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.
This week rounds out the month with some classic series like Teen Titans and The Flash and adds a few Annuals to the mix. It also marks the end of the very intriguing Damian: Son of Batman series. Not the most perfect week of comics, but certainly a few gems to be read.
The Flash #27begins the last arc of writer Brian Buccellato’s run on this title. Beginning in the 19th century when the Gem Cities of Keystone and Central City were mining camps, we get a two page glimpse at a murder centuries. Cut to the present when Flash is running down (pun intended) a few of his lesser foes, only to discover a hidden chamber beneath the city streets containing several long dead bodies. They fit the M.O. of a killer put away on a life sentence, but according to forensics were killed AFTER said person, Hollis Holden, was sent to Iron Heights Prison. As Barry looks into the facts it slowly dawns on him that this could be the case that clears his father’s name of killing Barry’s mom. It’s a sad thing that Buccellato is leaving the Flash, because his collaboration with Francis Manapul on the title has truly invigorated this series and made it one of the “can’t miss” series of the current DC lineup. Though Manapul is absent in art, Patrick Zircher takes over art duties and his panels bring the Flash alive in a whole new way. I won’t say that I like the art better than Manapul’s, which is in it’s own category, but I definitely love his work and would seek it out in other titles once this title transitions. With this being Buccellato’s last hoorah on the Flash, it’s a distinct possibility that Barry might ACTUALLY solve his mother’s murder. The question comes down to how well that answer could be given under the current circumstances and the size of Buccellato’s ego. My opinion could swing favorably or unfavorably on this one. Two more issues to go . . .
The Red Lanterns #27 begins properly the new phase in the Red Lantern mission. After “Lights Out” Hal Jordan gave Guy Gardner and his Red Lanterns a sector of Space for their own, free of interference from the Green Lanterns. Guy took 2814, home most notably to the planet Earth. Writer Charles Soule says Ysmault, the Red Lantern homeworld, is in Sector 2814 and that is the rationale for its selection. I’m not buying it. This is one time when I have to question Soule’s logic, considering that Ysmault was used as the prison to house the survivors of the Manhunter massacre of every living thing in Sector 666, except the six Inversions imprisoned on there. They were imprisoned to keep them out of sight and out of mind so they couldn’t tell the rest of the Universe what the Guardians let happen. So . . . why would they put these dangerous criminals in a heavily populated sector like 2814 when they could use any of the THOUSANDS of deserted planets in 666 where nobody ever goes and where there are no Green Lanterns patrolling? I’m pretty sure they did even say Ysmault is in 666 somewhere in one issue or another. A very ill-conceived gambit to justify the annexing of 2814 by the Reds. With that taken into account, Guy intends to inspect Earth and show Skallox and Zilius Zox his homeworld, as they have never seen it before. I am fairly certain Skallox went to Earth in Red Lanterns #10 or the crossover issue of Stormwatch #10. Soule is appearing to not have done his homework. Rankorr and Bleez, who have been to Earth many times, are dispatched to find a newly minted Red Lantern and reign them in, only to come face-to-face with Atrocitus, who found new ring himself and initiate the new toad-like Red into the fold. On Earth Skallox and Zox are left to their own devices, invariably finding trouble. The main thing that Charles Soule accomplishes with this issue is the reintroduction of Tora Olafsdottir, aka Ice, into the New DCU, as well as recapping the former relationship that Guy and Tora once had. I like the series, but I do think that of the many things that Charles Soule is currently writing this is the weakest series and the one that probably has the least of his attention. That’s not to say that it’s bad, but it could be way better.
An Icy Reception.
