fears, past traumas, and aspirations.  J.H. Williams III does art on the first and last page of the issue with Trevor McCarthy doing the rest of the interiors.  Since it breaks from the Batwoman/Wonder Woman perspective the transition is not inappropriate, but I will admit that McCarthy’s, which isn’t terrible, is not as engrossing as Williams’ incredible panels.  I believe next issue will not only return to Batwoman and Wonder Woman fighting Medusa, but also Williams on art duty.

    The Lanterns of Greed

    The Lanterns of Greed

  • Before Watchmen: Moloch #2 delivers the second half of the life of Moloch the Mystic.  Moloch lived a life of sin and corruption, hurting people to assuage the pain of being shunned and oppressed himself because of his physical deformities.  After years of incarceration and numerous apprehensions by one costumed adventurer or another, Moloch finds salvation in the Lord, repenting his past wrongs and attempting to make right on them.  Enter Adrian Veidt, the former mystery man Ozymandias.  He offers Moloch a job, as well as a chance to reenter society as a productive member.  The childlike exuberance that Moloch shows throughout the issue is truly heartrending, especially when you already know his ultimate fate.  Ozymandias may be a hero in title, but his methods are cold and calculating, and the ultimate scheme that makes itself manifest in Alan Moore’s original graphic novel includes giving Moloch terminal cancer to facilitate his nightmarish plan.  Topically, this issue is awful, because a good man who just wants a chance at redemption is exploited and purposefully afflicted with the most horrible of afflictions.  That’s the doom and gloom of Alan Moore for you.  However, J. Michael Straczynski, who writes this two part series, plays up the born again christian aspect of Moloch’s story so that when confronted with the reality of what Ozymandias has done to him and why, Moloch accepts that the goal is virtuous and that as a sinner his death could mean the salvation of billions.  He got a bum deal, but he accepts his role in a larger drama and gains absolution through his suffering in an almost Christ-like fashion.  Even though Ozymandias did this without his knowledge and with no thought for his volition, it comes out right and almost has a happy ending.

    Absolution Through Death

    Absolution Through Death

  • Catwoman #15 has Selina going back to work after the lackluster two issue “Death of the Family” story.  Across the board, the tie-ins have been doing what I feel to be very important things, whereas this one was not only not ominous, it just didn’t accomplish anything at all.  Oh well . . .  She pulls one heist for fun, crashing a rich teen’s party while her parents are out of town, but later takes on a job to steal an artifact from the “Black Room” of A.R.G.U.S..  That artifact being the Black Diamond, which we know from previous incarnations of the DCU to be the talisman of Eclipso.  The circumstances of this situation are far more interesting than the actual execution.  The information we get about the Black Room feels like it will be important to the impending “Trinity War” event down the road, as well as a clue into the really random headings placed on titles that fall under the “Black Diamond Probability.”  Most of the banner events get press and/or advertisement.  Thusfar the “Black Diamond Probability” has not, which makes it that much more intriguing.  We’ll see if the underground hype pays off or is just a smokescreen.
  • Nightwing #15 brings Dick Grayson into the fold of the Joker’s “Death of the Family” plot.  Since his first issue, a year and a half ago, Dick has inherited the circus he was raised in and discovered his familial tie to Gotham and the shadowy forces that have governed it for centuries.  Like Bruce, his goal as these events have progressed is to turn Gotham around and make good on the evils that have led to the great city’s decline.  In the process, he’s reestablished old relationships as well as new trusts with the members of the circus, gambling on the group’s future as a staple of Gotham City entertainment.  With the Joker coming on the scene, that trust is stretched to the breaking-point as obviously Nightwing has painted a bullseye on their chests as an exploitable weakness.  Since those members of Haly’s Circus that remain have done so, also gambling on Dick’s dream, their safety is paramount in Nightwing’s mind, adding further desperation by the former Robin to take down the Joker before his insanity imperils more of his friends.  As we’ve seen in the other books under this event’s banner, the Joker’s individualized plots against “the Family”  are minutely designed to cut deep at their intended targets.  One of the lynch pins in the Nightwing plot is a red-headed ghost from Dick’s past that adds further depth to the overall scheme.  Color me intrigued as we await issue #16.
  • Red Hood and the Outlaws #15 fleshes out perhaps the most interesting of the Joker’s plots under the “Death of the Family” event in his plan for Jason Todd.  Writer Scott Lobdell has quintessentially linked Jason, aka Red Hood, to the Joker in his #0 issue of this title.  Jason was for all intents and purposes a hobby the Joker took up out of boredom, putting a street punk with family issues in the path of Batman upon faking his mother’s O.D-ing on drugs, setting up a situation where this punk would be taken on as Robin, and then setting up this punk’s death to mess with the Batman.  In this issue, after staging an eerily familiar scene of Jason’s girlfriend, Isabel, O.D-ing in her apartment, the Joker abducts our red masked protagonist and places him within a maze that sloooowly reveals tokens of every stage of his journey to being Robin through his death at the Joker’s hands, not only proving that the Joker knows who he is but that he was also present every step of the way!  Lobdell really struck a nerve with his revelation of the Joker’s connection to Jason in Red Hood and the Outlaws #0, and in this issue begins to play that nerve like a Stradivarius.  I can only image that next month’s concluding issue will do nothing less.

