Weekly Comics Return at DC with BATMAN ETERNAL
I remember for a while DC seemed hellbent on making Weekly Comics a thing. 52 was probably their best shot at the concept. Countdown was the sort of mess you wish you could forget and I have almost entirely forgotten Trinity. DC wants to give the thing another go with Scott Snyder this time helming the project alongside a team of writers that include James Tynion IV, John Layman, Ray Fawkes, and, most interesting to me at least, Tim Seeley. Art duties will be handled by Josh Fabok, who I speculated would find a major project when the switcharoo with creative teams on Detective was teased a while back. Other artists will likely join him on the project soon. (source)
All of this is of course in connection to Batman’s 75th Anniversary. You can expect big things for Batman soon. In conjunction with this announcement, DC stated that the upcoming Detective Comics # 27 will be a 96 page epic featuring work from some pretty heavy hitters including Frank Miller, Paul Dini, Brad Meltzer, and Neal Adams with art provided by Greg Capullo, Jim Lee, Chris Burnham, Mike Allred and others.
Commissioner Gordon Coming to TV
With Agents of SHIELD premiering tonight, the news that DC has successfully sold FOX on a Jim Gordon centered television show set in Gotham before the first appearance of the Batman doesn’t seem all that shocking. Details are still coming in but it is known that Bruno Heller from The Mentalist will be handling the show and that it will simply be titled GOTHAM. According to press releases from Deadline the show will follow Gordon who is “still a detective with the Gotham City Police Department and has yet to meet Batman, who will not be part of the series. The Gordon character was introduced in 1939 in the very first Batman comic.”
DC has a good thing going with Arrow on the CW network with a Flash spinoff gearing up. If they can maintain that level of quality at the very least this should be an entertaining show. Let’s just pray it isn’t like that god forsaken Birds of Prey series from a few years ago. I don’t need to deal with that sort of nightmare again.
Weekly Comic Reviews – 9/12/2013
Hey everybody, it’s time for that all important time of the week where I run down a number of comic books and tell you whether they make the grade. Last week was uncharacteristically downbeat, with The Star Wars being the one bright spot in an otherwise grim slate. But the thing about comics is that there is so much on the rack that if you wait a week you might just strike gold. There were a number of books this week that I sat down and read in the hopes of giving you guys a greater variety in terms of recommendations so without further ado, let’s go ahead and get this show on the road.
Action Comics 23.2 – (General Zod)
Written by: Greg Pak
Art by: Ken Lashley
Cover by: Gene Ha
Color/B&W: Color
Page Count: 32
U.S. Price: 3.99
On Sale Date: Sep 11 2013
General Zod storms into The New 52! Witness the origin of this genocidal maniac, and learn how far he will go to destroy those who oppose him!
Greg Pak is a writer who I tend to enjoy. I think a lot of that is holdover good will from Planet Hulk. I’ve talked to him at conventions and he seems to be a pretty cool dude as well. I picked this issue up based more on the fact that his name was in the writing credits than any loyalty to the character of Zod. I’m not sure which incarnation of Zod DC planned on utilizing this time around. I remember there being a great deal of confusion regarding Zod from his previous uses in the Our Worlds at War crossover only to be re-imagined a few years later with Brian Azzarello’s For Tomorrow storyline just to be re-purposed by Geoff Johns and Richard Donner for Last Son. This issue gives us a Zod that doesn’t really line up with any of those, and delves into an origin story for the character that allows us to start from scratch and accept this version of Zod as one that has no conflicts with previous iterations of the character.
Our Zod is one who had to survive a harsh environment in his youth, losing his emotionless parents to a savage attack by alien beasts and eventually being stranded in that hostile locale until he is rescued by the house of El almost a decade later. That time trapped in the wilderness turned him into an embittered, sci-fi version of Green Arrow. He harbors aspirations of vengeance against the alien race responsible for wiping out his family and at the same time rises through the ranks of the Kryptonian military.
Only the ending of his story, being shunted off into the Phantom Zone, the one constant that never seems to change in his narrative, seems familiar. Zod’s motivations don’t seem reminiscent of any version of the character that I can remember, although I am sure there are through-lines that I’m just missing out on. The fact that we are getting a definitive take on the character for the new 52, working from a blank slate, makes the book interesting to read because the expectations of the reader should be equally as open.
Another nice surprise was the inclusion of Faora, who stole the show in Man of Steel this summer. Hopefully the folks at DC plan to utilize her effectively, as the DCU could always use some well-written female antagonists. She gets little face time here but it is Zod’s name on the cover after all. I’ll keep my eyes out for future appearances.
All in all, a better issue on all counts than last week’s Cyborg Superman issue, which I did not cotton to at all.
Rating: 3 and 1/2 out of 5
Batman 23.2 – The Riddler
Written by: Scott Snyder and Ray Fawkes
Art by: Jeremy Haun
Cover by: Guillem March
Color/B&W: Color
Page Count: 32
U.S. Price: 3.99
On Sale Date: Sep 11 2013
I pretty much eviscerated the 23.1 Joker issue last week. I felt like it was a harbinger of much worse things to come. After all, if the highest profile Batman villain in the bunch couldn’t get a decent issue, what chance did anyone else stand? The Joker isn’t a hard character to wrap your mind around creatively if you approach it from the correct angle. Giving insight into a tortured childhood isn’t the way to go. The fact that we get abusive parent back-stories for Poison Ivy and Harley Quinn as well just goes to show that applying the same wrote, hack writing tricks to a character like the Joker just isn’t going to fly and that is why the issue failed on the whole.