Teen Titans #27appears to be Scott Lobdell’s attempt to make a liar out of me. Last issue, he and artist Tyler Kirkham went about detailing the secret origin of Kid Flash, aka Bar-Tor, as a “psychotic anarchist” who led a bloody rebellion in a tyrannically oppressive future. At least that was their aim. What they showed was a level headed kid that did everything within his power to protect and provide for his little sister, Shira, and make a better world. He is nothing more than what any person would be in that situation and far from the psychopath they’d depicted him as. This issue changes that. It also, to a small degree, changes the rationale behind his surrender to the galactic “Functionary” that oppressed the lower classes of its citizens. In issue #26 it appeared that the near death of Shira due to his actions snapped Bar out of his revolutionary fervor, making him give himself up to authorities. While I still believe that he loves his sister and that she is his primary reason for doing what he has done, Scott Lobdell shows that Kid Flash’s surrender was both strategic and deceptive. Though he was granted witness protection and a new identity in the past, the Functionary show when they try Bar in this issue that they never had any intention of letting him live. They only meant to break his rebellion by putting on a show trial with him ratting out those that believe in him and fought for him, killing their spirit, and then executing him afterward. Bar knew this and turned the tables. After admitting his utter guilt to the charges laid against him the ceiling is literally blown off of the courthouse and the prison guards arm the rebels and teleport them to the scene. Bar has the Functionary bigwigs in a snare that will ensure that all the government’s heads will roll in one swing of the sword. No one is going to survive Bar’s coup, not even the innocents present. In his demeanor and his actions, Kid Flash does take on the crazed temper he’d be cast in leading up to these last two issues. It’s madness, but the question is whether it is a good kind of madness. What is happening seems very much like the French Revolution with the prison guards turning against their masters and opening the prisons in an all out breakdown of the system. I am very curious to see how this predicament pans out and how the crazy Kid Flash from this issue reconciles with the very grounded, moral version that perhaps only I saw in the last issue. With a character like Kid Flash it’s hard to believe he would get kamikaze’d like, that regardless of whether the title is getting cancelled in April or not. Scott Lobdell hasn’t let me down so far and has written this series superbly throughout the two and a half year run. Artist Tyler Kirkham is hitting it out of the park in the realm of art, really making this title a jewel in his resume. I’m onboard this train till it’s last stop two months from now. What a ride . . .
The Face of Teenage Revolution.
Talon #15 is yet another comic by Marguerite Bennett that I went into with high hopes, only to have them dashed. The issue has NO story. Yes, there is something resembling a plot, but at the end of the issue the reader is left with two questions: 1) What did I just read? 2) Why should I care? The plot (or what passes for one) begins with an African American Talon taking down William Cobb to become the Court of Owl’s new assassin. It should be noted that this Talon is male, meaning that it is not Strix, who came into her second life in the 50’s. The pacing of the issue is also very jarring, following the reverse order paradigm of Christopher Nolan’s seminal film, Memento. Slowly we work our way back through this guys life, and while the imagery is very depressing and often tragic, the rationale of why we are even hearing about this guy is not answered. This is a one-off for Bennett, the title will transition to Tim Seeley’s hands for it’s final two issues, so again the possibility that this is setting something up is dubious. There was even the possibility in my head that in some way this gentleman was a relative of Casey Washington, but due to the time period and the circumstances described this is just a nameless Talon we may never hear from again. Every time I come across a title that Marguerite Bennett writes I get a twinge. Maybe she’s good at writing her own material, but so far everything of hers I have read is her writing a one-shot issue of someone else’s property like her Batman Annual #2 last year, the TERRIBLE Lobo issue she wrote during Villains Month this September, and her lackluster Batgirl #25 in November. She’s writing two one-shots next month and both have me worried. Joker’s Daughter features the title character whom I do not care for one iota, so that sounds like a giant waste of money. Lois Lane is a horse of a different color, because that has the potential to be amazing . . . assuming the writer has the talent to actually pull it off. Lois Lane is a character that can be incredible, but can also be absolutely terrible if the writer doesn’t know what they are doing. Bennett does not instill faith. Also the artist on Lois Lane, Emanuela Lupacchino, is an up and coming talent and I’ve enjoyed her past work a great deal, so that is another reason Bennett’s authorship is troubling. No one wants to be the weakest link that breaks the chain, especially when that chain is Lois Lane, one of the most beloved female characters in comics and someone that fans have been screaming to have her own solo book. Marguerite Bennett said this of her controversial Lobo issue this past September: “You can hate me by Page Two. But if I do not have your attention by Page Four, you don’t have to read something of mine ever again.”