    The Hard Truth

    The Hard Truth

  • Supergirl #15 ushers in the next chapter of the “H’el on Earth” event with H’el evicting the Man of Steel and his cloned protege, Superboy, from the Fortress of Solitude.  With Supergirl in tow he sends her into the bottled city of Kandor to retrieve an object of crucial importance to their plot to resurrect Krypton.  The story is framed with a reminiscence of one of Kara’s last days on Krypton in the company of her best friend, Tali.  With the memories of yesterday so fresh in her mind, and the sighting of her comatose friend within the Bottle City, the rationale of Supergirl falling for H’el’s psychotic plan, veiled though it may be in sugary lies.  She does so out of loneliness, out of a sense of cultural and social loss, and out of a burgeoning passion.  Though she is misguided, her journey is still really engrossing and compelling.
  • Legion of Super-Heroes #15 takes a break from the usual pace of things with a magical jaunt to the city of Barcelona.  One of writer Paul Levitz’s newest creations, Legion rookie Glorith, protege of veteran legionnaire the White Witch, is transported by an enigmatic voice in a dream through a portal to Barcelona.  When the Legionnaires later go to find her, the city is descended into chaos as denizens and scenes from throughout the city and surrounding area’s past spring up.  These include dinosaurs, cavemen, Inquisition era mobs complete with torches, and 20th century guerrillas.  Not seeming to connect with the large dilemmas the Legion has been facing, as is Levitz’s authorial style, this issue still is really engaging and quintessentially a Levitz Legion yarn.  And as it doesn’t connect with any overhanging plot from the recent past, that doesn’t mean that it won’t intertwine later into a characteristically complex storyline.  
  • DC Universe Presents: Black Lightning and Blue Devil #15 just was.  I’m only putting it up here as a place holder.  Not a good series, but maybe it will facilitate something interesting in a later appearance by one or both of these characters in another series.  Otherwise, not good.
  • Wonder Woman #15 is delving into something that I have been waiting for since the inception of the New DCU: The New Gods.  Jack Kirby’s legendary creations have always been among my favorite DC characters and concepts.  With the first arc of Geoff Johns Justice League I was horrified with the abysmal depiction of Darkseid and his hoards of Apokalips.  With Brian Azzarello’s exploration of the New Gods from New Genesis I am hopeful that the DC will have a second chance at doing right by Jack Kirby’s work.  Here Orion is sent to Earth to treat with one of the sons of Zeus, the blind vagrant Milan.  Wonder Woman and her brother, Lennox, also seek out Milan in their attempt to locate Hermes and the abducted baby of their friend, Zola.  As is characteristic of both Wonder Woman and Orion, misunderstandings are made and the two immediately resort to violence.  Though last issue did give a hint at the reason for Orion’s coming to Earth, the main points are still a mystery, but I remain hopeful that good things will come of this story arc.
  • JSA Liberty Files: The Whistling Skull #1 is a return to an Elseworld that I greatly enjoyed.  For those not in the know, Elseworlds are re-imaginings that take DC characters out of their normal surroundings and insert them into brand new contexts.  The most famous Elseworld is probably Superman: Speeding Bullets where Kal-El, last son of Krypton, is rocketed to Earth from his doomed planet where he lands in Gotham City and is found by the childless Martha and Thomas Wayne, raised under the name Bruce Wayne, witnesses their murder and later dons cape and cowl, becoming Batman, albeit with flight, super strength, super speed, and heat vision.  JSA: Speeding Bullets was a series that took the Golden Aged DC characters and re-imagined them as deep cover covert operatives of the United States Armed Services during WWII, originally written by Dan Jolley and drawn by Tony Harris.  Drawn by returning artist, Tony Harris, and written by B. Clay Moore, this series under the subtitle The Whistling Skull deals with deep cover operatives of what appear to be strictly British Intelligence, although that may not hold up to be true as the story unfolds over the forthcoming five issues.  Starting out with a five page jaunt to the Japan of 1940, Dr. Midnight, Hour Man, and Wildcat (all American) are seen with the Skull and his sidekick, Knuckles, both British.  The rest of the issue is a disjointed progression of jumping back and forth between England in the 20’s and Switzerland in the 40’s.  In Switzerland there is a mysterious, mystical malady that is killing locals in a horrific fashion, but the cause and its ties to the larger war happening in Europe is not alluded to.  To my knowledge the Whistling Skull and Knuckles are completely new characters with no basis within comic lore, and regardless of this being the case or not, are very poorly introduced in this first issue.  The premise is interesting to be sure, but as a first issue this one failed to develop a cogent premise.  However, because I enjoyed the original two series in collected graphic novel, I will ride this one out.
  • He-Man and the Masters of the Universe #5 brings the miniseries to the brink of realizing its subject, namely He-Man and the Masters of the Universe becoming reestablished.  From issue #1 five months ago, we have seen an Eternia where He-Man and the Masters have been placed under a state of amnesia and the forces of Skeletor carving out little fiefdoms of control.  Skeletor himself is locked in Castle Grayskull, attempting to wrest the fabled power it houses from the imprisoned Sorceress and even the spirit of Grayskull itself.  Adam and Teela have landed on an island controlled by Evil-Lyn and while escaping from her forces, led by Teela’s amnesiac father, Man-at-Arms, the two come across He-Man’s sword, aptly sheathed in stone.  Upon drawing it from the stone in Arthurian fashion, he not only remembers who he is, becoming He-Man once more, but also awakens all of his allies from their own forgetful somnambulism.   Next issue, the final of the six part story, promises to be a He-Man adventure like we have known in the past.