The Riddler is a hard character to get into as well. For my money nobody writes the guy as well as Paul Dini, though I admittedly liked the turn Jeph Loeb gave him in The Long Halloween and Hush. Scott Snyder and Ray Fawkes take on the character here and the take is one that works. In order to understand the Riddler you need to understand narcissism and self-importance. I am surprised that so many writers have such a hard time empathizing with such emotions because as a writer you have to tell yourself constantly that you are the most talented person in the room, you’re smarter than everyone around you, and your work should stand on its own merit by virtue of escaping from the confines of your imagination. The Riddler deals in similar themes. It comes through very vividly in this issue, where he systematically bypasses each and every security measure in Wayne Tower, returning for the first time since the events of Zero Year.
Riddler matches wits with the head of Wayne’s security, who also used to be a guard he crossed paths with during a stay at Arkham Asylum. This man’s downfall is that, unlike the reader and, especially the writers of this issue, he doesn’t realize that the Riddler is more than a simple criminal. He fails to empathize and it ensures his demise. The Riddler is always three steps ahead of those he feels are below him, which is simply everyone. Riddler is the green-tinted flipside of Batman without the grace of humility. Snyder and Fawkes realize this and write him as such. The issue plays out wonderfully, especially the climax which demonstrates that the entirety of the Riddler’s mission was for a singular purpose that I won’t spoil here, but it renders the rest of the issue in a light that makes perfect sense in regards to character motivation and seals the deal that these guys know what the Riddler is all about.
This is definitely the high bar for the villains month so far. Which, given Snyder’s previous work with Batman, is not at all surprising.
Rating: 5 out of 5
Detective Comics 23.2 – Harley Quinn
Written by: Matt Kindt
Art by: Neil Googe
Cover by: Chris Burnham
Color/B&W: Color
Page Count: 32
U.S. Price: 3.99
On Sale Date: Sep 11 2013
If Dr. Harleen Quinzel wasn’t crazy when she fell for The Joker at Arkham Asylum, she sure was messed up afterwards! Find out more from Harley’s time with her beloved Mr. J. and see what got her into so much trouble that she was “recruited” for the Suicide Squad!
I haven’t been keeping up with Suicide Squad or paying much attention to Harley Quinn. She doesn’t resemble the character I fell in love with back in the early nineties watching episodes of Batman : The Animated Series. There is a cynicism to this version of the character that I don’t identify with. This issue gives us a beat by beat origin story for Harley, where we see that some of the elements of her original incarnation still live on. She was brilliant and became a psychiatrist, then wound up at Arkham hoping to truly challenge herself by helping the worst of the worst of the criminally insane only to be sucked into the Joker’s world. She posed as an inmate to get closer and wound up getting a little too close. That all works and doesn’t rub me the wrong way that much.
The rest of the issue does have flaws. I was not a fan of the fact that we got a beat-by-beat rundown of how she acquired pieces of her uniform. It seemed forced. And maybe I am just off base but the violence of the issue didn’t sit well with me either. There is no comedy to her rampage, just ruthlessness. I suppose that’s just the tone the character has now, but fans of the old Harley probably won’t enjoy this particular take on her. The word I used earlier was forced and that seems to be the whole issue with this revamp of Harley. They’re trying to make her something she isn’t and it simply doesn’t work. It’s not Harley. The tone is all wrong and you can’t fit a square peg in a round hole this way. I’m sure there are fans of this take, and I don’t begrudge them that, but my feelings are that such a revamp of her character makes her indistinguishable from other hyper-violent creations with no sense of irony or fun. It is a bleakness that simply does not jibe with pre-established notions of the character.
I’m probably just being stubborn, but there wasn’t much for me to enjoy here. I think I’m just not the target audience.
Rating: 2 out of 5
Eternal Warrior # 1
Writer: Greg Pak
Penciler: Trevor Hairsine
Colorist: Brian Reber
Cover Artist: Clayton Crain, Trevor Hairsine, Dave Bullock, Patrick Zircher
Price: $3.99
Pages: 32
On Sale: September 11, 2013
New York Times best-selling writer Greg Pak (Batman/Superman, Planet Hulk) and superstar artist Trevor Hairsine (X-O Manowar, X-Men: Deadly Genesis) launch a brand new campaign for Valiant’s immortal champion, the Eternal Warrior, in an all-new monthly series!
Across ten millennia and a thousand battlefields, Gilad Anni-Padda has traversed the darkest, most mysterious corners of history. But the horror and bloodshed of constant warfare has finally taken its toll on the man myth calls the Eternal Warrior…and he has abdicated his duties as the Fist and the Steel of Earth for a quiet life of seclusion. But when a blood vendetta from the distant past suddenly reappears in the modern day, he must decide if he will return to the ways of war…for the child who betrayed him thousands of years ago…
I went into this COMPLETELY blind. I had no idea what to expect. I just saw the cover and thought it would be worth reading. I guess the logline for the story could be Conan the Barbarian meets Highlander. We open on the brink of a massive battle in olden times. Gilad, the Eternal Warrior, an immortal but not entirely invulnerable mass of muscle and sinew, is preparing for a war against a horde of enemies who worship a god of death. Gilad forbids his daughter, Xaran, from involving herself in the battle. So opposed to her involvement is Gilad that he gives her a closed fist smack to the jaw, then rides into battle with his son, Mitu. What follows is a betrayal and a slaughter, then the passage of thousands of years, to a time when the Eternal Warrior is living Wolverine-style as a hermit with only a dog for companionship when the source of his betrayal returns.
