This was a rather light week on my pull list. Only a couple things came out and even fewer of merit. Obviously Batman is one of my top monthly picks right alongside Superman/Wonder Woman.Nightwing, Green Lantern Corps, and Superboy have been quality titles. Coffin Hill is hanging by the thinnest of threads, falling short of the other titles in Vertigo’s new lineup of titles. However, The Royals comes out this week, also from the Vertigo Comics imprint, presenting a very intriguing concept. Here’s how they stacked up:
Batman #28has writer Scott Snyder taking yet another break from the current storytelling to tell a tangent story that introduces his Batman Eternal series which hits stores in April. While the unexpected hiatus is annoying after last issue’s tense cliffhanger, the story is intriguing and whets the readers appetite for what to expect from this weekly title, out in two months. Beginning with Harper Row on the mean streets of Gotham after an imposed curfew, she is caught by the cops and taken to a very swanky night club. From here Scott Snyder introduces the atmosphere Gotham is living under. Some mystery condition has beset Gotham, viral or other, that necessitates a cure which the owner of this club has sole access to. The club’s owner and kingpin of the Gotham crime underground is another intriguing twist that maintains Snyder’s reputation as one of the emerging Batman writers of the new millennium. For me personally, there were two elements of the plot that excited me and put my frustration at not getting closure from last issue’s cliffhanger to bed. The first one comes in the form of Harper Row. Harper was introduced by Snyder early on in the rebooted Batman title and then slowly brought to the forefront. She is an incredible, alternative young woman that is intelligent, quick witted, and tough as nails. It was really looking like she was going to be the new Robin following the heartrending departure of Damian Wayne. This is not the case, and while Batman said he wouldn’t allow her into the fold, she does enter the fold in a Robin-esque role, but not under the nom-de-guerre of Batman’s Boy Wonder legacy, of which two girls were once a part. That actually works well for me, because Harper is very different from the other kid sidekicks Batman’s worked with. She is an alternative teen with dyed hair, a septum piercing, and a very distinct style. For all their differences in social class, background, and motivations, Dick, Jason, Tim, Damian, and Barbara all seemed to be different shades of conventionality. Harper is a bird of a different color, both figuratively and nominally with the heroic identity she dons in this issue. What I think really hits for me with Harper is that vast majority of young women I know that are hardcore into the Batman titles are remarkably similar to Harper, not really mirroring Barbara or any of the other female members of the Bat Family. Harper is just really cool and a perfect fit in the re-imagining of the Batman mythos. Apropos the mentioning of female members of the Bat Family and batgirls, the second element of Batman #28 that got me giddy was the introduction of Stephanie Brown, current Spoiler and “once and future” Batgirl, to the New DCU. Dustin Nguyen provides art on the book and does a great job capturing the darkly elegant underworld of the criminal elite in this issue. It’s like a blast from the past back to his days on Batman: Streets of Gotham. Overall a really great issue that has me primed for Batman Eternal.
Enter Bluebird . . .
Superman/Wonder Woman #5 continues the title in the vein with which it began last October. Superman and Wonder Woman are very similar, but also very different. The title has been very Super-centric, having mostly dealt with Supes and his pantheon of characters, i.e. Doomsday, Cat Grant, and Zod and Faora. While there was a shirt interlude of Superman going toe-to-toe with Wonder Woman’s dickish older brother, Apollo, her world has been in the background for most of the previous four issues. In this we see her visit Themyscira to “speak” with her mother and sisters Amazons whom the gods turned to stone. She looks to them for counsel considering her attempt to reconcile the differences between her worldview and Superman’s. It’s really fascinating, because if you look at each from the other’s perspective you see diametric differences that almost cast the other in a questionable light. Wonder Woman comes from a proud race that exalt their strength and extraordinary qualities. Clark comes from a humble Midwestern upbringing that espoused moderation and humility. Seeing eye-to-eye is a struggle that they both wrestle with and Wonder Woman’s journey to do so is very honest in this issue, exposing her inner virtues as well as some not so flattering prejudices. However, while these musings go on, Superman is fending off General Zod and his recently emancipated lover, Faora, whom Zod pulled from the Phantom Zone at the end of last month’s issue. Once he is rejoined by Wonder Woman, you get a “mirror darkly” collision of two couples, one altruistic and noble and the other sinister and brutal. That is not the only difference, however, as Superman and Wonder Woman are not well suited to fighting side by side, but Zod and Faora are as one and fight like linked appendages of a single body and mind. Working as they are it becomes clear that Superman and Wonder Woman need to regroup. The writing and art on this book are superb and at the top tier of any books being put out by any comic company. Charles Soule is amazing and Tony Daniel’s artwork is some of the best being produced. This title is well worth the cover price for anyone that like Superman, Wonder Woman, or good character driven comics.
Nightwing #28 is a beginning of the end for this title. With only two more issues before its conclusion writer Kyle Higgins is starting to wrap up the final notes of his narrative of Dick Grayson’s journey as Nightwing. Tony Zucco, his parent’s murderer, is finally in prison and Dick concludes his associations with Sonia Branch, Zucco’s daughter and ambiguous love interest to Dick. The parting is bittersweet, because while Sonia is a high power businesswoman who isn’t always straightforward, she is a good woman who has always looked out for Dick and I think genuinely cared about him. With Nightwing’s revealing to the world that Zucco was alive and part of a corrupt mayoral administration in Chicago Sonia was let go of her job as a bank executive, owing to the bad press. These developments leave Dick in a state of ennui that quickly transitions with the sudden murder of a couple that live in his building. The couple’s daughter, Jen, had stumbled across Nightwing’s paraphernalia in Dick’s room and discovered his identity. After her parent’s death she asks Dick to help and tells him she knows he’s Nightwing. He tries to pretend that she is imagining things, with disastrous results. The dynamic become almost the same as his when his parents were murdered and he tried to get Batman to help him. However, with the imminent cancellation of the title it’s not likely this relationship will reciprocate his with Bruce Wayne/Batman. Kyle Higgins has been on this title since the first issue and terminates with next month’s #29 issue. It’s a shame that he wasn’t able to make it through all 30 issues of the regular series, but unfortunately that is how the cookie crumbles. His run has been solid, character-driven, and a keen, thoughtful look into the life of Dick Grayson. His excellent writing has kept me reading the title, despite Dick being the the most “vanilla” Robin in my opinion. Higgins made me care, and for those that love Dick I can only imagine how great this series has been. It is uncertain what the future holds for Nightwing, but for two more months we’ve got him. Here’s hoping they are a good two months.
Green Lantern Corps #28 begins an arc entitled “The Hunt for Von Daggle.” With the larger event of the Durlan crusade against the Green Lantern Corps looming large over the GL family of books, locating the person of Von Daggle becomes a key front in the supremacy of that conflict. Daggle is a Durlan that broke from the Ancient’s control and became a member of the Green Lantern Corps years prior. Now in deep cover and gone to ground after the fall of the Guardians, he is a person whose loyalty could turn the tides of war in favor of those with whom he chooses to align himself. Obviously the Durlans are not his favorite people to begin with, and though he would be welcomed back with open arms should he choose to return, why would he? Conversely, the Guardians (rot in Hell) were equally awful and exploitative, leading him to break ties with the Corps after the fall of central authority. Robert Venditti and Van Jensen have been working closely to tie the two core books of the Green Lantern line close together and the universal landscape they paint is quite troubling, in the best way possible. The Corps is facing a MESS! The Durlans have blindsided them with devastating blows. They stuck deep at the heart of the Corps’ sense of security, blowing up their central command center on their new homeworld, Mogo, and vastly, striking numerous Corps chapterhouses throughout the 3600 sectors. Even more devastating, a Durlan impersonating Hal Jordan revealed to the Universe that the rings the various Lanterns wear drain the universal reservoir of light and that the Green Lanterns will not cease to use their rings, but stop anyone else from draining that same energy they are squandering. Their plan is genius and it leaves the Green Lanterns with both feet knocked out from underneath them. These devastating blows may have been a death stroke, but for two serendipitous developments: 1) the turning of the Corps worst enemies against their Durlan benefactors in favor of the Green Lanterns, and 2) the existence of Von Daggle, who could tell them all they need to know about taking the fight to the Durlans. Jensen and Venditti have made the Green Lantern books once again a family of titles worth reading.
Coffin Hill #5is a series which I want to get behind. Lord knows Inaki Miranda’s art is awesome. The plot in a hypothetical way is very good. I mean if I were to make a rough synopsis of what is going on currently in the title, the backstory, and the general concept it sounds great. I think Caitlin Kittredge is just having difficulty making it come off. Eve Coffin is a hard protagonist to relate to, because Kittredge has given us little in the way of understanding her. She was an angsty teenager who was raised in affluence as part of the venerable Coffin family of Coffin Hill, apparently descended from a fable witch of “Coffin Hill.” Her and her friends cast a spell in the woods in 2003, but apart from her waking up afterward and finding her one friend naked and covered in blood and the other completely MIA, we don’t know anything about what happened. She became a cop in Boston, got shot by someone who Kittredge heavily infers has a history with Eve. Do we know that history? Not at all. Whenever there is something that could possibly shed light on who Eve Coffin is or why we should cut her slack for her annoyingly angsty demeanor, Kittredge pulls the “dog treat” away to tease us. Eve’s surviving friend, Melanie, has woken from her decade long coma, but fallen victim to a demonic possession. This is an interesting, though slow moving development. What is lacking is something for the reader to latch onto. Perhaps all these story elements are best held off until a later date, but again, if you withhold substantial bits of exposition from your readers like the proverbial dog treat they will eventually bite your hand or just lose interest and wander off. I can’t say that I can strongly recommend this title to anyone. Right now it is horrendously plotted and shoddily written.
The Royals: Masters of War #1 launches yet another groundbreaking Vertigo miniseries. The Royals: Masters of War begins in 1940 during the height of the Blitz. Britain’s royal family live opulently behind the walls of their palace while the rest of the country endures of the horrors of the the war with Germany. However, in this world, due to divine right and purity of blood, the royal families of the world have superpowers. Writer Rob Williams creates a very intriguing alternate reality with The Royals that hones old superstition and traditionalism into compelling storycraft. In the history of his series, the French and Russian Revolutions, as well as other depositions occurred specifically because the powered Royals had forgotten their place and lorded their powers over the unpowered masses. The current king of England was born without
The Old Order
powers and spread the rumor that his three children were born without them as well. They were not, which sets the stage for our story during Britain’s critical moment in WWII. Royals DO NOT participate in warfare. This is a modern gentleman’s agreement that is honored, regardless of whether said royal has powers of not. King Albert is weak, his eldest son and heir to the throne, Prince Arthur, is a debauch wastrel, with a mean streak when he has imbibed. The king’s twins and youngest children, Prince Henry and Princess Rose, are raised with their heads in the clouds and only small whisperings of the conflict at large. Deciding to venture outside the walls of the Palace both witness the full horrors of the German bombing of their countrymen. For Henry it is far too much to bear and he clandestinely enters the war, downing scores of planes with his bare hands. With this GIANT breach of international etiquette the floodgates are opened for the remaining Royals to enter the fray. The artwork by Simon Coleby is very somber and robust, almost seeming like Edwardian paintings, which adds a good deal of ambiance to the title. Rob Williams’ writing is austere and candid, paying the respect to the British Crown one would expect, but the honesty of the characters that live under it. Just a fantastic beginning to a very promising new series from Vertigo.
The New Order
A light week, but a very decent batch of excellent comics.
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.
Batman #28: Drawn by Dustin Nguyen, Colored by John Kalisz, Inked by Derek Fridolfs.
Superman/Wonder Woman #5: Drawn by Tony S. Daniel, Colored by Tomeu Morey, Inked by Sandu Florea & BATT.
Green Lantern Corps #28: Art by Bernard Chang, Colored by Marcelo Maiolo.
Royals: Masters of War #1: Art by Simon Coleby, Colored by JD Mettler.
It has been a criminally long time since I have been able to sit down and interact with my comics in the form of writing this blog and externalizing my thoughts and appreciation for this incredible medium. With this post I hope to highlight a few of the issues that I have loved in that interim and get back in the swing of reading my comics and writing about them to illuminate their content to others, but also myself. So here goes:
Batman #25 tells the story of the Blackout in Gotham, but oddly enough doesn’t deal with the Riddler at all or explore the consequences of what he did. Instead, writer Scott Snyder uses the Blackout as a way of the emergent Batman finding an environment in which his skills and innate qualities find fallow ground to root themselves. Without the Blackout, Batman might have had to try harder to ingrain himself in the collective awareness of Gotham as a force for good and not just a crazy nutjob in a bat costume. However, as mentioned before, the Riddler is put on the back burner after blowing the Gotham City power grid and submerging the city into chaos in the midst of an impending tropical storm designated “Rene.” In his place, Batman sleuths a rash of bizarre . . . occurrences . . . in which victim’s bones grow uncontrollably like trees, bursting out of their bodies and leaving the carcass draped atop like a Christmas tree angel. With some inadvertent tips from future police commissioner James Gordon, Bruce learns that the serum used was designed by a former Wayne Enterprises scientist, Karl Helfren, aka Doctor Death. When he probes into Helfren’s past, Bruce also learns of an accomplice that will surely shock readers. The issue is certainly shrouded in mystery, beginning with a brief two page cut to US soldiers in Nigeria finding a door in the ground hidden in the middle of an arid plain and ending with those soldiers dead and their trucks on fire. How those scenes are rectified with the main narrative is an intriguing question. In the backup feature, Snyder and his protegee James Tynion IV write a tale of the Blackout told from the perspective of the average person, in this case a very young Harper Row and her little brother Cullen. The two kids don’t have a mother and their father is a two-bit criminal and absentee parent, so it falls to them to look out for one another. Cullen is scared, but Harper (who grows up to be a burgeoning electrical genius) makes a lamp for her brother to push back the darkness. It’s not easy, but she’s able to overcome when the needs arise. She tell Cullen that there are people out there that see fear and darkness and rise up to push these forces back and help those that are also scared. It’s a brief yet poignant commentary on the superhero ideal and what breeds heroes. Also noteworthy is Andy Clarke’s gorgeous artwork that creates a beautifully stark ambiance of Gotham life. It goes without saying that Scott Snyder and Greg Capullo, with the added help of James Tynion IV and Andy Clarke, are making this book one of THE comics to pick up.