Well Ms. Bennett, you have until the last page of Lois Lane #1 to sell me that you can write anything. Then I am going to take you up on your previous offer.
Damian: Son of the Batman #4brings to a close Andy Kubert’s four issue miniseries dedicated to Damian Wayne, whom Kubert co-created with Grant Morrison. This series has been and continues to be a very Kubert-esque journey through the life of Batman. Joe Kubert, Andy’s father, had a very characteristic drawing style that influenced comic art for seventy years, but also a narrative style that is like no one else’s, past or present. Andy has definitely inherited his dad’s artistic style, but he also emotes the same incredible voice as a writer. Joe could have written this, but at the same time there is a darker edge that is all Andy. In a lot of ways that is something of which this comic is an allegory. Damian is taking over for his legendary father, Batman. In the first issue, even after the death of Batman (it’s actually Dick Grayson) he is reticent to take on the mantle of the Bat, but as events unfold he is thrust into becoming Batman, but a Batman on his terms. His father, who is still alive though quite old, chastises him for his wanton brutality which does get through to the young Wayne. But as this issue concludes and Damian actualizes himself as the new Dark Knight he takes on the role adhering closely to his father’s legacy and being Batman in the ways that matter, but also maintaining an element of his own identity while in the role. Now I don’t know if Joe and Andy had an idyllic relationship or a rocky one like Bruce and Damian in this series, but the parallels of Andy taking the reigns of continuing his father’s legendary name and legacy in the comics industry rings true to Damian’s struggle herein. As stated, Joe Kubert’s art can be found in elements of more than four generations of comic artists, but his writing style is far more rare and that is what Andy stands as a torchbearer to. Top to bottom, this was an incredible four issue miniseries and well worth reading for those that love and miss Damian Wayne.
Long Live the Batman!
Green Lantern Corps Annual #2 provides and extended format launch pad for the next major conflict in the Green Lantern family of books. The Durlans have been a problem over the past several months, but in this annual their threat begins to solidify. They have publicly discredited the Green Lantern Corps in front of the Universe, they have rallied the Corps’ enemies into simultaneous attacks on the Corps’ chapter houses throughout the 3600 sectors of Space, and they have drawn blood by blowing up the Corps’ command center on Mogo. Writers Robert Venditti and Van Jensen give background into the Durlan threat by showing the horrific ruling council of the Durlan race called “the Ancients,” and gives voice to what the Ancients plan. What’s more, the annual primarily focuses on the Corps’ many iconic villains, i.e. Kanjar-Ro, Bolphunga the Unrelenting, Darkstar, etc., and gives short one to two page glimpses into each villain’s past with a moment that sums up their individual motivations. These are the worst of the worst who HATE the Corps, so what Venditti and Jensen do next is even more incredible. Faced with an alliance with the Durlans who none of them trust, this ragtag group of villains pull a 180 and align themselves with the Green Lanterns to take out the Durlan threat. It’s a tricky gambit and should make for one hell of an entertaining arc.