I really enjoyed this issue. I like the concept, and Greg Pak brings the action in a way that recalls his time spent writing The Incredible Hulk all those years ago. Fans of books like Conan should give this one a read. I haven’t been following any of the new Valiant comics but this one was rewarding and a surprise pick of the week for myself. It runs a little short because so much of the issue is spent dedicated to action scenes, but overall the series shows tremendous promise. I’ll definitely be picking up issue two.
Rating: 4 out of 5
Infinity : The Hunt
Writer: Matt Kindt
Artist: Steven Sanders
Price: 3.99
Release Date: Sept. 11, 2013
Hank Pym, Wolverine, and She-Hulk bring the students of the Marvel Universe together to announce a new CONTEST OF CHAMPIONS!This CONTEST OF CHAMPIONS pits the super students of schools all over the Marvel U (including some you’ve never seen before) against each other.However, the Contest is interrupted when Thanos’ forces descend on Earth. What do they have to do with the young heroes?
Man, oh man. Big event crossover tie-ins, right? Why do they even bother anymore. But hold your horses there, Mr. Cynic. This issue is something a little different. Feeling more like a companion piece to Avengers Arena and other books featuring the next generation of Marvel heroes, almost none of the issue feels like a cash-grab tie-in to Infinity. In fact, were it not for the Infinity title on the front cover, you would never know this is related to that event. The book feels more like a crash course intro into different corners of the youth oriented Marvel Universe. Characters from the Future Foundation, Avengers Academy, Jean Grey School, and more are assembled for a gathering that will put them to the test and determine which school for gifted youngsters is producing the most viable talent.
The majority of the issue, as I said, is introducing us to the concept of the book and the characters that will populate it. Only in the end are we treated to a cliffhanger that will set events into motion. I find myself marveling at how adeptly the book was able to draw me in. I don’t read any of the books involving the characters who populate the issue and yet I found myself sucked in. The script is tight and flows from panel to panel fairly effortlessly. If there is one flaw in the book it is that people who are familiar with these characters my grow easily bored with the exposition heavy element of the first issue. As it stands, I appreciated the time spent to set things up and explain everything because if there is one thing I hate it’s not being able to follow a story with characters I don’t know for a tie-in book I shouldn’t have been reading in the first place.
Rating: 3 and 1/2 out of 5
Mighty Avengers # 1
Writer: Alasdair David Ewing
Artist: Greg Land
Price: $3.99
Published: September 11, 2013
The Avengers are light-years away in space, contending with the Builders! Thanos’ marauders ransack the Earth, doing as they please! Who will stand in defense of mankind?Luke Cage! The Superior Spider-Man! Spectrum! The White Tiger! Power Man! And a mysterious figure in an ill-fitting Spider-Man Halloween costume! These unlikely heroes must assemble when no one else can—against the unrelenting attack of Proxima Midnight!
I won’ speak to Greg Land’s art. Let’s ignore that at the moment because I know it’s a deal-breaker for a lot of people. The writing of the issue works. It practically sings. Power Man (the new one, not Luke Cage) is a character I want to read more of. His voice is fun and vibrant, and his interactions with Luke Cage make for enjoyable reading. The interplay between Cage and Spidock-terman is fun and lively. Of course, this is a tie-in to Infinity and spins out of that event. If you’re not reading Infinity, it doesn’t really matter because all you need to know is explained in a matter of pages. All you need to know is that the Avengers are off-world so Thanos wants to break Earth in twain while it is undefended. Luke Cage ain’t gonna let that happen. Oh, sweet Christmas, it ain’t gonna happen.
I don’t know who Alasdair David Ewing is. I haven’t read anything with his name on the cover. This is my introduction to his work. I have to say I’m impressed. The team is filled with characters I enjoy, and something has to be said about the diversity of the team with Luke Cage, White Tiger, Power Man, Spectrum and some new guy called Spider-Hero who is an enigma and a non-entity at the moment. This is the most diverse team I can think of at either of the major publishers, something that will likely get a lot of press given how the diversity in comics debate is starting to really become the major issue of the industry at the moment.
You know what, I’ve gotta say something about Greg Land. Yes, the art is dry and terrible. I’ve seen these same traced facial expressions more times than I can count. I’m just going to leave it at that. Everyone knows Greg Land refuses to advance himself as an artist. I would say stop buying his books but he seems to land (ha!) books that are worth buying, this one included. It’s a book with a diverse cast by a new writer who seems eager to prove himself and it’s likely Land won’t be on the title forever. Do yourself a favor and get the book and try to ignore how the art is trying its damndest to give you eye herpes.