What Makes a Hero?
Superman/Wonder Woman #2 brings on the much anticipated continuation of last month’s meteoric first issue. In Superman/Wonder Woman #1 writer Charles Soule delivered a very intimated and thoughtful examination of the relationship between two titanic figures of the DCU and the inherent hurdles they have to leap constantly in order to be together and understand one another. If that was all the issue was it would have been worth the cover price, but Soule and artist Tony Daniel had far more in store for us, releasing perhaps the greatest surprise appearance of the year: Doomsday! With Supes busy quelling a storm brought about by the monster’s advent, Wonder Woman finds herself going toe-to-toe with the abomination that in a different continuity killed her boyfriend. Not something to be trifled with. As this issue opens the Kryptonian horror delivers a sound beating on the unprepared Wonder Woman until it mysteriously phasing out of reality. When Superman hears her story he immediately knows what the thing was from Diana’s descriptions and realizes that the seals on the Phantom Zone, a temporal extra-dimensional Kryptonian prison, are wearing thin meaning incursions by Doomsday and the other unsavory menaces imprisoned within might occur more frequently. In order to prepare for the coming battle with Doomsday, should it reappear, Wonder Woman takes Superman to Mount Aetna to meet Hephaestas and commission custom armaments. While there Supes also meets Apollo and Strife. Apollo doesn’t make the best impression, following the very haughty modelling of Wonder Woman writer Brian Azzarello. I know I am not alone in my dislike of Apollo, which is what makes his encounter with Superman so rewarding to readers. Apollo is a very overconfident, arrogant ass and while he is IMMENSELY powerful, his being the sun god puts him at a unique disadvantage against the Last Son of Krypton. One almost feels sorry for the jerk. Almost. With their order placed and one Olympian force fed a five fingered slice of humble pie, the stage is set for yet another mouthwatering introduction of a classic Superman character. Soule and Daniel have this series locked down. Soule’s writing is topnotch and shows a true love and respect for both the eponymous characters. Superman is a humble farmboy with powers far greater than ordinary men and Wonder Woman is a proud and noble woman from a proud and noble race of myth. Every word, every gesture, and every reaction is quintessentially appropriate to each. Tony Daniel has been one of my favorite artist since he and Grant Morrison took on the Batman title. As a writer I have enjoyed his work as well. The man is a consummate professional and whether or not he has any say in the actual writing of Superman/Wonder Woman alongside Charles Soule, his ability as a writer no doubt helps him interpret the scripts to convey minutely the gravity and grandeur of the worlds this book is bringing together. Wonder Woman and Superman come from two very elaborate time honored mythologies that Soule and Daniel are combining like true professionals. This first run of the series is off to a commendable start. If they can sustain it, this could overshadow the actual series of both characters.
The Hubris of Gods.
Batgirl #25 came off a little lackluster for me. Dealing with the life of Barbara Gordon, it’s hard to figure out what the purpose of this issue was supposed to be. It’s already established that Gotham was effed during the “Blackout” and in this tie-in Barbara is put in charge of her little brother, James Jr, while their dad’s at work. He tells her to “mind the homestead,” but while he is gone the Gordon kids are forcefully evacuated because they are in a flood zone. In the process young Miss Gordon sees how a disaster can turn regular people into savages. The point of the issue is more about Gotham than Barbara, which is a little disconcerting. Normally the Batgirl series focuses heavily on Barbara, which is a credit to series writer Gail Simone’s tenure on the title. Simone GETS Barbara in a very quintessential way. Marguerite Bennett penned this one, and I think as a newcomer her writing comes off a little green. She kind of fumbled the Villains Month released introduction of the character Lobo to the New DCU, and this comic felt equally forced. The look remains the same with series artist Fernando Pasarin providing art on the issue. Simone comes back next month with the conclusion of her epic “Batgirl Wanted” arc, which should be worth the read.
Green Arrow #26 begins writer Jeff Lemire’s epic “Outsiders War” arc. In his first arc, Lemire DRASTICALLY altered Oliver Queen’s life, taking away his company, framing him for murder, and clearing the board of a few characters from the initial issues of the rebooted series. He also introduced the Merlyn-esque archer, Komodo, and the inklings of the larger organization Komodo belongs to called the Outsiders. In his second arc he introduced the rarely utilized GA character, Shado, unused extensively since her creation in the 80’s by Mike Grell. Komodo and Shado represent two halves of the life and ultimate death of Oliver’s father, Robert Queen. With those in the rearview, we now enter into the actualization of Green Arrow’s destiny with Lemire’s third arc, entitled “Outsiders War.” So far, Ollie has taken down Komodo (relieving the onyx archer of one eye) and on two separate occasions he’s taken down the Eastern European despot Count Vertigo. Both of these men have strong ties to the Outsiders who themselves have very ominous plans for the Arrow Clan. Now Shado is taking him back to the island to fulfill his destiny by claiming the totem arrow that will grant enlightenment and dominion of those dedicated to archery. Robert Queen sought the island and combed every inch of it looking for the arrow, explaining the picture that Oliver found of Robert, Komodo, and Emerson on the island in the lattermost’s office. Shado drags him back and as the issue unfolds Lemire has Oliver slowly relive his time there. His reticence to return can be summed up by the harsh memories he accumulated while stranded and his shame at being reminded of his past. Ollie was a vacuous waste of space before being washed up on the island and his initial days there were spent shedding that shallowness and tapping into his intrinsic potential. Robert had instructed Oliver in archery, which Ollie’d never taken serious and rarely practiced. Those lessons resurface and the birth of Green Arrow began while Oliver discovered the cost of survival. The next step will be seen in later issues following Ollie’s capture by mercenaries in ski-masks. Awakening from his deja-vu, Shado leads Oliver to the cave wherein lies the talisman his father had so desperately sought. Meanwhile, the Outsiders have sent one of their own, a bear of a man called Kodiak, to stop Oliver from becoming the head of the Arrow Clan by claiming the “Green Arrow” totem. Jeff Lemire’s hitting this one out of the park with his clear love and respect for the character of Green Arrow and his intricate weaving of a mythos that emanates from Green Arrow, but also through the Green Arrow title. The Outsiders have figured cryptically into the background of the Katana series, where the Japanese warrior Tatsu Toro wrestles with the Sword Clan. Whether Lemire came up with them on his own or collaborated with Katana writer Ann Nocenti (from whom he took over the horribly written and conceived Green Arrow title) what is obvious is that Lemire is the one running this ball into the endzone for what looks to be a clear touchdown. The promise of what the Outsiders represent and the stories that will spring forth from this arc are destined to be comic book gold. Series artist Andrea Sorrentino continues his tenure on the book adding a realism to it with his pencil and an ominousness with the very stark contrast between light and shadow. Working together, Lemire and Sorrentino are the ideal team to make Green Arrow one of the best DC titles currently being published.
The Fabled Green Arrow Totem.
Green Arrow #27 continues writer Jeff Lemire’s odyssey toward Green Arrow’s actualization in the “Outsiders War.” So far Ollie has returned to the island on which he was marooned with the enigmatic archeress Shado in tow seeking the totem arrow that bestows enlightenment upon the ascendant to the chiefdom of the Arrow Clan. The Outsiders (semi-unified cabal of clan heads) desire Komodo to take this position in their midst and dispatch the Shield Clan’s chief, Kodiak, and his Viking warriors to prevent Ollie from his destined enlightenment. Picking up with the dramatic ending of issue #26, Ollie and Shado have found the Arrow Chamber, but as this issue opens they find that the totem itself is nowhere to be seen. Ollie is shocked, but Shado, true to her fox-like, Zen nature tempers Ollie’s impatience with existential questions, all boil down to why and how Oliver came to be marooned on this exact island that his father, Robert Queen, had just so happened to be seeking for so long and upon which the elder Mr. Queen was murder by Komodo? The exploration of these questions is interrupted by the advent of Kodiak on the island and sporadic ’Nam flashbacks Ollie has to the crucible moments of his time on the island. Issue #26’s flashbacks showed Ollie being forced to master archery in order to feed himself while awaiting rescue from the island. The completion of that stage of his development ends with him being captured by masked paramilitary forces on the island. This issue shows the next and most apocalyptic stage of his transition from soft billionaire playboy to cold hunter/vigilante. The soldiers under the command of an Oni-masked man torture Ollie for over a week until Ollie snaps and in a survivalist act breaks through from his effete past to the stark figure he has become in the present. While dodging the Shieldlings and regrouping Shado finally steers Ollie into understanding that his destiny wasn’t mere chance, but an orchestrated effort by individuals to guide him to becoming the avatar of archery. Once this concept sinks in, Oliver’s Oni-masked antagonist reappears and confirms everything Shado said and removes the demon mask. With the revelation of this person’s identity the absolute truth of their claim is baldly underscored, but more so the implications of who this person is changes everything the reader has come to believe about the Green Arrow title and what its has fought for. Jeff Lemire is a genius. Unequivocally, he has taken this failing title and made it infinitely poignant, gripping, and one of the ‘can’t miss books’ of the DC lineup. Called “Batman with a Bow and Arrow,” GA has been a C-list character with no superpowers who has often times been overshadowed by the more super, more overtly heroic characters of the DCU. Only a few writers have been able to lift him above the camp and ridiculousness that have haunted the character since his inception. Jeff Lemire has earned his place in Green Arrow history. Lemire’s collaborator Andrea Sorrentino provides incredible artwork that in no small part makes this book so engrossing and visually stunning. The two look to be on the title for some time and that is good news for comic readers and the Green Arrow pantheon of characters.
The Bloody Baptism of Green Arrow.
Superman Unchained #5 is a turning point in this celebratory “Super” series, revealing not only the nature of the enigmatic cabal known as “Ascension,” but also what their overall motivations, prompting their insane actions thus far. At the conclusion of issue #4 the leader of Ascension told Lois Lane that General Sam Lane was “father” to both of them. This turns out to not only be twisted hyperbole, but also a straight up lie no matter how you look at it. One demerit to writer Scott Snyder. Through the exposition provided by the Ascension leader, Jonathan Rudolph, Lois Lane and the audience are given incontrovertible evidence that this man isn’t merely misguided, HE’S NUTS!!! The choice of fabled Ned Ludd as the “face” of their movement is apt considering that the group’s aims have been stated to be the downfall of technology with an anarchist rationale behind it. The self-righteous rhetoric of Rudolph does nothing to rectify the collateral damage his insane venture will rain down on humanity nor does it in anyway come off as anything but uber-petulant and misguided. Rarely nowadays are there examples of such clear cut psychopaths in leading comic titles. Usually some sort of ethos, pathos, or logos is there to somehow give a morally ambiguous justification to the “villainy.” The use of this kind of character is intriguing and either says something very good about Snyder’s writing or something very bad about it. Snyder is an amazing writer that has risen meteorically to the top of the comic field in a relatively short period of time. He is also an overtaxed talent that is writing several titles simultaneously, so it could go either way. The rest of the title features Superman continuing his emerging relationship with the proto-‘Superman’, Wraith. In order to continue their quest to locate and stop Ascension, Supes invites Wraith into his Fortress of Solitude. Superman represents an impartial, unbiased, non-jingoist superheroic doctrine. Wraith represents the exact opposite and has TOTALLY drunk the US military Kool-Aid. Just being in the Fortress elicits a philosophical debate about alien technology and who should have custodianship of it: an impartial, responsible individual or the armed forces of one sovereign nation over the nearly two hundred others. Superman has the moral high ground here, but Wraith cuts back with an equally poignant response involving Superman’s supposed “non-involvement” vis-à-vis his alternate persona of Clark Kent. In this way, Superman represents what the character should embody and Wraith portrays what Supes was made to be like from the 1950’s through to most of the 70’s, towing the company line and representing “Truth, Justice, and the American way.” Visibly absent from the first four issues is the looming figure of Lex Luthor awaiting the resolution of Superman’s battle with Ascension to pounce on the battle wearied Man of Steel. Introduced in this issue is a flashback, drawn by backup artist Dustin Nguyen, that details Clark’s encounter with a sauced up, ignorant farmer that finds out his secret and tells him at shotgun-point that he can’t hide. Though only seen in glimpses and lacking resolution, this flashback underscores brilliantly the constant dilemma Superman faces everyday by living among us as one of us. Snyder has created in five issues a multifaceted series that expertly explores the character and all the aspects that have carried over from the original issues 75 years past. Scott Snyder and artists Jim Lee and Dustin Nguyen have tapped into the pure essence of the Last Son of Krypton.
Teen Titans #26 finally reveals the story of Bart Allen after two and a half years of continuous storytelling. We’ve been told in the past that he was a dangerous criminal that was reconditioned and sent back into the past where he would be cut off from the dangerous elements he incited. Several months ago when the Titans were first thrown into the timestream Bart and his girlfriend, Kiran Singh (aka Solstice), witness his younger self attempting to commit an act of mass murder against the governmental body known as the ‘Functionary.’ Now after returning to his native time he is made to see everything he has forgotten after being taken back into custody by the Functionary. After looking at his past I am finding it hard to look at him as anything as terrifying as he has been painted out of context. The son of religious parents belonging to a Christian-like faith called Creationism, his parents were murdered for those beliefs. He lets his parents die in order to save his infant sister, Shira, and get her away from the Functionary “Purifiers” that are initiating pogroms against his people. He becomes a thief to provide for his sister and when she is imperilled he becomes a killer. He finds sanctuary for her in a safe quarter while undertaking smuggling missions in unsafe conditions that normally killed the pilots after three runs. Bart makes a couple of dozen until his number finally comes up, but when it does he doesn’t die, but rather attains the superpowers that connect him to the Speed Force and Barry Allen. Then he initiates the rebellion of the Functionary oppressed that led to his capture and exile. It wasn’t until his attacks almost killed Shira, that he abandoned the rebellion he started and turned himself in to the Functionary. I have to say that this origin, while very compelling, failed to depict him as a criminal. At least in my eyes. Everything Bart did was for others. He sacrificed everything for his sister and later for those like himself and his sister who were like rats being oppressed and constantly harried for no reason whatsoever except that their existence was inconvenient for those above them. There was no Justice League or any apparatus to help the downtrodden so he initiated an armed resistance movement to create a better future. As stated before there was a scene not fully fleshed out where he was going to do something alluded to being an atrocity. If writer Scott Lobdell wanted to justifiably depict Bart as a monster he should have given more weight to that moment with more details or circled back around in this issue to that moment or one like it. That isn’t to say that Lobdell is a bad writer. On the contrary. This issue made me feel for Bart and actually I am in his cheering section. He looks at himself as a monster, just like all the others who have knowledge of who he was (or will be), but I don’t see that and I still see a hero who puts others and their interests before his own. If I could actually talk to the character I would share with him the words of Barry Allen, the first Flash (in the New DCU): “Keep moving forward.” Lobdell knocks it out of the park with the help of new series artist Tyler Kirkham. Kirkham’s art is sharp, it’s vibrant, and his rendering of Bart gives fine detail to every evocative emotion the young hero feels, which once again roots the character in Kid Flash’s experience, making them feel exactly what he feels, enduring his pain as he struggles through unspeakable situations and revelling in his rare moments of triumph bore out of near constant suffering. Thumbs up to both Lobdell and Kirkham. This issue was worth the wait, if not shorter than such an immense story deserves.