Earth 2 Annual #2 finally reveals the origin of the enigmatic Batman of Earth 2. Spoiler Alert, I am going to reveal the identity of Batman. I feel enough time has passed since the issue dropped that those that want to know already know, but if someone doesn’t, skip this review. This series started in Earth 2 #0 with the end days of the Apokalips Invasion of Earth 2 being thwarted by the Trinity (Superman, Wonder Woman, and Batman) at the cost of their lives. So with Bruce Wayne dead, who is this new Batman and why is he doing what he is doing? The breadcrumbs and clues have been stacking up. Firstly, through his rhetoric and desire to free “dangerous” inmates of the Arkham cryostasis detention center we are shown that he could be considered a criminal and a monster. Secondly, while doing so he is revealed to have super-strength and a bulletproof hide. Thirdly, we are told that bioscans reveal him to be human. Finally, when he goes into the containment chambers and releases the inmates he opens the Joker’s tube only to shoot him in the head, revealing a VERY deep loyalty to Batman as a person, but not an adherence to his stringent codes against killing and using firearms. All of these paint a tantalizing riddle of who this person could be, opening the door for either a very interesting reinvention of a classic DC character or the introduction of a brand new one. The reveal was, I am sad to say, underwhelming. Batman is Dr. Thomas Wayne, father of Bruce Wayne, who faked his death and apparently became a junkie and a murderer out to take down mafiosi. Maybe in the long run this will be a decent development, but it just seemed really tired and unoriginal. Thomas Wayne as Batman was something novel that writer Brian Azzarello proposed in Flashpoint: Batman and wrote to perfection. In that title as well, Batman became something very dark and excessive in his crusade against crime, also adopting the use of firearms. However, Flashpoint Batman was the architect of the Batman persona following the death of 8 year old Bruce at the gunpoint of Joe Chill and the subsequent psychotic descent of his wife, Martha, into the persona of the Joker. In Earth 2 the use of Thomas as the new Batman just comes off as lazy from a writing standpoint. He uses guns, he’s got five o’clock shadow, he’s willing to kill, his costume is red and grey/black with sharper edges. There are too many similarities with not enough validating differences to make Thomas’ role in the book worthwhile. Now that may change, but the deadbeat dad concept, while tragic, falls flat for me. This is a shame as I have enjoyed the series, both under the helm of original writer James Robinson and the new authorship of Tom Taylor. Whether Thomas was Robinson’s idea or Taylor’s, the brunt of responsibility falls on Tom Taylor to make it work however possible.
A Father in the Shadows.
Worlds’ Finest Annual #1provides a look into the lives of three very important young women from Earth 2. The title Worlds’ Finest follows Helena Wayne, known as Robin on Earth 2 and Huntress on Earth 1, and Kara Zor-El, known as Supergirl on Earth 2 and Power Girl/Karen Starr on Earth 1. This annual showcases their lives as emergent heroes on Earth 2, as well as a brief glimpse at a third young woman whom readers of the series Earth 2 will no doubt recognize: Fury. Helena Wayne is of course the daughter of Bruce Wayne (Batman) and his wife Selena Kyle (Catwoman), and the first and so far only bearer of the mantle of Robin on Earth 2. As on Earth 1, Kara is the cousin of Superman and in most ways is identical to her Earth 1 counterpart. Fury is the enigma, as she is the daughter of Wonder Woman and an unrevealed father, and fights for Apokalips. In this way, the annual focuses on the female scions of the three great superheroes: Batman, Superman, and Wonder Woman. Paul Levitz is just the writer to tackle this assignment considering his creation of Huntress in the 70’s and his incredible career writing thoughtful comics about uncertain youths flung head first into incredible circumstances. For proof of that assertion read any of his Legion of Super-Heroes books. The episodes depicted in this annual concerning Helena and Kara paint the two girls as novices making mistakes, but those early blunders juxtapose against the past two years worth of issues to show how they became the strong, confident women we have seen in the present. Fury is more cryptic in her portrayal by Levitz and no doubt that is because her origin and the revelation of her motivations are integrally keyed into the Earth 2 title. In any event, Levitz brings his A-game to these stories and spins into being three events that define the characters of these two dimensionally displaced heroines.
And thus concludes the first month of comics in 2014. Here’s hoping to many more awesome issues to fill out the coming eleven months.
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.
Red Lanterns #27: Art by Alessandro Vitti, Colored by Gabe Eltaeb.
Teen Titans #27: Drawn by Tyler Kirkham, Colored by Arif Prianto, Inked by Art Thibert & Dan Green.
Damian: Son of Batman #4: Art by Andy Kubert, Colored by Brad Anderson.
Earth 2 Annual #2: Drawn by Robson Rocha, Colored by Gabe Eltaeb, Inked by Scott Hanna.
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.