Rating: 4 out of 5
Weekly Comic Reviews – 9/3/2013
This week saw thirteen new 3D covered .1 issues released by DC. My readership of their output has dropped so heavily that I only bought one, and I’ll get to that a little later on. I want to let you guys know that when it comes to DC my views are a little shaded right now. I see everything through the dark haze of “clearly this isn’t meant for me” every time I crack a cover. DC published several dozen titles and I only actively enjoy about three of them. That number will drop when Williams and company leave Batwoman and I drop that like a hot potato. It would take a miracle for DC to put together a creative team for that book that would wash the bad taste of that decision out of my mouth. But hey, that’s just me speaking. Unfortunately I don’t have any Marvel comics to review for you this week, so you’re going to have to deal with a little negative energy.
Artist: Mike Mayhew
CURSES, SPOILED AGAIN – NEW YORK POST REVEALS BATMAN INC # 8 TWIST, INSPIRES RANT
What this has drudged up in me is an inner turmoil that I find hard to put into any sort of perspective. On one hand I know that major news sources like the New York Post reporting on stories in the comic community is good for the industry. It means that there is a cultural awareness that reaches outside the usual circles of Tumblr fanatics and comic-shop fanboys. It gives the feeling that the medium is as much a part of the national zeitgeist as other nerd-chic entities like Game of Thrones or Dexter. There is a water-cooler element to it that I can appreciate.
However, the manner in which these stories break is starting to wear on my last nerve. I worked in a shop at the time Captain America # 25 hit the stands. I was driving into work when an obnoxious tool on the radio spoiled the news of Cap’s death while I was pulling up to the store. There was a line of people outside waiting to get a copy. It was utter madness. I still regret not being able to be surprised by the ending of that particular issue. I try to go in clean and with no expectations when I can, wherever possible.
With major storylines in the comic book medium, it is beginning to look as if that is a total impossibility. I’m not going to reveal the spoiler here because I figure if you want that sort of thing you can look elsewhere. Hell, you’ve probably already read it for yourself anyway.
Film Review – The Dark Knight Rises
The Dark Knight Rises is probably the biggest film of the year. At least in terms of the discussion taking place around it. As such I’ve waited a little bit before even beginning to put my own thoughts on the matter down. With so much media being devoted to ancillary issues surrounding the film, be it the midnight premiere shooting, the insane arguments about the political aspects of the movie, etc. It’s definitely a beast of a film with so much going on that touching on everything would be an impossibility. I know The Avengers brought together plot threads of multiple movies but thematically speaking The Dark Knight rises has just as many irons in the fire. Nolan and company work off of plot threads left dangling from Batman Begins and weave them into something that leads to a very satisfying conclusion. I can’t think of any film trilogy that pulls this sort of cohesion off and doesn’t fumble everything at the last minute. This review should try to examine exactly why that is.
I think the first thing I need to bring up is that there is the constant influence of Christopher Nolan. When a series swaps out the creative forces behind them, the franchise loses focus. How different might things have turned out if Richard Donner had remained onboard for another Superman film after number two? Or if James Cameron had been in charge of the third Terminator film? A steady hand at the till goes a long way. That is why the previous Batman franchise faltered. There isn’t any consistency to them from film to film. Even from the ’89 film to Returns, you can see a shift in the way the people writing the damned thing feel about the character. Thematically, those films seem to fight against each other for validity. With Nolan’s trilogy, there is a logical escalation and cyclical nature to the writing and the overall story. By returning to the League of Shadows in The Dark Knight Rises, Nolan effectively reminds us that Batman Begins was more than just a simple setup film. One of the things I had said before The Dark Knight Rises hit screens was that The Dark Knight felt almost entirely removed from Batman Begins. As a standalone film, it works quite well. You can watch it without having seen Batman Begins and there isn’t enough of a thematic connection that you feel like you have missed anything. The Dark Knight Rises is equal parts a continuation of the themes developed in Batman Begins AND The Dark Knight. The rise and fall of Harvey Dent sets the stage for the action but it is Bruce Wayne’s personal journey that he undertook in Begins that drives his conflict with Bane in this installment. By going back to the beginning in this way, The Dark Knight Rises is a film that focuses on the idea of enduring legacy. Bane is attempting to foster Ra’s Al Ghul’s legacy of destroying Gotham. Bruce Wayne is trying to ensure that Harvey Dent’s legacy as a hero isn’t tarnished. Bane does so through calculated action. Bruce Wayne does so through a calculated lack of action. Both of them received the same tutelage from Ra’s but they implement it differently.
In The Dark Knight Rises Nolan puts the focus on the idea of deception and the cloudy morality surrounding bending the truth. Obviously the biggest example is Batman and Gordon’s lie surrounding the death of Harvey Dent, but there are several other deceptions that drive the film. Bane’s entire plan is centered around deception. Whereas Joker in The Dark Knight was as straightforward in his implementation of chaos, Bane has a separate plan for multiple people and they often contradict each other. He tears apart Gotham as part of his attempt to break Batman, but his plan is only allowed to take root because he lies to the population of Gotham and maneuvers them into playing along with his game. Bane turns the people of Gotham into villains the way Joker wished he could have in the third act of The Dark Knight. In many ways, Nolan is showing how much more effective Bane is as a villain than the Joker was. The Joker was unable to turn the people of Gotham against each other. Bane pulled it off. Nolan shows how powerful a lie can be. Lies have power. That is the crux of the film. Everybody in the film is lying. A major lie from The Dark Knight comes back around to drive a wedge between Bruce and Alfred. Selina Kyle’s actions are guided by a promise that turns out to be a lie. In a film about a man that wears a mask, this is a powerful theme to work through.