Doubt Anything Except a Brother’s Love.
Talon #14 marks an end to the status quo under which the series has been proceeding since its #0 issue. Calvin Rose was made a Talon after being groomed for the task by the Court of Owls as a young escape artist in the famed Haly’s Circus. He quit after being sent to kill a beautiful security heiress and her young daughter. Going on the lam with her, he developed a relationship with her, which he broke to protect her from the Court’s endless search for their missing “toy.” While on the run, Calvin meets a man whose life was destroyed by the Court as well. Sebastian Clark. Clark helps Calvin hit the Court HARD, crippling much of their infrastructure. In this guided crusade against their common enemy, Calvin meets up again with his former girlfriend, Casey Washington, and her daughter Sarah. Soon after it comes out that Sebastian Clarke did in fact have his life destroyed by the Court, but it was because he was the disgraced head of the Court at the time of Batman’s interference and the fabled “Night of Owls.” Danger literally lurks in all directions and Calvin is beset with daunting odds. His immediate challenges include Sarah’s kidnapping and subsequent brainwashing by the Court, Clarke has a plan afoot to raze Gotham, and a serum has been injected into his bloodstream that melts necrotic tissue, i.e. his entire body. To a lesser extent Batman has harried most of Calvin’s moves, because no one operates in the Bat’s backyard without his say-so. However, despite the insurmountable obstacles Calvin is very much like the classic Jack Kirby creation, Mister Miracle. Both are master escape artists, and like Miracle, Calvin will not be deterred by any odds, even if Batman is counted among them. With the conclusion of this issue the Court of Owls still exist, but they are once again weakened and the more pressing threats to fair Gotham put to bed for good. Calvin’s main objectives are accomplished, but his journey toward ending the Owls’ reign continues, albeit under new circumstances and with new allies. Writer James Tynion has taken the concept of the Court of Owls and made good use of it with the fifteen issues of this series he has written.
Batman Inc Just Got a Little Bit Cooler.
Red Lanterns #26 after the big fight between Relic and the remaining Lanterns of all colors, the Reds were given authority of Sector 2814, which contains our solar system. To demonstrate their authority they attempt to take out one of the greatest evils of our Sector in the form of a despot named Marshal Gensui. Gensui has enslaved the secondary race of his world and used them as slave labor to build a sphere around their sun to harness its energies to use for his own ends. Going up against the forces of the planet Kormorax the Red Lanterns, under the command of Guy Gardner are in hot water. Marshal Gensui has made a career of culling rage, using his intimidation tactics and scientific acumen he has pacified the brutalized masses he exploits. With those same technologies he pacifies the Red Lanterns, the angriest individuals in the universe. With that taken into account, writer Charles Soule concludes the two issue arc with an examination of the kinds of rage that exist and how each type fits various situations in better ways. Peter Milligan, the original Red Lanterns writer did this very well in the past, making a point of highlighting tertiary Red Lanterns who weren’t as popular and whose backstories haven’t found their way into past issues. One Red, the ox-skulled Skallox, was a murder and a scoundrel sent up the river by his boss as a liability, another named Ratchet was an individual living in an isolationist, dystopian nightmare that craved interaction and was imprisoned and mercilessly tortured for years as a result. Yet again Soule highlights two lesser Red Corpsman and their individual brands of rage to show the strength of each. Zilius Zox takes a lead role in these issues, but Ratchet once again shines above the rest. While he and his fellow Reds are in a stupefied, euphoric haze due to Gensui’s crowd control technologies Ratchet is able to throw off the stupor with his rage, despite the most powerfully ravenous Reds being unable. What really highlights his character, and it a lot of ways finishes what Milligan began in that bygone issue, was the totality of Ratchet’s capabilities. Ratchet wasn’t a bad guy. He wanted friendship and comaraderie and his inability to do so was what fueled his rage. Being a Red Lantern gave him his hearts desires so slowly his rage was subsiding, which meant that he wouldn’t be able to wield the ring, which also meant that the ring would no longer be able to keep him alive as it did all Red Lanterns whose blood is replaced with a napalm fluid of refined hate. He was dying no matter what happened, and what he accomplishes in this issue not only expedites that end before prolonged suffering, it also made an enduring place in the hearts and minds of his fellow Corpsmen. Soule inherited a vast legacy from Peter Milligan and has made proper use of it, penning a fantastic series.
So ends an abbreviated catchup to the weeks missed in my absence. Check back to this post periodically as I will probably take on some other issues that are of note.
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.
Batman #25: Art by Andy Clarke, Colored by Blond.
Superman/Wonder Woman #2: Drawn by Tony S. Daniel, Colored by Tomeu Morey, Inked by BATT & Sandu Florea.
Green Arrow #26 & 27: Art by Andrea Sorrentino, Colored by Marcelo Maiolo.
Teen Titans #26: Drawn by Tyler Kirkham, Colored by Arif Prianto, Inked by Art Thibert & Dan Green.
Talon #14: Art by Emanuel Simeoni, Colored by Jeromy Cox.
This second week of October has some much anticipated titles among its numbers. The oversized Batman #24 has been burning a hole in people’s calendars for three months now as “Zero Years” has rolled onward towards an unknown, tantalizing end. Superman/Wonder Woman has been causing controversy since late August after artist Tony Daniel let his mouth run away with him at Fan Expo in Toronto. And with the killer first installment of “Lights Out” in Green Lantern #24 last week Green Lantern Corps #24 gives another taste of the unthinkable plot that is heralding a new age in the Green Lantern books. Also comes the inaugural issue of the new Vertigo series Coffin Hill. So much awesome for one week.
Batman #24is a monumental Batman piece, both in size and importance to the reimagined Batman mythos. Writer Scott Snyder undertook a revamped origin story for the Dark Knight entitled “Zero Year,” which will in essence preempt Frank Miller’s “Year One”, doing the same job but tailored to the New DCU. To cut his teeth, Bruce Wayne squares off against the Red Hood Gang. In the past the Red Hood Gang and its eponymous leader have been fairly small time dealers, mostly pulling petty B&E’s and bushleague bank robberies. In Snyder’s vision the gang takes on a more sinister nature and magnitude. Their leader Red Hood One still wears the shiny red bell jar helmet, offset further up on his head so his evil grin is visible, and the suit and red cape, as before. All of his subordinates wear suits sans cape and nondescript red Zentai masks. Also menacing is the fact that a ridiculously large percentage of Red Hood members are regular folk blackmailed or coerced into doing Red Hood One’s bidding. Snyder definitely read or watched “Fight Club,” because Red Hood One is taking on a very Tyler Durden vibe, creating an anarchist movement that infiltrates every echelon of society. Wearing various disguises and also in his Bruce Wayne persona, “Batman” has fought a back and forth war with the Red Hoods, but with the revelation that his uncle, Philip Kane, was arming the gang from Wayne Enterprise depots the struggle enters its endgame. Philip is a slippery businessman, but in actuality his part in the gang is like most members’, coerced by the enigmatic leader. Bruce finally is able to piece together Red Hood’s ultimate plan and sets a counter-plot into motion to block its fruition. Through this plan of Bruce’s Scott Snyder ties up many things begun from the inception of his Batman origin arc. Close to the beginning, Bruce remembers his father, Dr. Thomas Wayne, inquiring what Bruce loved about Gotham. That question, which Bruce now poses via televised interview to all Gothamites encapsulates and validates the entire concept of who and what Batman represents. After the final sequence of Batman #23 with the icon scene of the bat crashing through the window in front of the shaken Bruce, weare finally shown for the first time in “Zero Year” continuity the fully realized Batman persona. By issue’s end, the defeat of the gang is delivered, as is the ultimate fate of Red Hood One. I had a conspiracy theory that Red Hood One wasn’t the Joker, but some other Batman villain, i.e. the Riddler, or ironically Black Mask. That proved to be false. It’s heavily insinuated to be the Joker. However, as he did with his other major arcs, “The Court of Owls” and “Death of the Family,” Snyder obscures that concrete facts to speculation and the identity of the man who fell into the vat of chemicals and his role in the gang remains unclear. Scott Snyder’s completion of the first leg of his “Zero Year” story is nothing short of amazing and provides a SOLID foundation for the New DCU Batman for as long as that continuity stands. In the plot itself, Philip has a giant boulder of mica schist stone that cannot be broken and is hard to shape placed in his office. He relates that these immutable characteristics make the mica ideal to build on. There is probably a deeper meaning to the plot somewhere in that analogy, but I didn’t catch it. What I did interpret it as, however, was a metaphor for the strength of the story as the basis for all Batman stories to come. Greg Capullo’s art is peerless. His rendering of Snyder’s complex storylines is clear, concise, stark, and moving. Rafael Albuquerque, regular Batman backup artist and co-creator of American Vampire with Synder, provides the art for the denouement scene of this issue that puts to bed the Red Hood arc and sets up the coming Riddler arc, entitled “Blackout.” Overall, this issue blows all other Batman stories out of the water.
What Does Gotham Mean to You?
Batgirl #24 opens on the second installment of the “Batgirl: Wanted” plot arc. After “killing” her psychotic little brother, James Jr., Barbara has taken off her Batgirl uniform and decided not to wear the Bat symbol, because of her actions. Also following this event, her father, Commissioner James Gordon puts out an all-points bulletin on Batgirl and (unbeknownst to him) his own daughter. Babs wants nothing more than to put her nocturnal past behind her and find happiness. She attempts to do so by hanging out more with her bohemian roommate, Alyssa, and dating a former gang member, Ricky, who she met as Batgirl. But of course the universe won’t allow a member of the Bat-family to know any modicum of peace. Batgirl’s former nemesis Knightfall’s menacing machinations sight both Ricky and her father in the crosshairs. After the traumatic events of Batgirl #23 two months ago Babs has to weigh her sense of guilt against her sense of duty. Gail Simone writes this series like it’s her own, and truly her Barbara is the only one I want to read for the foreseeable future.
Forever Evil: Arkham War #1takes a closer look at the mayhem in Gotham following the fall of the Justice League and the advent of the Crime Syndicate. The Syndicate has rallied the evilest minds on the planet to their banner and in exchange for obedience they are given privileges to do as they like. The Gothamite villains (mostly Arkham inmates) were given free reign over Gotham with Penguin named mayor. Penguin in turn divided Gotham into districts each under the control of a powerful Arkham inmate. Writer Peter Tomasi laid the groundwork for this series with two Villains Month issues: Scarecrow and Bane. Both were pretty lackluster, but what they did do was set the tenor of these two characters for the purposes of this series. Both Scarecrow and Bane have appeared in several Bat-titles since the inception of the New 52 and been written by multiple writers including Paul Jenkins, James Tynion IV, David Finch, and Gregg Hurwitz. While neither Scarecrow or Bane have been altered in major ways, their modus operandi are tailored to fit the desired ends for this series’ plot. With Bane bringing a moderately sized army of highly trained Santa Priscan mercenaries to Gotham war is on the horizon and Scarecrow is serving as the Paul Revere of Gotham, readying the “freaks” for a war with the fanatical juggernaut. In the opening strokes of his plan Blackgate Prison falls to Bane, as do the Talons incarcerated therein in cryogenic stasis. Professor Pyg reappears for the first time since Grant Morrison wrapped up his opening run of Batman & Robin. The horrific experiments going on in his district proves the full depth of his depravity. With Gotham Memorial Hospital and its medical supplies in his sphere of influence, his allegiance is integral with war looming and could shift the balance. Bane is a tactical genius as well as a badass with an army of two thousand fanatically loyal foot soldiers battle hardened in one of the worst places on Earth. However, he’s going up against the equally keen mind of the Penguin and a collection of the sickest men and women in the DC universe, and the Crime Syndicate doesn’t care who comes out on top. On the contrary, they welcome it, as the conflict will purge the weak from their midst. Neither side can rest on their laurels and what is about to ensue is a grandmaster chess tournament in the decimated streets of Gotham. Tomasi and artist Scot Eaton have the entire Batman pantheon at their disposal, as the cover hints, and appear to be making good use of it. This series is shaping up to be a tangent of Forever Evil that shouldn’t be missed.
Green Lantern Corps #24continues the unthinkable events of “Lights Out” into its second installment. No one thought that Oa could be destroyed, and yet after the final moments of Green Lantern #24 that is precisely the jagged pill the entire Green Lantern Corps are forced to swallow. Green Lantern Corps #24 picks up the pieces from that horrible moment and focuses on how the Corps of Will will face this most personal, dispiriting defeat and pick themselves up to fight for the last thing they have: each other. Relic has proven that he is not able to be defeated by the full might of the Green Lantern Corps, having already seriously wounding hundreds. To affect an evacuation John Stewart and a contingent of handpicked Lanterns take the fight to the ancient juggernaut, not to defeat him, but to distract him so the bulk of the Green Lantern Corps can find refuge elsewhere. Cowriters Van Jensen and Robert Venditti plot this issue so exquisitely in the heartbreaking situations they create and decisions these Lanterns make in the “do-or-die” last moments of Oa. One Lantern makes the ultimate sacrifice, validating their ring’s choice of their worthiness and then some. What this issue and its fellows represent is the ending of an era and the beginning of an ENTIRELY new Green Lantern status quo. When Geoff Johns took over the title, resurrecting it after a decade of neglect, he changed the rules of the game as it had been known for forty-odd years, creating or retrofitting new lantern corps for each hue of light. Robert Venditti is basically doing that again with the advent of Relic and this “Lights Out” plotline. Only time will tell if it is successful, but so far I am impressed with the gravity and pathos he has imbued thusfar.