    Drawing the Sword of Power from a Stone

    Drawing the Sword of Power from a Stone

  • Sword of Sorcery #3 continues the Amethyst plot as Princess Amaya of House Amethyst continues to acclimate to her life in the Gem World of Nilaa.  Her evil aunt, Queen Mordiel, proposes a meeting with Amaya and her mother, Graciel, at neutral ground at their brother Bhoj’s country estate.  The results are predictable, but the information and characterization revealed within this parlay are truly intriguing taken together with what we already know of Gem World. The issue also takes us up to the moment in which John Constantine snatches Amaya back into our world, as seen in Justice League Dark Annual #1 with the portal stone. Writer Christie Marx and artist Aaron Lopresti really deliver an engrossing look into what would seem like a froufrou, utterly ridiculous title.  On the contrary, Amethyst is a very intricate book of feudalism and realpolitik, with almost as much intrigue but way less sex than “Game of Thrones.”   The Beowulf feature reaches its concluding installment as the enigmatic woman, identifying herself only as “Grendel’s mother,” explains to our protagonist the rationale behind his creation as a direct result of the superhuman advent, as seen in Justice League #1, and a human supremacy movement by the villain Regulus, as seen in Suicide Squad.  Tony Bedard foreshadows a great many things about what Beowulf is, yet withholds a great deal up to this issues conclusion and the ending of this chapter in the saga of Beowulf.  The feature does end with a solicitation that “Beowulf will return in 2013!” so all hope isn’t lost that answers will come.  In the meantime, the next issue of Sword of Sorcery will contain the Stalker feature written by Marc Andreyko and drawn by Andrei Bressan.  Writer and artist are both fantastic, and I am excited by the title itself, which was based off of a Paul Levitz four issue series from 1975.  I will stay on this series with great enthusiasm and I would encourage others to do the same.
  • The Unwritten #44 is an exemplary reason why this series is incredible.  The main character, Tommy Taylor, descends into the Underworld to rescue the woman he loves, Lizzy Hexam.  This endeavor mirrors a Golden Age superhero comic that a character in the series past wrote, which itself was obviously mirrors the myth of Orpheus and Eurydice.  When he gets into the Underworld, his guides are the slain children of the warden of the French prison that Tommy was held in close to the series beginning.  Both children were incredibly round, complex characters, killed far before their time both literally and literarily, but creators Mike Carey and Peter Gross prove how wide reaching this series is by returning them to the narrative in a very thoughtful way.  The issue shows the workings of Hades in the world of The Unwritten, as well as sets up its most unlikely of Underworld Kings, again another resurrected character from issues past.  This book is stunning.  Read it.

    The Tinker Descends Into the Underworld

    The Tinker Descends Into the Underworld

And so ends the last real week of comics in December.  Next week has a few stray titles for the day after Christmas.

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

Illustration Credits:

Green Lantern #15:  Drawn by Doug Mahnke, Colored by Alex Sinclair, Inked by Keith Champagne, Christian Alamy, Mark Irwin, Tom Nguyen & Doug Mahnke

Green Lantern: New Guardians #15:  Art by Aaron Kuder, Colored by Wil Quintana

Before Watchmen: Moloch #2: Art by Eduardo Risso, Colored by Trish Mulvihill

Red Hood & the Outlaws #15: Drawn by Timothy Green II, Colored by Blond, Inked by Wayne Faucher

He-Man and the Masters of the Universe #5: Drawn by Philip Tan & Pop Mhan, Colored by Lee Loughridge & Jim Charalampidis, Inked by Pop Mhan, Jim Charalampidis & Lebeau Underwood

The Unwritten #44: Art by Peter Gross, Colored by Chris Chuckry