Essentially, The Dark Knight Rises is a great bit of filmmaking. It does stumble in some respects. But the parts of the film that make up the whole really pop. Anne Hathaway is an amazing Catwoman. She’s the finest movie version of the character since 1966 and really manages to pull off the dichotomy of wounded, confident, and sexy that the character requires. Joseph Gordon Levitt puts in his usual good work as a character who could have sunk the movie if they had played it differently. If we are going to talk about what works in the film, the character work is definitely tops. Michael Caine and Gary Oldman put in their best work of the series, without a doubt. And since we’re talking about character work, let’s take a moment to discuss Tom Hardy’s Bane. Heath Ledger put in a memorable turn as the Joker, that’s true, but Tom Hardy does something wholly original with the character. The Bane in this film takes elements of the character in the books and evolves him into something else entirely. The Bane in the comics is a cold and calculating man with the same level of intelligence on display here, and he does have the ties to Ra’s, though not identical in nature. But in the animated world as well as that abomination in Batman & Robin, his strength has always been the primary focus. Here, Tom Hardy gives us a man of belief and conviction, one trying to leave a lasting legacy. He plays him with bombast and intensity. I think over time his Bane will be regarded as one of the most interesting comic film villains in history.
So those are my thoughts on the matter. I could probably spend another couple paragraphs on the film but I think I’ve hit the major points. I figure everyone has seen the film by now, but if you haven’t you should check it out, in IMAX if you can. The film is very well shot and plays well on a bigger screen. The Dark Knight Rises is one of the finest cappers to a trilogy you could ever hope to find. I certainly can’t think of a better one off the top of my head. That’s one of the finest compliments I can pay the film.
Review – Batman : Earth One
I didn’t rush out to get this particular book because after the hooplah surrounding the Superman Earth One graphic novel I didn’t want to find myself let down. I was seeing more than a few positive and glowing reviews and figured that a little distance would do me some good. I have been anticipating the book a little bit, as the announcement for the title was made back when I still had a bit more regard for Geoff Johns as a writer. Don’t get me wrong, I still believe he is a great talent and one of the best guys working in the mainstream today but his more recent work does seem to lack the sort of focus he had back when he relaunched the Green Lantern franchise.
With Batman Earth One there is at least something to be said for Geoff Johns getting the tone of Batman. JMS’s work on Superman Earth One was passable but I don’t think he get the tone of what the book should have been. It was far too, as much as I hate the phrase, “street level” in its execution. Batman has that same feel but it goes with the character. JMS would have been smart to study Morrison’s work on All-Star Superman for the sort of tone that really works for big blue. Johns seems to want to play in the Nolan sandbox and that is appropriate. Johns also realizes that because there is no continuity to follow he can throw everything up in the air and be a little dangerous. Some of the changes to established lore might upset a number of Batman fanatics, but that’s okay. Again I point to the sort of people whose heads exploded over Ultimate Spider-Man. Johns’ idea of Harvey Bullock coming from Hollywood as a reality tv cop trying to regain his former glory is something that comes wildly out of left field. Alfred being a grumpy old army colleague of Bruce’s father is also somewhat odd. But within the confines of the book Johns is able to make it work.
More than JMS’s Earth One book, Johns really swings for the fences here and while not everyone will be pleased, I can say that I feel like I got my money’s worth this time around. Nothing here felt particularly rehashed the way that it did in Superman Earth One. The parallels to Superman Birthright in that OGN are almost unmistakeable. Even the death of Bruce’s parents has a different spin. It’s not entirely original. It’s just a retelling. But it feels different in the way that The Magnificent Seven was different from Seven Samurai. The flavor is refreshing.
I hope the inevitable second volume is as willing to play with conventions as this is. Johns teases a personal favorite villain of mine as the centerpiece and for not immediately jumping to the Joker he has scored major brownie points with me.
The Dark Nostalgia Rises – Knightfall vol. II : Knightquest
BATMAN: KNIGHTFALL VOL. 2: KNIGHTQUEST
Synopsis: Mentally defeated and physically broken, Bruce Wayne suffered a crippling blow while battling the brutal Bane. Now, the mantle of the Bat must be passed on to another, and Jean Paul Valley answers the call! But as the new Caped Crusader slowly loses his grip on sanity, his idea of justice takes a violent and deadly turn. Witnessing this dangerous behavior firsthand, Nightwing and Robin try to come to grips with Bruce’s highly controversial decision while the new Batman sets his sights on taking revenge against Bane! Collecting DETECTIVE COMICS #667-675, BATMAN #501-508, BATMAN: SHADOW OF THE BAT #19-28, CATWOMAN #6-7 and ROBIN #7!
When I reviewed the first volume of Knightfall, I spoke about how the book had a charming old-school quality that seemed to rage against the pitfalls of nineties comics’ tropes. The first installment seems to rally against the idea of comics in the Image mold of the time where everything was grim and gritty and the hero must be as violent as the crime he combats. In the second volume, it seems that the nineties enveloped the Batman mythos and everything about the title got flipped upside down to fit with the established status quo of the time. Readers apparently wanted my blood, more bullets, more outlandish mechanical costumes, and a darker, more violent Batman. Or maybe they didn’t and these issues were written to show them that point.