Death of a Lantern, Death of a World.
Nightwing #24 concludes the first arc of the series following the massive paradigm shift of “Death of the Family.” After the Joker enacts the final coup de grace to Dick Grayson’s dream of resurrecting Haly’s Circus (the circus he and his parents performed in before their fateful accident) Dick decides to move to Chicago. For the most part it was because he needed to distance himself from Gotham and the cold machinations of Batman, but the larger part was the revelation that the man who killed his parents, Tony Zucco, was alive and well, living in the Windy City. When Dick blows into town he finds a city that seems relatively “clean” compared to Gotham. Considering that we’re talking about Chicago irony abounds and sets a picture of how bad Gotham must be. However, as the plot unfolds over the first several issues it is shown that Chi-town is still as corrupt as it’s always been with Mayor Wallace Cole protecting Zucco with a false identity and an advisory position. With that kind of grift going on an anti-heroic persona called the Prankster makes the scene, revealing the corrupt dealings in very theatrical, dramatic ways that often times skew toward the violent. The best example being his forcing an alderman who stole millions of dollars to bring several thousand to a specific location and throwing him into a pit with wolves. If the alderman burns the money bill by bill he can keep the wolves at bay. However, the bills burn at a certain rate which makes their quantity versus the time it would take the police to find him a very close call. They get there in time to save him, but the bills had run out and the alderman is missing an arm when he’s pulled out. Such is the Prankster. But while he may seem like a Robin Hood styled anti-heroic outlaw revolutionary figure, this issue displays how untrue that assumption is as well as the Prankster’s REAL aim. Nightwing is the only person who can stop the chaos erupting from Prankster’s vendetta and what’s more the person helping him is Tony Zucco! Kyle Higgins has been writing this series since issue #1 and has stayed on the title for a very simple reason: He can WRITE Dick Grayson like the best of them. His Nightwing is compelling, complicated, and very personal. He takes the reader through the plots he faces as though they were inside Dick’s head and had his entire life as their precedents for reaction. Will Conrad provides gorgeous art that is different, but equally appropriate to his predecessor, Brett Booth’s. With Higgins is on this title, it is not to be missed.
Worlds’ Finest #16enters the series into an interim period, taking a break from the Apokaliptian menaces left in our world after Great Darkseid’s invasion of our Earth in Justice League 1-6. The main threat in the series, Desaad, who posed as the errant industrialist Michael Holt, not only tore apart Helena and Karen’s lives, but also stole Karen’s company Starr Industries. After the events of issue #15 Desaad has emerged victorious, but also taked to the wind, his whereabouts and activities unknown. What is known is the detrimental effect that final encounter had on Karen Starr, aka Power Girl, depriving her of her powers. At issue’s opening Helena is staking out arson at fashion shows and Karen is recovering her company from Desaad’s human cronies and attempting to get her powers back. Following this paradigm shift the issue follows the two tracking a bald young woman of ambiguous heritage, covered in what look like tribal tattoos. She is the one setting the fires and she also has the abilities to manipulate jet black constructs, either shadow based or generated from her tattoos. Paul Levitz sets up events, but doesn’t provide too much information as to where the plot is going or its overall relevance to overarching stroylines he’s been working toward for 17 issues. Considering his talent and the incredible job he’s done so far, Levitz is allowed to have an issue or two to just muck around. Even in his down moments, he puts out a helluva good comic.
Superman/Wonder Woman #1 is an exceptional surprise. After months of negative reactions on the internet, the issue is finally out and it’s amazing! The whole hubbub arose from an unfortunate turn of phrase artist Tony S. Daniel dropped at Toronto Fan Expo that this book would hopefully encourage female readership by emulating the “Twilight” franchise with some romance, a little sex appeal, and action. This seemed to offend both male and female readers with the comparison to awful storytelling and especially offended female fans with the concept that they were being pandered to. Comment aside, the title seemed to have infinite promise so for the past several months I’ve kept an attitude of “wait and see” optimism. I maintained that same attitude during the also “Twilight” compared redux of Lobo and was rewarded with possibly the WORST DC comic I have EVER read. Just awful. Superman/Wonder Woman, on the other hand, turned out to be a very thoughtful, intelligent examination of the burgeoning relationship between the Man of Steel and the Mighty Amazon. I have to state my bias up front, though. I wasn’t excited about the pairing of Wonder Woman with Superman initially, feeling that DC was pandering to their readers with overzealous fanboy fantasies. Geoff Johns pulled it out eventually by highlighting that both characters are strangers in a strange land. What this series’ writer Charles Soule does is take a deeper examination of that relationship. Topically, the two have outsider status in common, but apart from that they are very different. Superman, as an extension of Clark Kent, is a very reserved Zen character who exists under the radar, not drawing undue attention to himself or making a show of his innate abilities. Wonder Woman on the other hand is the daughter of Zeus, born into a proud warrior race that exalts strength and ability. Therein lies a diametric difference between the two superheroes. Wonder Woman is slightly put off by his reservedness about himself, but more so about their relationship. However, both try to gently acclimate themselves to each other’s ways, because while they are different they do love each other. Superman and Wonder Woman are paradigms of masculinity and femininity respectively, but also American icons wearing the colors of our flag in their costumes. In just this first issue, Soule maintains both these aspects of the characters, but puts a very refreshing dimension to these facets. Superman is a very masculine character that exhibits hallmark traits of the male psyche, such as doing the heavy lifting or going into danger first, but he also is the more demure party in the quieter moments and passively lets a lot of things happen around him. Wonder Woman is rendered as a very feminine character, but is also portrayed as the more assertive figure both in the active courting in the relationship as well as the more outspoken heroic figure. They are opposites, but at the same time complement each other in most ways. As American symbols they harken back to the ideal that America is an immigrant nation. An interesting happenstance in the American experiment was people from very different ethnic communities coming together in mutual attraction across wide gaps of cultural differences. Diana is very much an immigrant from a society that has strong traditions and customs. Clark’s an interesting case, as he was born on another planet with its own unique culture, but from infancy he was raised in Kansas with only secondhand understanding of his heritage. So Diana represents first generation immigrants, and Clark represents the split second generation juggling their host culture with that of their forbearers. Diana’s rooting in the mindset of her proud Amazon heritage confounds her as she looks at both the subtleties of Clark’s Midwestern sensibilities and his isolationist Kryptonian ones. It even hurts her to think he might be ashamed to be associated with her publicly, but instead of assuming the worst, she seeks to close the gap by showing him her culture and keeping an open mind about that American culture he grew up with and perhaps later his Kryptonian one. The latter part might be something dealt with in another issue, but that remains to be seen. In terms of characterization, this is a Wonder Woman issue. In terms of story development, this issue dealt much more on the Superman/Clark Kent aspect, working toward fleshing out the development of the indie news blog Clark is working on with Cat Grant. However, the issue’s gravitas for Superman fans comes with the revelation of the villain at the issue’s end. I am surprised that “he” showed up in this series and not another of the Super-books, but the possibilities inherent in his advent only enrich the title. Needless to say, Charles Soule’s writing is impeccable. Art-wise, Tony Daniel takes that lead and brings it home. His Superman and Wonder Woman are gorgeous creatures, but that’s no surprise. Daniel drew both in Justice League #13-14, and drew Superman in Action Comics #19-21. The sum total of two consummate professionals is pure comic excellence.
The Worlds of Superman and Wonder Woman.
FBP (Federal Physics Bureau) #4resumes while FBP agents Jay Kelly and Adam Hardy are still in the bubble universe that is on the verge of collapse, endangering everyone caught inside. That collapse is hastened by Jay’s planting of explosives in key areas within the bubble. Jay and Adam were sent in to extract James Crest, CEO of Crest Corps, currently undergoing S.E.C. investigation. But before he extracts his target, Adam goes for a face-to-face with his “partner.” Jay attempted to kill him upon entry and Adam wants to know why. Though Jay can’t give him the answers he wants, he begins the slow revelation of a conspiracy to exploit the nature of the unhinged laws of physics. Following the conclusion of the bubbleverse incident writer Simon Oliver delves into the very real subject of the privatization of government services. Here it is the privatization of “Physics Protection.” The characters of Adam and his boss Cicero Deluca take on new depth in this issue, showing how they deal with the mounting pressure put on their agency a following the SNAFU of Jay’s betrayal. Both in the science-fiction aspects and allegory to our current political temperature, FBP is a series to watch.
The New Name if Physics Protection.
Coffin Hill #1 is either a tantalizing first issue to an amazing series or a hollow, abstruse beginning of a contrived one. It’s hard to say, because there is a MAJOR disconnect between the present and the past with next to no logical segue. In 2013 we meet police rookie Eve Coffin who catches a serial killer called the “Ice Fisher” who targets young women. She goes home and is shot by a friend’s boyfriend and nearly dies. Flashing back to 2003 we see a teenaged Eve who was the scion of a venerated New England family with a haunted reputation. As she describes it via narration: “Old blood. Old money. Old secrets.” Following her past exploits we see a posh world of lavish, debauch parties steeped in old world mysticism. We also see a very neglected childhood with WASP-ish parents that disdain her existence and whose marked dislike emboldens the bad behavior that fuels it, creating a vicious cycle of familial discord. Escaping this, she and her friends enact a ritual from an old family spellbook Eve swipes from her parents’ study. The results are bloody, but enigmatic. Cut back to the present with Eve quitting the force and moving back home to Coffin Hill. As the quality of this series’ story is up in the air, so too is the writing of Caitlin Kittredge, although her framing of dialogue and the plot she chooses to reveal are very well written, if not well done. Artist Inaki Miranda is the most consistent variable within the comic. Her art is sleek, sumptuous, and evocative of the haunted ambiance created by Kittredge’s script. In retrospect this could be a phenomenal first issue. If the plot doesn’t develop, it could be remembered as a strawman issue. I will continue reading and find out which.
The Life of Eve Coffin.
This week did not disappoint in the quality of the issues carried forward from August nor in the inherent promise of their subjects. At its least enjoyable moments there was still the promise of payoff in the future. That’s a good week!
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.
Batman #24: Drawn by Greg Capullo, Colored by FCO Plascencia, Inked by Danny Miki.
Green Lantern Corps #24: Art by Bernard Chang, Colored by Marcelo Maiolo.
Superman/Wonder Woman #1: Drawn by Tony S. Daniel, Colored by Tomeu Morey, Inked by BATT.
FBP #4: Art by Robbi Rodriguez, Colored by Rico Renzi.
Coffin Hill #1: Art by Inaki Miranda, Colored by Eva De La Cruz.
I am SUPER overdue on this week of reviews, which is a shame because it was one of the best, comprised of some hallmark issues. Unfortunately, some of my paying writing jobs have gotten in the way of this enjoyable hobby blog. I’ll stop with the long winded intros and just get the long overdue reviews. Enjoy:
Action Comics #20moves into the the second issue of a new era in Action Comics. Cowriter Andy Diggle and cowriter/artist Tony Daniel left Superman recovering from a nanite infection that turned his hand into what looked like a living metal clawed monstrosity. This issue has him waking up in the care of the brilliant and seductive Dr. Shay Veritas after his initial infection. She teleported him away from the population to ensure their safety, but apparently Superman’s super immune system was able to separate the infection from his body. However, the nanite virus, still in the shape of the clawed hand, maintains its bite. The virus apparently was able to latch onto his DNA and sap many of his talents and abilities into its own hybrid genetic code. Succeed or fail, this synthetic mutating virus is the opening salvo in Lex Luthor’s renewed war with Superman. The next move in the chess game with the Man of Steel proves to be a nightmare straight out of a George Romero movie. Following in the tradition of the $3.99 titles, writer Scott Lobdell and assistant dialoguist Frank Hannah begin a World of Krypton backup feature with the help of Philip Tan on pencils. This feature begins with a young Jor-El discovering an ancient underwater city built by a pre-Kryptonian species. His exploration, though groundbreaking and rewriting everything that had been known about Krypton’s natural history, doesn’t fail to annoy his fellow members of the Science Council, nor the Military Guild who guard them and who are holding an emergency vote on a key issue of great importance to the stability of Kryptonian governance. In the wake of their disgruntled waiting, we see Lara Lor-Van (Superman’s mom and Jor-El’s future wife) maligning the starry eyed visionary and also find that she is at this moment engaged to her partner in the Military Guild, Jax-Ur. Quite interesting for the Superman faithful, because Jax-Ur is a renowned Kryptonian criminal of great infamy in all Superman mythologies. Ending on an explosive note, this first installment of World of Krypton accomplishes SO much!!! The political balance of Krypton is established quite well, as are the characteristics of several important characters. Jor-El and his future wife Lara are both obvious, playing well toward their depictions in Lobdell’s Superman #0, which we saw last September. Also featured briefly, but certainly of prominence is Kra-Hu, the Afro-Kryptonian senior member of the Science Council who seems to be Jor-El’s mentor and father figure in the Kryptonian governmental structure. Jax-Ur, engaged to Lara and predating his criminal destiny, will no doubt cut an interesting figure as well with Lobdell’s attention to canon and genius of innovation balancing toward a nice middle ground. Everything about this new arc in Action Comics has me giddy as a school boy. Keep it coming, DC!!!
Beware the Claw!