I don’t want to say that Knightquest is a terrible story. I appreciate the fact that the arc of the narrative does build to a satisfying climax and that Jean-Paul’s decent into madness is very carefully spelled out and detailed. That having been said, his story could have been truncated because after a while it begins to get repetitive. His constant struggle with his own inner programming as well as his progressive upgrades to his armor become staples of the story and you can tell when we are going to get a scene with Jean-Paul talking to the ghost of St. Dumas or becoming frustrated with his own results and redesigning the suit. There are several scenes like this and by the end of the book you wonder why they couldn’t have streamlined it a little bit.
My other major gripe with this collection is that Bruce Wayne’s side-story of flying off to rescue Tim Drake’s father is introduced but then never followed up on. He simply returns and we don’t know what exactly happened on that trip. It is a somewhat frustrating element to the collection because it feels like there is something important to that story and yet they do not bother to tell it.
All in all, it is not a horrible story but the first volume is superior in every way and makes these issues look poor by comparison.
The Dark Nostalgia Rises – Knightfall vol. I
Synopsis: In the first installment of this classic storyline, the Dark Knight’s greatest enemies have all simultaneously escaped from Arkham Asylum and are preying on Gotham City. With his city under siege, Batman pushes his body to the limit as he takes on The Joker, the Mad Hatter, Poison Ivy, Killer Croc, The Riddler and the Scarecrow. But things get much worse when Bane, the man behind all the madness, confronts an exhausted Batman – and breaks his back.This massive first KNIGHTFALL volume collects BATMAN: VENGEANCE OF BANE SPECIAL #1, BATMAN #491-500, DETECTIVE COMICS #659-660, SHOWCASE ’93 #7 and 8 and BATMAN: SHADOW OF THE BAT #17-18, including chapters never previously reprinted.
With The Dark Knight Rises coming out soon, DC Comics has decided to collect the entirety of the now-classic Knightfall storyline into three massive volumes. Never before has the entire story been collected in trade. The tale spanned multiple books and is one of the largest crossovers I can think of. I have all of these issues in their original magazine form stuffed in a longbox somewhere but haven’t revisited the series in quite some time. This collected edition makes that task much simpler by assembling all the pieces of the puzzle together for the first time. Previous collected editions have only contained the very core of the story, leaving out the ancillary pieces. By creating a multi-volume omnibus style collection of the story, it is much easier to get a real feel for one of the biggest cornerstones of the Batman mythos. I have to say that Bane’s introduction and the breaking of Bruce Wayne’s spine is one of the most important stories in Batman’s history. It’s definitely up there with the death of Jason Todd. As far as crossovers go, I would say it’s one of the better handled ones I can think of. I think the closest comparison would be something like the Death of Superman or Spider-Man’s The Other. I would argue that it is easily better than either of those.
The story begins with a special issue detailing the origins of Bane, from his birth and time spent in prison on Santa Prisca to his eventual escape and migration to Gotham. I feel like this is where the story makes its best effort to ensure that it is differentiated from something like The Death of Superman in that we get a true feeling for Bane as a character. His introduction strikes me as gloriously silver age in design despite being a character very much cut from the nineties cloth. There is a deliberate nature to his creation and his motives that seems very much like what you would have seen for a new character in the seventies. The only difference is that Bane was created with the storyline of taking Bruce Wayne out in mind and so arguments will be made that he came secondary to the story itself. It could have been anyone who pulled his scheme on the Batman. However, Bane is such an inventive character that you truly have to respect the effort that went into his creation. Imagine if Doomsday had this sort of development instead of having the personality of a rock. I think The Death of Superman would hold up much better. Bane was created to serve a purpose, but he was created in such a manner that after this storyline ran its course he could be used again and allowed to evolve. Doomsday never had that option. Nor did the villain in Spider-Man’s The Other storyline whose name I can’t remember, thereby proving my point. Bane made an impact. He wouldn’t be around now if he didn’t. He wouldn’t be the focal point of a new Batman film if he hadn’t made an impact. He’s been in two major motion picture adaptations of the Batman mythos. There are other high profile villains who don’t even have that honor.
Looking back at this particular volume it is easy to see that it does have some of the trappings that we hold against stories of its time. There is a definite 90’s feel to some of the story but there is a lingering feel of classic Batman style to it as well. Only when Azrael begins upgrading his Batman armor do we get a tinge of the ninetiess comics era that was dominated by the hard-edge pioneered by the folks at Image where violence and grit became the status quo. This story however, utilizing Tim Drake as the audience surrogate, seems to intimate that by going in that direction you lose what makes comic characters like Batman special. While some will call this story the epitome of what was wrong with comics in the nineties, its easy to see how, just as easily, it can be a crusade to uphold what has come before. I never truly recognized that until I gave it a read-through again this time around.
Anyhow, the book is a great deal even at the 29.99 cover price, but many retailers are selling it for almost half of that. You really could find worse things to spend your money on. DC has plenty of lesser offerings at the moment, if that’s what you’re going for. This thing does deserve the title of classic. I’m convinced of that now.