Detective Comics #20is in essence the endgame to writer John Layman’s open arc on this title. With his opening issues he’d paved the way for the slow rise of Ignatius Ogilvy in the shadow of his boss, the Penguin’s grandiose bid to claim a place in the public eye of Gotham. Using this distraction he was able to wrest the Penguin’s empire out from under his feet and establish an iron grip on Gotham’s underworld, installing himself as “Emperor Penguin.” Well, now with Penguin in prison and his power base entrenched he steps out of the shadows and calls the Batman out. Suicidal right? Not entirely. Ogilvy had this whole drama choreographed to the last movement and the Bat finds himself more than evenly matched when he meets Emperor Penguin face to face. What Batman finds is no longer a human being, but rather a nightmare comprised of bits of all his nemeses. Kurt Langstrom’s man-bat serum in his blood, mixed with Bane’s super-steroidal venom, and Poison Ivy’s plant elixir giving him bark-like armored skin beneath the course bat hair. Quite frankly, with his analytical mind and enhancements, Ogilvy has the Bat outmatched. Who will save him? The answer will surprise you. In the backup feature, also written by Layman, we are given a look at the childhood and rationale behind Ogilvy’s meteoric rise through the Gotham underworld. His journey started when he was a child leaving a movie theater in a bad part of Gotham and his mother and father gunned down in front of his eyes. Mirroring Batman’s traumatic catalyzing event, Ogilvy went the other direction from Batman, not seeking to end crime but rather to immerse himself in it and control it from the top echelon. From Blackgate prison he narrates all of this and shows his preternatural ability to navigate circles of power and insert himself into the key positions through a Machiavellian display of cunning and physical strength. Ogilvy came out of nowhere in the world of comics. He has existed for less than a year and already John Layman has set him up as a Batman character of the highest caliber. Kudos, Mr. Layman. I had deep reservations about your competence at handling this title and you proved me infinitely wrong. Layman is the man for Detective Comics. Long may he write.
The Emperor of Gotham
Aquaman #19 was a late addition to the roster, laid over from last month’s lineup. Aquaman continues to struggle with the weight of the crown he once forsook for a simpler life. Now it weighs heavier than ever as he is forced to “swim against the tide” of his usurping his younger brother Orm’s throne and his defense of the surface despite the catastrophic war between Atlantis and the United States. To rally his troops he takes them against the submariner terrorist called the “Scavenger.” Upon the engaging of one of the Scavenger’s submarine’s Arthur and his chosen elite discover a ghastly secret. On land Mera is abducted by the resurrected Dead King of Atlantis, the first to sit upon the throne. We have heard tell of him starting with the first arc, “The Trench” where the fish-men monsters are introduced, then later with the introduction of the Dead King’s scepter in the next arc “The Others”, and finally in the previous “Throne of Atlantis” crossover. Now we see the ancient monarch for the first time and he is chilling. Finally, this issue surprises with the reappearance of a shocking figure from her past. Geoff Johns has been teetering this series between quality and throwaway storytelling. The political intrigue following “Throne of Atlantis” and very personal depictions of the main characters amidst the aforementioned arc’s fallout is really engaging at this point and well worth the read.
Green Arrow #20is a title I have begun to look forward to month to month. Following Jeff Lemire’s taking up the title with issue #17 this series has gone from tragic joke to a hard-edged, thrill-a-minute roller-coaster ride. Ollie Queen has lost it all! His company has been forcefully ceased by a rival businessman, Lacroix, who also dons a black hood and mask, kidnaps his two employees/confidantes, murders one, and attempts to kill him using archery skills that rival Ollie’s. To top that off a blind wiseman named Magus leads Ollie down a rabbit hole of discovery, pointing him in the direction of Lacroix’s (nom-de-guerre Komodo) secret lair with a picture of the enigmatic businessman/assassin with Ollie’s dad, Robert Queen ON THE ISLAND OLLIE WAS STRANDED ON!!! Obviously this was before Ollie was stranded on it, but still more than coincidental and raising the question of how Lacroix, Ollie’s father’s death, and so many other things tie into a larger plan? This issue opens with Ollie having escaped his first encounter with Komodo by the skin of his teeth and regrouping. Komodo returns to his lair to make contact with the group he works for, the Outsiders. This isn’t the para-Batman army we have seen in the past or anything like it. This is a new Outsiders and their significance is crucial, tying into this series and Katana. Ollie has it out with Komodo a second time in this issue and this second encounter not only ups the ante but showcases just how intelligent, versatile, and strong-willed Ollie truly is when lives are at stake. Jeff Lemire is KILLING IT!!! This series is ridiculously awesome and in no small part thanks to artist Andrea Sorrentino’s stark rendering of the plot in stark light/color vs. black/shadow styling. Just a phenomenal series so far and one not to be missed.
Batwing #20begins a dubious new direction in this title’s future. David Zavimbe was created by Grant Morrison to be a Batman for the continent of Africa. A large task, but one that David could feasibly achieve considering his personal history as a child soldier in Africa and his experiences since growing up in a complex, corrupt political structure. The first 20 issues (including Batwing #0) all show very vividly how intricate the balance of power leans in parts of West Africa. New writers Jimmy Palmiotti and Justin Gray have retired Zavimbe and decided to replace him with Luke Fox, son of Wayne Enterprises Executive Lucius Fox. Luke Fox whose only link to Africa is that he is African American. To me it seems kind of racist that they would assume that if you are black you are interchangeable. Just because your ancestors came from Africa doesn’t mean you have a preternatural knowledge of African history and the inner workings of the post-colonial political workings of dozens of nations. Luke makes a joke about it in this issue, but despite them joking about it Palmiotti and Gray still made that decision. Perhaps they have a goal in mind that will validate the concept, but they have a long way to prove that. One thing Luke does have is enthusiasm and conviction. Going to an undisclosed part of Africa, Luke faces off against a criminal organization called the the Marabunta that run money and guns to warlords and terrorist organizations throughout Africa. In his descent into their world he battles a woman in insectoid-mech armor called “Lady Marabunta” and an anthropomorphic lion named Lord Lion-Mane. The issue is entertaining and intriguing. My objections remain unrebutted so far, but its only been one issue. I will say that Palmiotti and Gray with the help of artists Eduardo Panisca and Julio Ferreira have earned another issue.
Swamp Thing #20brings forth the second issue of the massive paradigm shift between Scott Snyder’s incredible inaugural run on the title and that of new series writer Charles Soule. The issue itself is really well written and the plotline pretty rough. Last issue, Scarecrow was trying to steal a rare flower from the Metropolis Botanical Garden when Swamp Thing stepped in to stop him. Scarecrow unleashed his fear toxin on Swamp Thing causing the avatar of the Green to freak out and thereby the plants within the City of Tomorrow to utterly freak out by extension. Inside his head, Swamp Thing sees Alec Holland living the life he would have led if he hadn’t been made into Swamp Thing. He sees a life with Abby Arcane with a lovely house and children. Everything is perfect except when he comes into his dream life, bringing the power of the Green with him. Living out his deepest fear upon committing himself completely to the Green, he must face the real possibility that he will slowly lose his humanity and in so doing bring death and destruction upon all the people he comes into contact with at the behest of his plant-like masters. Outside of his inner delusions his control of the Green is making monstrous vines, trees, venus fly-traps, etc, tear Metropolis apart and fulfill the very nightmare that bore them, that Swamp Thing will hurt all the people he comes into contact with. Superman of course comes to the rescue of his adoptive city, takes out the main threats, such as the massive vines taking down a suspension bridge, then susses out the cause and intervenes to snap Swamp Thing out of his stupor. Swamp Thing initially came to Metropolis to talk to Superman and ask him about the how to cope with his powers and the fear of those same powers robbing him of his humanity. Superman is pretty harsh, albeit fair, and lays down some very harsh truths. There is, however, a note of optimism at the end of his sermon that might just be what will redeem Swamp Thing. Charles Soule, with Kano’s awesome art, really spins a beautiful Swamp Thing yarn that seems to wrap up in a two issue mini-arc. The final page of the issue seems to be the start of an interesting new development to take us into Soule’s second, semi-connected story arc. I greatly anticipate it.
Wisdom of Superman
Earth 2 #12concludes the introduction of Doctor Fate. Khalid Ben-Hassin has fought for years the influence of Nabu and falling under the thrall of the ancient mage as well as that of his totem, the helmet of Fate. No more. Last issue Khalid accepted his destiny and donned Fate’s helmet becoming Doctor Fate. Now he and Nabu’s ancient foe, Wotan, go head to head for the first time in centuries in a blaze of sorcery and hexes over the skies of Boston. Meanwhile in China, Alan Scott (Green Lantern) and Kendra Munoz-Saunders (Hawkgirl) investigate the death of Alan’s lover, Sam. In Macau they find storage containers at the docks full of decaying parademon corpses neatly stacked within. The plot thickens as the question is raised as to what they are doing there and how do they fit into Sam’s murder. This is put on hold as Green Lantern is drawn to Boston by his ring to aid in the relief effort of the magical battle. Writer James Robinson really is sewing up the plot of this book by moving individual storylines forward, such as Alan’s investigation of Sam’s murder and the fallout of the Apocalypse invasion years prior, while at the same time introducing exquisitely new characters like Khalid’s Doctor Fate and folding them into the plot. By issue’s end, Flash, Green Lantern, and Fate are brought together just in time for another plot point Robinson is skillfully sewing back into the main plot: Steppenwolf. With this issue the world has learned that Darkseid’s uncle and one of the most dangerous men in the multiverse is being harbored, as well as ruling, the independent republic of Dherain. There is a great deal afoot at present and Robinson has given himself a very advantageous position plot-wise to move forward from. I very much look forward to future installments of this series, especially since Mister Miracle and his wife, Big Barda, are also in the offing. Nicola Scott’s art on this series is another aspect not to be missed, especially when given such round and incredible characters to depict.
Worlds’ Finest #12begins a dark chapter in the journeys of Power Girl and Huntress. Picking up from last issue we find that the newly returned Michael Holt is in fact Desaad, torturer to Darkseid and one of Apokalips’ most dangerous New Gods. He attacks Helena and Karen, but when they defend themselves and return his assaults, they discover that Desaad still has an illusion over himself that keeps people seeing him as Michael Holt, upright business mogul and scientist, and the two superheroines as thugs who are attacking him for seemingly no reason. That discovered, they are forced to beat a hasty retreat and re-assess the situation. However, Desaad is a creature that operates on many fronts. Starr Industries (run by the disguised Power Girl) begins to drop in its stock value and have its top researches wooed away to other companies, and one of their top research facilities explodes. However, this is not the most shocking thing that happens in this issue. Paul Levitz is a genius. This series is one of his crowning achievements. The plot segues so nicely into a bookend for the above mentioned Earth 2, following exiles from that world in ours and showing how their odyssey is tied into the events happening concurrently on their homeworld.
The Movement #1was a bit of a disappointment. I was eagerly anticipating it due to its penning by master comic writer Gail Simone, but unfortunately Simone doesn’t live up to her reputation here. Perhaps its the premise of the piece. Set as a “point/counterpoint” piece with the new title The Green Team, this book and its sister series are supposed to be comics representing the 99% and the 1% of America and their place in the DCU. The product is super-trite. Elements of social commentary can come into comics effectively when done in thought provoking ways, but this blatant attempt to force the issues seems really forced and uninspired. I could bemoan it much more, but I will stop. I couldn’t find anything redeeming to say about it. A shame that it couldn’t do what it set out to do, but in my opinion it fell flat. I will read The Green Team, but I assume it will also fall flat.
Phantom Stranger #8is an apocalyptic issue insofar as it features the “death” of the Stranger (something few even thought possible) and in his death reveals what has really been happening in the past several issues. Issues #0, 1, and 2 key us into the Stranger’s role as a betrayer and agent of transcendental neutrality. The last six have followed the Stranger’s attempt to locate his kidnapped wife and children. This issue gives resolution as to what did happen to them and who was behind their abduction, but even more intriguing is the revelation of how the Phantom Stranger, the most asexual, ambivalent being in the universe, could come to have a wife and kids. Philip Stark and his family existed before the Phantom Stranger entered into any of their lives and in point of fact, his co-opting of them and Stark’s life create a poignant, humanizing moment for him. Dan Didio and co-writer J.M. DeMatteis have created an incredible series that has taken the concept of the Phantom Stranger and not only made him relatable to readership, but actually sympathetic. When we have seen him briefly here and there in the past decade or so, it has often times been him heralding a crisis and then making matters more difficult than necessary for the heroes involved. In this series we have seen that representation unchanged, but we also see how he is forced to do these things and the demons and displeasures they engender in his metaphorical heart (which DOES exist). The series has been phenomenal , but issue #8 stands as a call to arms for readership as to HOW good the series is and has the potential to be in future. Long story short: READ IT!
Legends of the Dark Knight #8delivers two more astounding tales of the Dark Knight. In the first story, entitled “Carved”, writer Paul Tobin and artist Tadd Moore tell the tale of a kidnapper/thief in Gotham who abducts people and objects and replaces them with exact replicas sculpted out of mahogany. Already there is a great setup for a psychological villain, which is an interesting turn for Batman. Most of his foes are theatrical, but this one is just a person with deep seated issues, enveloped in a very methodical psychosis. A fascinating, extremely well written story. The next one, “Unnatural Selection”, written by Ricardo Sanchez and drawn by Sergio Sandoval also provides a very out of the box, rarely attempted story in the Batman titles. A series of grisly murders leads the Dark Knight to a cryptotaxodermist’s creation of a Barghest. Cryptotaxodermy is the creation of mythic animals from the parts of deceased members of its constituent parts, i.e. making a stuffed griffin from an eagle’s head, lion’s body, snake’s tail, etc. However, how can a stuffed, fictitious creature murder a slew of people throughout Gotham? The answer is very intriguing and quite fascinating to wrap one’s head around. This story in particular touched me deeply in how tragic every aspect of it is. Every aspect. However, both stories were AMAZING! This series is a crap shoot, sometimes delivering the cheddar and other times falling flat. I personally would suggest this issue for someone that wants a good reason to begin a long standing love affair with the character of Batman, or simply find out the potential inherent in Batman stories outside of the stereotypes of capes and masks that make up 90% of Batman stories.
And thus wraps the first week of May’s batch of comics.
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.
Action Comics #20: Drawn by Tony Daniel, Colored by Tomeu Morey, Inked by Batt
Detective Comics #20: Art by Jason Fabok, Colored by Jeremy Cox
Green Arrow #20: Art by Andrea Sorrentino, Colored by Marcelo Maiolo
Batwing #20: Art by Eduardo Panisca & Julio Ferreira, Colored by Jason Wright
Swamp Thing #20: Drawn by Kano, Colored by Matthew Wilson, Inked by Alvaro Lopez
Action Comics #19ushers in a brand new era in the title with the departure of comics legend Grant Morrison from the book and the advent of Andy Diggle on stories and Tony S. Daniel on art. Grant Morrison is just short of a godhood in the realm of 21st century comic lore and his nineteen issue run (#0 issue included) was an incredible, psychedelic roller-coaster ride that befits his vaunted reputation. Large shoes to fill, but I still am excited by the Diggle/Daniel team up. Andy Diggle is an incredible writer whose Green Arrow: Year One series was tight, concise, and a very good intro to the character for newbies. Tony S. Daniel is one of my favorite writer/artists because of his attention to visual storytelling and the round, sumptuous lines of his artwork. The two together prove to be a symphony really utilizing the characters and visual grandeur of the Superman line to the fullness of their potential. Superman is young and idealistic and still at a stage prior to the events of Superman #1, as becomes blatantly clear with the introduction of a character already “introduced” to us in the future in that aforementioned Superman issue. Daniel draws him with youthful exuberance and a stoic concern when he is tested by bad men in big machines. Lex Luthor, also a character in this arc, is quite different than the only time we have met him in the first six issue arc of Morrison’s run. There he was a little chunky and arrogant. Here he is lean, and has shed his cavalier attitude for an ice cold demeanor that is very wolf-like and predatory. He is infinitely complex and his mental psyche is explored quite candidly in a very terse scene with his psychiatrist. Diggle writes him exquisitely and Tony Daniel’s art captures all of his ominous potential in some very chilling expressions. To put it mildly, this new Action line up is incredible. Though Morrison has moved on, the title will continue to shine brightly as a star in the DC crown, thanks to two of the most promising creators in the medium.
The Psychiatrist and the Psychopath
Detective Comics #19 (#900)was an issue to remember and a reminder of how pissed I am at DC for renumbering their books. If they had not gone through with the renumbering as a result of the Reboot this would have been issue #900. They didn’t make note of it either on the cover, even for this MOMENTOUS occasion, considering no other title in comics, besides Action (WHICH GOT THE #900 ON THE COVER!) has ever reached that landmark. That said, going into it there was a lot of pressure on them to do it right. In Action Comics #900 writer Paul Cornell capped off what was perhaps one of the most massive Lex Luthor stories ever told and truly blew the reader away with a testimonial as to just how deep Luthor’s hatred for Superman runs. In this 900th issue of the title that launched Batman in the late 30’s current writer John Layman had to pick a topic to write about that segued into his current run on the book while at the same time telling a story quintessentially enmeshed in the Batman mythos. The Joker was not possible, because Scott Snyder already used him up two months ago. The Scarecrow was a decent option, except that he’s been overused of late. Penguin is a part of the story, but still not quite right. Layman chose to find the answer in the name of his main character. Bat . . . Man. Man . . . Bat. Apparently in the Reboot Kurt Langstrom hasn’t been introduced into Batman’s scope and thus the introduction of a viral version of his serum that infects people and turns them into literal bat-men and women leads to his New 52 debut. The story is fast paced, clean, engaging, well thought out and if one ignores the annoying contradictions arising from the links to the semi-rebooted Batman Incorporated series, which is predicated on Batman knowing about Kurt Langstrom LONG before this point, its absolutely perfect. As with Action Comics #900 there are also other shorter pieces that tie integrally into the Batman character, paying homage to it’s impact on the world at large. As is usually the case, Layman follows up on the main story with a backup feature that highlights a loose end brought up in the main story with Andy Clarke providing beautiful art. Without giving too much away, it tells the story of Francine Langstrom, Kurt’s wife, and how she met and fell in love with her husband. Following the tragic fate of her husband this feature shows the true depth of her love for him, which honestly made me mist up a little. Coupled with the main story, these two make the issue worth $7.99 by themselves. James Tynion IV, cowriter of Talon, with the help of Justice League Dark artist, Mikel Janin, tells the next tale which features Bane on his island haven of Santa Prisca that connects his disappearance at the end of Batman: The Dark Knight #7 to a coming appearance in Talon #7. Though the beauty of Janin’s art seems to clash with the harshness of the subject material, it’s still a delight to look at precisely for that reason. John Layman then finishes the issue off with two more short stories. One explaining why Ogilvy engineered the Manbat infestation and what happened during that chaotic night, as well as introducing a twist in Penguin (Oswald Cobblepot’s) fate following last issue’s events. Last but not least, he tells the story of a police officer recovering in Gotham Central Hospital from his transformation to a manbat and back to a person. Most of the cops there hate Batman and hold no punches in talking trash about him. The female police rookie from Batman #12 who had to guard Joker’s face is among the cops and she speaks out for the Caped Crusader. After all the other cops leave in disgust, the injured cop in his hospital bed confides that Batman was the reason that he didn’t kill anyone as a manbat. But for Batman he’d have been a murderer and for that reason he agrees to be her partner when no else would partner up with her. Across the board this issue did Batman proud. Quality storytelling and beautiful art, in both the stories themselves and the pinups between features. Well worth the read for any Batman fan.
A Wife’s Love
Green Lantern #19is a twofold issue. On one side writer Geoff Johns is progressing the story toward Hal Jordan literally making the “leap” to becoming a Black Lantern. As Johns hinted seven months ago, Hal is destined to be the greatest Black Lantern of all time. Unthinkable as it may seem, Johns is taking us there and I for one cannot wait to see Hal in the black outfit, which we were cheated of seeing during Blackest Night by Barry Allen’s incredible speed. The main plot this issue tackles is Sinestro falling under the scrutiny of Volthoom, the First Lantern. In fact, Sinestro and his world of Korugar are precisely what Volthoom needed to fulfill his evil plans for the universe. This is it though. After this issue all that remains of the plot is Green Lantern #20. Then Geoff John’s vision of Green Lantern will conclude itself with his departure from the series and a new day will dawn on the GL line of books. I have to say that I am sad to see him leave. This was one series that he consistently did right. His long time collaborator, artist Doug Mahnke was absent again this issue, with Adrian Syaf and Szymon Kudranski splitting duties on artwork. No doubt it’s to give Mahnke time to do the art on what is solicited to be a massive finale issue, but the choice of these two seems to be a logical one. Syaf draws Sinestro quite well, endowing the fallen Green Lantern with all the arrogance and anger that befit him, and Kudranski’s eerily shadowed, monochromatic art sets a very stark tone for the Hal Jordan scenes taking place in the “Dead Zone.” This issue is phenomenal, epitomizing what is essential about both Hal and Sinestro.
Green Arrow #19is for the most part an extended duel between Green Arrow and his black clad nemesis, Komodo. What is important about it is the psychology. The interplay between these two archers not only informs the reader about archery in general from Ollie’s narration and the verbal repartee between the two, but also about the archers themselves. Ollie’s deepest thoughts and drives are either told to us or insinuated through his actions and reactions to the events chronicled by writer Jeff Lemire. Also a major twist is Komodo’s revelation as to the nature of Robert Queen’s (Green Arrow’s dad) death. Ollie knew it was a helicopter crash that coincided with his marooning on the island, but the exact nature was unbeknownst to him until this issue. Also of interest is Komodo and his daughter, Emiko. Komodo, whose real name is Lacroix, looks to be Caucasian and his daughter, Emiko, from name and appearance looks to be Asian. I only point out their racial characteristics because Komodo and his persona as a black archer seems to be much in the same vein as Merlyn the Magnificent and Emiko and her outfit when she suits up in this issue seems to be a very close (except in age) facsimile of the archer Shado from previous Green Arrow lore. I am very curious to see if Lemire is rewriting the Green Arrow playbook or merely borrowing a few cues. In any event, he delivers a stark, razor’s edge plotline that paints Ollie into a corner and keeps the reader on the edge of their seat. Though I admit to not being an Andrea Sorrentino fan, his artwork for this arc in Green Arrow is essential to establishing the feel that is imperative to Lemire’s vision. The two together are like Lennon and McCartney. If you had reservations about the character up until this point, you need to get the series from #17 and go forward from there. Lemire and Sorrentino have resurrected the Emerald Archer back to his rightful place in comic book lore.
The Truth Comes Out
Earth 2 #11ushers in a truly amazing issue of this dynamic title. Last issue we were introduced to Wotan and given a brief glimpse into the history of the Helmet of Fate, housing the power and spiritual essence of the ancient mage, Nabu. Here writer James Robinson takes us even further into the backstories of Nabu, Wotan, and the human, Khalid Ben-Hassin, who finds himself caught between these two mages in their titanic stuggle against one another. The lion’s share of the issue’s narrative follows Khalid’s attempt to locate the helm he had forsaken in the past and his communing with Nabu’s spirit to locate it within the labyrinthine bowls of Fate’s Tower. Nabu believes that Khalid is chose by fate and therefore the only man fit to bear his power, which is something Khalid has fought tooth and nail up until this very moment. Why is that you ask? In their first encounter, after the young archaeologist’s discovery of the helmet in an unearthed Egyptian tomb, Nabu’s essence sought to supplant Khalid’s will and drove him to the brink of insanity. Now with an inspiration to aspire to Khalid intends to brave oblivion and madness to become the hero his Earth desperately needs. James Robinson and artist Nicola Scott knock this series out of the park with beautifully intricate and often moving plots and pictures. What truly made this particular issue for me was a scene in the Eastern European country of Dherain where Steppenwolf dispatches his right hand, Fury (daughter of Wonder Woman), to hunt down two more exiled denizens of Apokalips. Admittedly, this couple are my favorite Fourth Worlders. I am on pins and needles for the next installment.
Miracles Do Happen
Worlds’ Finest #11features the entrance of yet another Apokaliptian. Huntress follows upon a lead connecting the sale of weapons powered by Apokalips technology to the money that has been siphoned from Wayne Enterprises. That lead in North Africa leads her right back to Holt Industries, which Power Girl had been attacking like a harbinger of natural disaster last issue. WE know that Michael Holt was transported to Earth 2, however,that precipitates the question of how he can be back on Earth 1? Enter our mysterious Fourth Worlder, Desaad. Paul Levitz writes this series so well, but this issue was a little dry. Though I am intrigued by the advent of Desaad, this one took a little longer to come to the point. Still an incredible series and one that has great promise in coming issues.
Swamp Thing #19is not unlike Action Comics #19 above. Scott Snyder’s inaugural run of this title was as seminal as Morrison’s on Action. Both were innovative and redefined their respective series. Charles Soule takes over Swamp Thing from Snyder and in the wake of what has been a very important, unique origin story, Soule takes Swamp Thing back to the role he held in all his previous incarnations: guardian of the Green. This includes doing some things that are morally repugnant to him, including measures that lead to the deaths of many innocent people. Despite being the warrior king of the Green Kingdom, Alec Holland hasn’t forgotten that he was once human and his duties do not fail to shake what remains of that humanity. Taking a trip to the Metropolis Botanical Gardens, where he spent many hours during his graduate work to calm his soul, he runs into Scarecrow, himself on an errand from the mysterious society of supervillains hinted at in Justice League of America. Soule does an incredible job of taking this series by the horns and doing something new, yet appropriate to the continuation of the legacy he inherited. Taking over art from Yanick Paquette and Marco Rudy is Spanish artist, Kano. Kano provided art for Swamp Thing #0 and in my review for it, I quote myself as saying, “I pray that he get a shot at another issue or two in future, maybe a whole arc, because his lines and style are so incredible.” https://offthepanelcomicreview.wordpress.com/2012/09/10/week-53-sept-5-2012/ Wish granted. He continues his exquisite art here and looks to be attached for the foreseeable future. Like Supergirl,Superman, and Action, all of which have gone through major paradigm shifts, this series set the hook, ensuring for me at least continued readership.
Batwing #19continues the era of change. Those who have been keeping up with Batwing know that a reckoning is coming. David Zavimbe is a good cop in a country rotting from its bowels in corruption. He has lived under the assumption that good will and perseverance can win against evil. Those beliefs have died with his bestfriend and mentor, Matu Ba. Now Batwing is going to town with a tomahawk and NO ONE is sacred. Neither friends nor enemies are safe from his wrath. While his path up until this issue have been held retarded through moral restraint, this issue has him cutting through any impediment to justice like butter. But in the end, its just a means for him to clean house before leaving his role as the Batman of Africa. Jimmy Palmiotti and Justin Gray take over with this issue to conclude David Zavimbe’s tenure as Batwing and inaugurate the his replacement. Batman says that this new candidate was his “first choice” for Batwing. Palmiotti and Gray are good writers, but I am questioning their choice of his replacement and what that means for Batman’s judgement. I won’t spoil who he is, but I will say that though he is African, he’s actually African American, born and raised in Gotham. It seems a little racist to me that they assume that a guy can represent peoples and places he has never been. Just cause his ancestors were from Africa doesn’t mean that he can represent them. Batman was born and raised in Gotham, Nightrunner (the Batman of France) though of North African extraction was raised in Paris, Mr. Unknown in Japan, etc. I’m not impugning their rationale or saying they can’t pull it off, but Palmiotti and Gray have set up a pretty implausible foundation to their run and the series’ new direction. Time will tell . . .
Batwing Goes Out With A Bang
Phantom Stranger #7continues the Stranger’s quest to find his abducted family. On the way he meets up with the “Voice” in its form as a Scottish terrier. While discoursing upon this religious and philosophical the Voice leads the Phantom Stranger to the next person whom he is to betray: Jack Ryder. A super conservative television newsman with an over inflated ego, Ryder finds his career on the rocks. Yet in the darkest hour of Metropolis and in Superman’s absence, Ryder stays on the air to report the chaos occurring downtown, just outside the studio. Dan Didio resurrects his version of the Challengers of the Unknown for this grand display of coalescing fear and fearlessness. The Stranger yet again leads a human being unto their ruin and death, but the great betrayer finds himself at the spears edge of his own betrayal by ones very close to him and his past. Dan Didio concocts a very compelling, mysterious series that draws the reader through a very diverse cross-section of the DCU.