New Dark Knight Rises Trailer…Rises
This trailer is expected to hit in front ofThe Avengers on Friday but it hit the net unexpectedly this morning. I will say that it gives us some more snippets of what to expect but all in all I’m still pretty blind as to what sort of turn this film is going to take when it finally hits theaters. It hints that Bane really does break the Bat the way he did in Knightfall and that we may be getting a sort of absolute finale for the Batman character when the credits roll. I know Christopher Nolan is an unconventional filmmaker to say the least so I don’t expect a simple resolution. Not by a long shot.
Addendum:
Christian Bale’s creepy beard thing here is destroying my psyche.
Weekly Comic Reviews
Guys, this week was a killer. Probably the most major comic release date in a while. You have no idea how many people have been coming in asking about Batman Incorporated over the last few weeks. That final panel in Batman & Robin sold people in a way that I can’t really describe and I for one am thrilled that so many people are realizing how awesome Grant Morrison’s take on the Dark Knight truly is. The man knows what he’s doing. In Morrison we trust.
AVENGERS #7 3.99
BATMAN #704 2.99
BATMAN INCORPORATED #1 3.99
BATMAN THE RETURN #1 4.99
DEADPOOLMAX #2 (MR) 3.99
GREEN LANTERN #59 (BRIGHTEST DAY) 2.99
OSBORN #1 BIG (OF 4) 3.99
POWER GIRL #18 2.99
SIXTH GUN #6 3.99
SPIDER-GIRL #1 BIG 3.99
SUPERGIRL #58 2.99
SUPERIOR #2 (OF 6) (MR) 2.99
SUPERMAN #705 2.99
THUNDERBOLTS #150 4.99
X-23 #3 2.99
X-MEN #5 3.99
Now after a good long day of writing about prostitution in the middle ages for a history paper, I can tell you about how awesome a few of these books are.
The weakest of the new Batman releases is the core title, which sadly seems like a middle of the road affair by Tony Daniel when compared to the amazing work done by Morrison and Finch in the other books released this week. Not to say that the book is horrible, it’s better than it has been recently, especially Daniel’s art which looks less rushed than I’m used to, but unfortunately the entirety of the book seems rather pedestrian when placed alongside the nearly pitch-perfect Batman Incorporated title. I think my main gripe with this title comes from the fact that it reads like a throwaway title from the late nineties or early two-thousands in it’s pacing, its art, and its choice of villainry.
The book suffers from feeling all too familiar to stories we already read but with minor tweaks. Unfortunately, the books that this seems derivitive of aren’t the best parts of Batman lore. I think that the book could stand to take a few more risks rather than settle into a comfort zone that’s so blatantly par for the course.
Then again, when Tony Daniel takes risks we get Catgirl, a character that I almost want to like out of the sheer absurdity of her existence. But then again, my tastes differ in certain areas from the general public so I won’t take a stand on that character until she’s had the chance to mature under another team of writers.
This book is everything you should want in a Batman title. Morrison manages to find the right balance of tone between the ridiculous, the macabre, the adventurous, and the outright fun. The book essentially turns into a globetrotting Bruce and Selina super-happy-fun action hour where Batman and Catwoman fly to Japan to begin preparations for that branch of the Batman Inc. plan to be put into motion but are sidetracked by a murder mystery and a cult of ninja assassins. There’s even some tentacle rape hentai jokes that seem all too appropriate coming from the mind of Grant Morrison.
The artwork on display here is robust and amazing. They really could not have found a better fit. Paquette’s Selina is as sexy as she’s ever been and the subtle touches he uses to portray Batman are astounding. It’s one of the best looking Batman books in a long time, rivaled only by Finch’s work in The Return which I’ll be discussing shortly.
If you pass on this one you will regret it later. This one is a home run in every sense of the damn word. Buy this book now!
I was wary of this particular title. That apprehension faded after the first few pages where Grant Morrison gives us what equates to graphic poetry, telling the story from the perspective of the bat that crashed into Bruce’s life when he needed to find his avatar. David Finch’s artwork guided the narrative with masterful flow and tone, showing off some of his most brilliantly stylized work to date.
That the art is this good is not surprising, given the subject matter and how much Finch loves to work with shadows and the darkness, but the complexities of the narrative were surprising considering that this is essentially the jumping-on point for new readers and Morrison made no attempt to censor his sensibilities and gave us intricate mysterious plot threads as well as hyper-neo-noir technological action adventure with jetpacks and robotics intertwined with some nitty gritty fight scenes.
If you’re planning on reading any of this week’s bat titles I highly recommend that you start off with this one as it outlines the new status quo for Batman quite handily and works to assure us that the people working on every title are going to be working as a cohesive unit to tell what seems like a hell of a story and if this one-shot is any indication, they’ll be bringing their a-game every step of the way.
From Marvel we get the newly minted 616 version of Spider-Girl, formerly Arana, in her first solo title. The whole Young Allies thing didn’t seem to work out so well so I’m pensive about this title, but hopefully they’ll let it go long enough to deter fans from yelling at them for cancelling what amounts to their only major female-driven solo title. (Scarlet doesn’t count, guys.)
It’s off to a good start. Establishing the cast of characters and letting the new readers get to know Arana in case they haven’t followed her from her humble beginnings in the revamped Amazing Fantasy from a few years back. The storytelling style is sound and concise, but from someone like Tobin who has a pretty firm grasp on narrative technique this isn’t really a surprise. The plotline seems familiar, as most superhero books are bound to borrow from each other a bit, but the expression, through a “twitter”-esque thought balloon parade seems fresh enough to distinguish it from other similar go-arounds.