Legends of the Dark Knight #7presents a tale of Arkham Asylum rarely seen. Inmates are seeing a ghost, as is the Dark Knight. Following the strange occurrences, Batman is lead into a decades old murder case that ties to the staff of the Asylum and a restless “spirit.” This series has produced some very intriguing tales surrounding the Batman, exploring the world that has developed around his actions and their consequences. This one wasn’t the best developed so far. The substance of this “vengeful spirit” and even the question of how she manifests is unanswered and rather lackluster.
Smallville: Season Eleven #12 packs quite a wallop, achieving quite a bit in one issue, and also concluding the four part “Haunted” arc. Superman goes to-to-toe with the Black Flash in order to save Bart. However, that is just an evasive tactic that can only go so far. Bart invariably is the one that is destined to fight the Black Flash, which he accepts and does heroically. Delving into the mind of her Earth 2 doppelganger, Chloe Sullivan relives the life of her other self on that other Earth and sees for the first time the Moniters who play harbinger to the “Crisis” Earth-2 Chloe foretold before her death. Both of these two events hail dark tidings for the world of “Smallville”, but a few bright lights shine through the darkness. Fighting the Black Flash allowed the radioactive isotope Lex put into Superman’s system as a tracking mechanism to fully dissipate, meaning that Clark can reunite with his fiancee, Lois Lane. Lex’s dearly departed sister, Tess, has been a thorn in her brother’s side for sometime and with his resources, he is not one to allow a thorn to remain no matter how difficult it is to remove. This issue gives Tess safe harbor in some respect from her brother’s dark machinations. This series really holds up to its televised predecessor.
On this third week of November I welcome a slew of my favorite titles: Batwoman, Green Lantern: The New Guardians, Legion of Super-Heroes, Wonder Woman, and The Unwritten, as well as some stand up series that are far from chopped liver. This promises to be fun.
Justice League #14is heading the series in a better direction. Still a sham when compared with the writer Geoff Johns’ current Green Lantern run as well as most of his previous projects, but its getting there. The whole thing with the Cheetah was interesting, and while I was thinking it was pretty pointless in the long run, Johns hints at an overarching context to it. What really grounded the story and made me like it was the romantic little interlude at the end where Superman takes Wonder Woman to Smallville to see where he grew up. I’ve fought against the idea of this relationship tooth and nail since it was introduced at the end of issue #12, but sonuvagun, Geoff Johns has sold it to me. The scene I mentioned above was really poignant and humanizing. It was about how godlike beings can exist in a the real world and how idealists can survive in an imperfect one. It made me like Superman and Wonder Woman, which I should have already, but Johns stumbled with in the initial batch of issues. I reiterate, this is not even close to being one of DC’s best series, but I would be remiss if I didn’t give it props for making substantial progress towards being a thoughtful, relatable series. And of course I would be VERY remiss if I didn’t also credit guest artist Tony Daniel on his awesome two issues on this title. I love his artwork so much and it really supplemented the awesome factor of issues #13 & #14. The less said about the SHAZAM! backup feature the better. Gary Frank’s art is solid, but its toothpicks holding the plot together.
Down On the Farm
Batwoman #14was . . . AWESOME!!! Truly this series is unprecedented. I go into every issue with high hopes and any other time that assertion precedes the fall, as rarely do comics exceed expectations. This one took my breath away. I had to set it down for ten minutes somewhere in the middle just to get my thoughts together. Batwoman and Wonder Woman are hot on the heels of Medusa and in this issue the search ends. They find Medusa and we, the readers, get to see her and experience her inner monologuing in the most personal of terms. This last part is something interesting that Williams and Blackman have really utilized effectively throughout this arc to encapsulate the many strong egos co-mingling within its pages. Each arc the two writers have pioneered far out narrative styles to characterize and differentiate the storylines from one another. This time around, that narrative technique of deeply rooting the plot in the varying perspectives of the two heroines, Batwoman and Wonder Woman, is what adds so much ambiance and charm. Wonder Woman is all but perfection and the paradigm of the feminine warrior, so obviously Batwoman is intimidated as hell to be in her midst and overcompensates so as not to sound like a tittering fan girl. Batwoman represents the same dark mystique and cold justice that her male counterpart does, and as such Wonder Woman is in awe of her and how cool and calculating her every action is amidst some truly horrific events. That mutual respect as well as the very personal and realistic reactions to the unrealistic vistas they encounter is what I personally enjoyed above all. Reading this title is a must for all comic book fans.
The Dark Heart of Gotham
Catwoman #14finally brings Catwoman face to face (to face) with the Joker. Gotta say, after all the buildup in other titles, it was a bit of a let down. I mean sure there is some discomfort involved, but really the Joker’s entire shtick in this issue is just one giant annoyance tactic. Sorry if that ruins anything, but while seemingly ominous at first, this “I Just Want To Have Some Fun, No Hard Feelings” Joker doesn’t fit with the ultra-homicidal incarnation that is being shown in the other books. I mean, yeah, sure he’s gonna have a lot of fun doing whatever, but he’s going to be a lot darker than we see here. I really love Ann Nocenti’s writing, but this is one issue that I feel she was ill equipped to write.
Green Lantern: The New Guardians #14feels more and more like the television series Avatar: The Last Airbender. Kyle Rayner, fourth Green Lantern of Space Sector 2814, is put on a quest by Star Sapphire Carol Ferris of Earth (who is also the lover of Green Lantern Hal Jordan) to use his unique Lantern ring which has been inundated with the seven colors of the emotional spectrum to in turn master those other emotions and channel their energies. He has mastered green, of course, and as of last issue under the tutelage of Atrocitus, the red energies of rage. This issue begins with him mastering the indigo light of compassion, but also getting instruction from Indigo-1, primary Indigo Lantern, on how one masters the “good” and the “bad” emotions in harmony. From here he goes to the only Yellow Lantern left in the Universe: the fear god, Arkillo. Arkillo is a truly complex character and as the issue goes on his experience with Kyle in the latter’s search for the true heart of fear is reciprocated back upon him, also showing him his own path. There is a lot happening in this issue, including further revelations of the Guardian’s sinister plot for the universe as a whole. Series “artist” Aaron Kuder is yet again MIA on this issue, instead being substituted by Andrei Bressan and Amilcar Pinna. Not gonna lie. I love Kuder’s artwork, but his tardiness in what has been solicited as his run on the book is really starting to irritate me. It appears that he will return as series artist next month on issue #15, and I truly hope that this isn’t more smoke being blown. He’s good and I want to see his art on the book very badly.
Kyle’s Power Has Always Been His Lack of Fear to Admit That He Is Afraid
Legion of Super-Heroes #14 returns to three major plotpoints: the resurrection of the Fatal Five, the rationale behind Comet Queen’s betrayal of the Legion on the Dominion homeworld, and most recently the three Braalian terrorists that K.O.’ed Cosmic Boy. The latter-most point is what really moves the plot and delivers the pathos of the plot. Since the beginning of this series over a year ago, Element Lad has been taking Chemical Kid under his wing and showing him the ropes, like a less psychotic and more super-powered Training Day. This even included Element Lad sitting on the sidelines and letting Chemical Kid take down Renegade, one of the most powerful beings in the universe, just giving encouragement and advice when needed. In this issue, writer Paul Levitz takes the training of Chemical Kid to the next level. With Element Lad also being incapacitated by the Braalians, Chemical Kid has to truly go it alone if he and his unconscious mentor are going to survive. Levitz OWNS the Legion of Super-Heroes title. He didn’t create the title and he isn’t the only person to write this panoply of characters, but he’s the one that made the Legion what it has become and a series worth reading.
Red Hood and the Outlaws #14begins with the Outlaws coming back from Starfire’s homeworld, Tamaran. Superman intercepts them, and the first explored connection outside of the Superman Annual of the “Thirteen” several months ago is made. Supes and Starfire are just two parties in the overall plot alluded to as the “Thirteen Scions of Salvation.” With this issue, two members are brought together to at least contemplate the ramifications of what is going on. The second half of the story, considering Jason Todd’s figureheading of the title and the times surrounding the other Batbooks, was inevitable. The Joker makes his play at the former boy wonder with a giant, symbolic sucker punch. Harkening back to the zero issue two months ago, writer Scott Lobdell revisits the twisted past of the two characters that he re-engineered. The Joker MADE Jason Todd through a very sick social experiment, and like he has been doing often in the main Batman title, recreated the catalyzing event to get Jason’s attention. What comes in the next two issues promises to be bleeding edge storytelling. I am on the edge of my seat, waiting.
“A REALLY Twisted Joke” or “Stop Me If You’ve Heard This One . . .”
Blue Beetle #14has Jaime Reyes and his scarab Khaji-Da going to the Scarab homeworld with fellow Blue Beetle, Khaji-Kai. Tagging along is the Mayan chieftain, Sky Witness, who was the last to wear the scarab, Khaji-Da. This title is beginning to wrap up and the stakes are rising. The zero issue of this title from September told of the first host that Khaji-Da attempted to meld with and that young woman, centuries older, is solicited to be making an appearance in the next two issues: Lady Styx. Evil incarnate, it would appear that for Jaime its out of the frying pan and into the fire.
Supergirl #14brings us chapter three in the “H’el on Earth” event. Following Superman #13 the Maid of Steel is forced to really look at the reality of Superman’s blood relation to her and the destruction of not only her homeworld, but her very way of life. Enter H’el, who offers her a chance at the renaissance of their shared culture and those they love. This very well could answer the question of how Superman (in Superman #0) and Superboy (in Supergirl #0) could have been present on Krypton in their current forms shortly before its destruction. Following last week’s Superboy #14 this issue also shows the fate of Kon-El after his run in with H’el. Next week Superman #14 resolves the ending of this issue as well as advances the crossover event.
Nightwing #14does so very much in this one issue. Harkening back to the zero issue of September, this issue continues the two part reunion of Lady Shiva, the peerless assassin who also happened to be Dick Grayson’s first opponent in superheroics, with the first Robin. Well, she is back and it would seem she is gunning for Sonia Branch (nee Zucco), daughter of the man who killed Dick’s parents, but also financier of his Coney Island-esque “Amusement Mile” project. Obviously there is some conflict in his emotions there. The events of this issue also tie into the Penguin, who across the Bat-books has been waging turf wars and seizing up Gotham through legitimate and illegitimate means. And as one would expect from another major thing going on across the Bat-books, this issue is also a tie-in to the “Death of the Family” event with the Joker paying a visit to an old friend of Dick’s. Things are starting to get real.
DC Universe Presents: Black Lightning & Blue Devil #14has the same tone as the other arcs in this line, setting up new characters and premises from the past DCU into the newly rebooted one, but its a little lackluster for me. Perhaps its because I never really cared a lot about either character, but this one, though so similar to other arcs, doesn’t resonate with me. Still, its worth picking up if you want to watch a universe being reborn from the ashes.
Wonder Woman #14is an issue about the children of Zeus. The origin of Siracca is revealed, as is the identity of that massive, face-eating behemoth that emerged from the ice of Antarctica. Both children of Zeus, wronged by the gods and fueled by anger, their pain is palpable. From the beginning of this run, writer Brian Azzarello has portrayed a soap opera of the familial quarrels of the gods that is nothing short of a . . . well, a Greek drama. All of this segues nicely into that mold put forth by Azzarello. What excites me, however, and throws a total curve ball to the aforementioned Greek mythological framework is Azzarello’s insertion of the New Gods of New Genesis into the works. I am very excited, as I feel that Geoff Johns really fouled up the Apokalips invasion, as well as its despotic ruler, Darkseid. Here’s hoping that Azzarello does better.
The New Gods
Sword of Sorcery #2 continues to impress. Starting with the third installment (owing to its intro as a zero issue) of Amethyst, more and more mysteries clarify and the series settles into a very engrossing medieval fantasy treat. In the gem world of Nilaa, there are several noble houses that are ruled by families representing various gems. Princess Amaya is the heir to House Amethyst, as well as another house, which we learn of in this issue. We see House Citrine in this issue in great detail, as well as introduction to houses Onyx and Turquoise House Diamond, which we were introduced to last issue, continues to be an intriguing kingdom fraught with internal discord and intrigue. Those internal divisions promise to have great weight to the future of this title and our protagonist, Amaya. I really love this feature. The backup feature of this issue is the Beowulf story, as re-imagined in a retro-medieval futuristic amalgam by writer Tony Bedard. Also on its third installment, Beowulf has awoken from his cryosleep and has been brought to the hall of King Hrothgar where the legendary warrior faces the bio-engineered Grendel. Going through to its conclusion we meet Grendel’s mother in this issue, as well as ponder how this post-apocalyptic future ties into the larger DCU. This entire book was a pure delight to read for those who have a penchant for the fantastical and adventurous read.
The Unwritten #44 finds Tom Taylor descending into the world of fiction, a giant discordant mess after the wounding of Leviathan, on his way to the world of the dead to rescue his insubstantiated lover, Lizzy Hexam. The brunt of the issue is focused on his journey through the wreckage of the fictional word, torn asunder by Pullman, just as Lizzy was by the same villain. With the wounding of the Whale, the denizens of this realm have fallen into hard times and danger has become much more prevalent. Mike Carey and Peter Gross are geniuses of the highest caliber and I eagerly await the resolution of the crazy ending of this issue next month . . .
Such a good week of books, that have me clamoring for their successors next month. Batwoman, Wonder Woman, Greeen Lantern: The New Guardians, and Red Hood and the Outlaws at the forefront.
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.
Justice League #14: Drawn by Tony S. Daniel, Colored by Tomeu Morey, Inked by Matt Banning & Sandau Florea
Batwoman #14: Art by J.H. Williams III, Colored by Dave Stewart
Green Lantern: New Guardians #14: Art by Andrei Bressan & Amilcar Pinna, Colored by Nei Ruffino
Red Hood & the Outlaws #14: Art by Pascal Alixe, Colored by Blond
Wonder Woman #14: Drawn by Tony Akins, Colored by Matthew Wilson, Inked by Rich Burchett
Justice League #13was as trite as it has always been. Maybe there is an interesting story happening in the background, but all I could focus on was how unrelateable the characters are. I very much dislike Wonder Woman in this series. I am not a fan of Superman either. They are flawed characters, I understand, but there is a point where you have to give them some amount of credence as characters. The romance between Wonder Woman and Superman made sense topically when it was introduced at the tail end of the last issue, but seems really forced now that we see it in the light of day, two months later. Its been advertised as the status quo, which is alarming, considering how bad it is. The whole thing was hard to read, which is a shame because Tony Daniel is providing art, and I love his artwork a great deal. The back story of Barbara Minerva, aka The Cheetah, is the topic of this and next month’s issues, and writer Geoff Johns takes it in what might be an interesting direction, but for the abysmal characterization of his cast that overshadows whatever is happening plot-wise. The backup this month breaks away from “SHAZAM” (Thank God) and replaces it with a story following Steve Trevor and Green Arrow forming a pact that is solicited as the beginning of Justice League of America. I begrudgingly will buy a copy come January. Not out of any merit given to its beginnings (FAR FROM IT), but just so I can say I gave it a fair shot.
Green Lantern: New Guardians #13was good, however a little lackluster by itself. I’ve learned to be forgiving with the way writer Tony Bedard structures his arcs, as the first arc had its sketchy first issues that blossomed into an incredible storyline down the road. This one has that promise and the issue gets to the heart of the matter, yet I feel it could have been done better. Starting off with the red light of Rage, Atrocitus tries to get Kyle to feel rage over the death of his girlfriend, Alex, who died when he first became Green Lantern because he was Green Lantern. He doesn’t feel rage over this though, so why the flashbacks were necessary I’ve yet to figure out. Context I suppose. I feel that there is a lot going on underneath it all that I’m unaware of, which will probably be revealed later. In any event, it was a well plotted story, and one that strangely wasn’t drawn by series artist Aaron Kuder. Instead Andrei Bressan and Amilcar Pinna split the artist duties on this one. Two issues in and the series artist is already playing hooky? Hmmmmm . . .
Kyle, Thou Art Unleashed . . .
Batwoman #13is nothing short of stunning. As ever, J.H. Williams III and cowriter W. Haden Blackman present an intensely personal, yet action packed story headlining Batwoman and Wonder Woman. Following the same trail she has been since issue #1 a little over a year ago, Batwoman is seeking “Medusa”, responsible for the abduction of dozens of Gotham’s children. After learning that Medusa isn’t an organization, but rather a person, most likely the snake haired gorgon herself, Batwoman seeks out Wonder Woman for aid. This issue picks up on their team up and all around the story is incredibly well done. Batwoman is as chill and confident as her male counterpart, but despite that fact her inner monologue is that of a wonderstruck child. Similarly, Wonder Woman, unfamiliar with Batwoman, is enthralled by her steely demeanor and her ingenuity. Delving into Greek mythology, I think this arc does a much better job than the current Wonder Woman series. No offense, to Brian Azzarello. Williams and Blackman are just that good. Also Williams’ artwork is RIDICULOUS! His pages are set up with nonlinear panels and artistic layouts. I want to read #14 right now!
J.H. Williams III’s Sprawling Labyrinth
Before Watchmen: Minutemen #4is an issue about horror. Though you could argue that the entire Minutemen title has been since its about the gilded lie that was the Golden Age of the 30’s, 40’s, and 50’s. However, this issue highlights and centers in on the horrors that each and every one of the Minutemen had to face. The Silhouette was always a character who plunged into the darkness in defense of the innocent, namely children. She had no illusions, possibly because of her sexual orientation, and especially considering the horrors she endured at the beginnings of Nazism in her native Austria. Her sapphic nature was also the cause of a horror for all of her teammates, following her ghastly murder beside her longtime lover, Gretchen. Horrors beget horrors, as those closest to her react to the injustice that they partially caused. Even the Comedian, half a world away in the Pacific Theater rings in with his own horrors and twisted attempts at justice. In every brushstroke and every letter put to paper, writer/artist Darwyn Cooke proves himself a maestro. This series cuts deep to the soul, eliciting such macabre beauty and tender sorrow for anyone who possesses a human heart capable of feelings. It just needs to be read to be believed. Pure artistry.
Hell Hath No Fury Like A Woman Scorned
Catwoman #13is a prelude to “Death of the Family” in a very horrifyingly minimalistic way. After returning home from a heist, Catwoman is assailed by small mementos of her departed friend, Lola, which should have been destroyed in the firebombing of the latter’s apartment. Just out of sight each time is a figure shrouded in shadow with a discernibly large smile. Getting the impression that she is being watched, we, the readers, KNOW she is. Further, she is engaged under the auspices of a routine robbery in a life or death game of chess. Literally. Marking the first issue of Catwoman in the present, writer Ann Nocenti knocks it out of the park. Can’t wait to see where she takes the series, after how she bailed out the sinking ship that was Green Arrow.
Red Hood and the Outlaws #13concludes the “Blight” arc, as well as Starfire’s return to her home planet, Tamaran, whose citizens had long ago forsaken her. We see further her evolving reconciliation with her older sister, Komand’r, aka Blackfire. Also we see how she has won not only the loyalty of Jason and Roy, who follow her to another planet steeped in all out war, but also the loyalty of dozens of other “men and women” from several other worlds, including a Dominator named DePalo. Dominators are almost exclusively an amoral, evil race. That she would welcome one into her innermost circle and call him friend really speaks to the depth of her character. I would also like to commend writer Scott Lobdell for writing a complex, yet endearing Dominator. The issue marks what appears to be a giant blow to what has been the status quo in a sector of space for generations. Scott Lobdell is an incredible writer and gets a lot of help from Timothy Green II in the visual half of the narrative. After this issue, Lobdell is bringing his new charge, Superman, into the fold of this series with a crossover that must coincide with his mention of the “Thirteen” in this series and his Superman Annual #1. And if that wasn’t enough, the last full page panel ties in the return of the Joker to the path of Jason Todd.
Legion of Super-Heroes #13returns the title to the multistory paradigm that Levitz pioneered in this title thirty years ago. In a mining asteroid chain, Cosmic Boy, Element Lad, and Chemical Kid track down the pirates that raid the mines, only to find trouble in the form of three very powerful denizens of Cosmic Boy’s homeworld, Braal, among the brigands. Back on Earth, Brainiac 5 works on the conundrum of how and why Comet Queen turned on the team when the Legionnaires attempted to rescue him and Dream Girl from the Dominion homeworld. And for a brief moment Levitz returns to the topic form several months ago of the Master Circuit that could recreate the villain Tharok of the Fatal Five. It looks like for the next two issues at least, Scott Kolins will be on art duty. His style has very rough edges and adds an urgency to the scripting. Coupled with Levitz’s writing, the two halves come together in a very compelling whole.
Nightwing #13ushers in the two issue arc of Lady Shiva’s advent to Gotham City, written by guest writer, Tom DeFalco. She came to town before in Nightwing #0 last month when Dick first put on the Robin costume. Now is their first rematch since that seminal confrontation. In the meantime, Dick is still attempting to invigorate Gotham in his own way by renovating Amusement Alley with a permanent place for his circus and other carnival attractions to take root, sort of like Coney Island in New York. And alongside him in an ambiguous role as financier is Sonia Branch (nee Zucco) who hardlines as a savvy businesswoman most of the time and a flirtatious femme fatale at other times. Interesting. With Sonia on one side and Lady Shiva on the other, Dick is going to have his hands FULL!
DC Universe Presents: Black Lightning and Blue Devil #13introduces the characters Jefferson Pierce, aka Black Lightning, and Dan Cassidy, aka Blue Devil to the New DCU. Pierce is a high school history teacher and Cassidy a movie stunt man. Both moonlight as crimefighters, one with electrical abilities and the other with a magical suit that give them their powers, but as of yet aren’t explained. Taking place in LA they fight against the kingpin of crime, Tobias Whale. Marc Andreyko write this five issue arc with Robson Rocha on art. Its an interesting first issue, but the jury is out on whether or not its substantial.
Blue Beetle #13was really good. Writer Tony Bedard makes it good. I am lukewarm on the premise and the character, and yet once again, I find myself genuinely wanting to see what happens next. The Zero issue last month picked up with the character’s fate following Justice League International Annual #1 when OMAC sent him halfway across the known universe. He was given a brief look at the past of his scarab, Khaji-Da, and its melding with a human host, Sky Witness, a Mayan chieftain, before eventually connecting with the present and his being in Reach Space, the Scarab’s backyard. In the aftermath of this Jaime and his scarab, Khaji-Da, come across a resurrected, crazed Sky Witness and another scarab-elite, Khaji-Kai, who is willing to trade Jaime’s freedom for the secret to overcoming his scarab’s control. With a connection to the events of Green Lantern: New Guardians #9-10, Bedard is pushing the limits of what it means to be a Blue Beetle and the capacities of the sentient mind to overcome enslavement. That also ties into what he is contributing to in the “Rise of the Third Army” event in the Green Lantern books. Good stuff.
He-Man and the Masters of the Universe #3was interesting, but I am still not certain about where they are going with it, but I’ll hold out judgement until the end of the six issue run.
Supergirl #13 reunites Supergirl with the businessman who first imprisoned and experimented on her, Simon Tycho. After he was nearly killed by the explosion of his space station, he is reconstructed on a cytoplasmic “exoskeleton” and become as strong as Kara. Finding his way to her own seeming “Fortress of Solitude” called Sanctuary, Tycho has found the sunstone memory devices that Kara’s father, Zor-El, had sent from Krypton with his daughter. Using his new body’s nervous system he has not only uncovered the entire record of Kryptonian science, history, and culture, but the language itself. That said, he was then able to learn their language and now able to actually speak and communicate with Kara. He also reveals to her the stunning fact we learned at the end of last month’s Zero issue: her own mother, Alura, shot her father, Zor-El, who was attempting to send her to Earth to be safe. From this story comes what I have always wanted from this title and begins the end of what put me off a bit by the first year of storytelling: Kara Zor-El is becoming acclimated to Earth. Kara as an outsider is not interesting. Seeing her get comfortable on Earth, setting up meaningful friendships and relationships with the superheroes of our planet as well as regular people, and having a life like a regular person is imperative to her being the incredible character she was in the past. Mike Johnson writes this one solo, but brings in Sami Basri on art which I am excited about. Basri’s art on the title Voodoo was what made that series incredible and what drew me in. His work on Supergirl is no different.
Wonder Woman #13brings us back into the main narrative two months after the conclusion of issue #12, that had QUITE the surprise ending. The main point of which was Hermes, the messenger god, whom had been one of Wonder Woman’s closest friends and confidantes in the protection of Zola from Hera, abducting Zola’s baby after birth and taking him to Demeter for who knows what purpose. Hera was reduced to a mere mortal. That picks up with Diana’s attempt to find Hermes, however, to do that she must find someone to fill the role Hermes had once fulfilled, vis-a-vis instantaneous transportation. There is a demigod named Siracca, the wind, who has this ability but wishes to avoid Wonder Woman. It is she whom Diana will have to win over if she wants to have any chance of keeping her promise to Zola and reunited mother and child. What worries me the most started at the end of issue #12 and may or may not have continued on page one of this issue. Orion of the New Gods definitely clawed his way out of the ice somewhere on Earth on the last page of Wonder Woman #12.Wonder Woman #13 opens with a savage looking gentleman also emerging from ice in Antarctica and biting a man’s face off. Writer Brian Azzarello better not have f***ed with the New Gods like Geoff Johns did in his opening arc of Justice League. That is all I am saying. Also, welcome back to cycling series artist, Tony Akins, who takes his shift on the title after a tour by Cliff Chiang.
Sword of Sorcery #1rounds out the background of Gem World in the Amethyst. I thought that the house Amethyst was the ruling dynasty of the whole thing, but apparently there are other kingdoms, one of which is Citrine, and awenother is House Diamond. As can be imagined, House Diamond is a major player. The politics also unfolds as to how the houses interact and balance power. Also, while I thought in the Zero Issue that the main character’s name is Amaya, not Amethyst. Darn. In the backup feature, Beowulf, the titular hero in a Norse style post-apocalyptic future makes his way to Danelaw at the behest of King Hrothgar to defeat Grendel. Its interesting seeing how writer Tony Bedard adapts the Old English saga into a fresh context. I look forward to seeing how both segments pan out next month in the title’s second (technically third) issue.
The Kingdom of Diamond
American Vampire: Lord of Nightmares #5ends this incredible miniseries in Scott Snyder’s American Vampire-verse. Dracula is being steamed towards his Black Sea palace where, should he mount his “second throne”, he will have complete control of every vampire on the planet. Head Agent of the Vassals of the Morningstar Linden Hobbes and former agent, Felicia Book, have made an alliance with the “Firsts”, vampires whom represent the last of their individual species after Dracula annihilated their brethren. It all comes down to this final confrontation to prevent a Vampiric Holocaust. The result changes the whole tenor of the series and what we have come to expect from writer Scott Snyder. Insane!
Another American Vampire is Born
Saucer Country #8takes the Alvarez campaign on the road and with each stop on the campaign trail Prof. Kidd and various members of the staff are going to suss out some connection to the abduction of the Governor and her ex-husband, Michael. In the process more details emerge about the government’s connection and how the different groups that have emerged thus far relate to one another. Over the past couple of issues the back stories of these groups, most recently the Bluebirds, have come to light, and now the world of Saucer Country is shrinking and these parties are being drawn closer to intersection. Paul Cornell said that he began conceptualizing this series from his love of UFO mythology and his passion for the topic truly shines through in his exploration of it within.
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.
Green Lantern: New Guardians #13: Art by Andrei Bressan & Amilcar Pinna, Colored by Nei Ruffino & Pete Pantazis
Batwoman #13: Art by J.H. Williams III, Colored by Dave Stewart
Before Watchmen: Minutemen #4: Art by Darwyn Cooke, Colored by Phil Noto
Red Hood & the Outlaws #13: Art by Timothy Green II, Colored by Blond
Sword of Sorcery #1: Art by Aaron Lopresti, Colored by Hi-Fi
American Vampire: Lord of Nightmares #5: Art by Dustin Nguyen, Colored by John Kalisz