I’m hoping it will stick around long enough to take off, because the character really is an interesting one. I especially liked her when she was in Ms. Marvel, another title that I sorely miss.
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And now I go back to writing about whores. I guess this is what Frank Miller feels like all the time. A-ZING!!!!
Weekly Comic Reviews
After another brief hiatus the reviews have returned, and I’m sure you were all so worried that I’d never get back to the weekly review schedule. Well, here I am. I can’t say much for this week’s crop of books because it was a light week all around. Picking what to review was actually the hardest part of this little endeavor because everything I picked up is in the middle of an arc and if you haven’t made up your mind on a book by part four I doubt my little review is gonna sway you either way. If you do get to part four then read my review and go “well I’m not picking that up!” maybe I need to consider a career as a hostage negotiator.
Arrivals 8-25-2010
ACTION COMICS #892 3.99
ASTONISHING X-MEN #35 2.99
AVENGERS #4 3.99
BATMAN #702 2.99
BLACK WIDOW #5 2.99
CAPTAIN AMERICA #609 3.99
FANTASTIC FOUR #582 2.99
GOTHAM CITY SIRENS #15 2.99
GREEN ARROW #3 (BRIGHTEST DAY) 2.99
SHADOWLAND MOON KNIGHT #1 (OF 3) SL 3.99
SUPERMAN SECRET ORIGIN #6 (OF 6) 3.99
THOR #613 3.99
WONDER WOMAN #602 2.99
X-MEN LEGACY #239 2.99
Now let’s get this over with.
I praised the first issue of Avengers as a return to the classic feel of the title with a little bit of Bendis’ trademark style. Four issues in, I still get the classic vibe but I don’t so much think that Bendis’ Bendis-ey tendencies (that’s an odd rhyme) are all that suited for this sort of book. Contrast this with New Avengers where he’s really feeling his groove and hasn’t lost a beat since the last volume and you can see where he feels more comfortable. Bendis likes to do epic on a small scale. Epic as it pertains to the individual or a group of individuals. In New Avengers, it’s really Bendis’ statement on how Cage has grown as a leader and Doctor Strange’s role in the world of magic. You can boil the importance of the arc down to two characters, in essence. With Avengers it’s a little harder to do that. And while it’s still a good book and an interesting read, I’m not sure if it has Bendis’ singular focus. However, Bendis does get major brownie points with me for his use of Killraven. I mean, when was the last time we saw that guy? All I know is that its cool that he’s getting a little face time because I think he’s a great character.
Where I’m sure I’m going to lose alot of you is my feelings on the artwork. Now, I like JRJR, I think he’s a great talent and he’s practically synonymous with Marvel. That having been said, his work here looks rushed. I don’t doubt that he was rushed. But this is the Avengers we’re talking about. The Avengers should have the best art in the damned company as far as I’m concerned. New Avengers looks amazing. Avengers looks like a sketchbook that’s been colored in. There’s none of the finished nuance of his work on Amazing Spider-Man or KickAss (though Kickass took like three years to finish eight issues, so he probably wasn’t as rushed.) But all the same I would rather the book come out every five weeks to give the man some extra time than have an Avengers book that looks like it was drawn by someone with shaky hands and blurry eyes.
The book is still strong, it’s just weakened by Bendis being out of his comfort zone and Romita’s art running at about 50% his usual standard. But it’s good to have the real Avengers doing stuff that the real Avengers would do. Thor smashes a martian spacecraft in this issue. That’s the Avengers I love.
Marjorie Liu finishes the first arc on Black Widow as well as her tenure on the title with the fifth issue here. Next month Duane Swiercanspellhislastnameski takes over and crosses the title over with Hawkeye and Mockingbird. I don’t know what the tone shift between the two writers will be like but I’m pretty sure it’ll be minimal. This issue basically serves as a 32 page “exhibit A” as to why Black Widow is a badass. She does a lot of ass kicking here, and proves that in addition to being a spy and an Avenger she’s also a pretty good nude bondage model. (Yeah, I’ll scan that panel later, I promise.)
They’ve done a good job with this book. Black Widow isn’t the most amazing character in the world. She’s essentially a female Jason Bourne at this point. Effecient, badass, and portrayed by an A-List actor on film. As far as the writing on the book is concerned, Marjorie Liu is able to pull together the personal narrative with the spy action well enough that you’re left wondering why Black Widow hasn’t had a monthly title for so long. If there’s one thing that she does right with Natasha it’s that she makes her an organic and viable character that has room for years worth of stories based just off of the work in this introductory arc. Whatever comes next, it won’t feel like they’re trying to cash in on the character because of her appearance in Iron Man 2 but instead because there are stories that need to be told based off of what has been established.
I’m not sure what Duane is going to bring to the book, but he has big shoes to fill. Actually, I don’t know what size shoes Marjorie Liu wears. He’s got a lot to live up to that’s for sure. I expect at least one more equally awesome cold-storage bondage moment out of him before I think he’s anywhere near Liu’s level.
When I first picked up Shadowland I promised myself I wasn’t going to get the tie-ins. I was going to give Marvel the finger when it came to the side-books that had no real bearing on the actual story. Now we’re about two months in and I’ve gotten every tie-in they’ve released so far. Congrats Marvel, you’ve got your hooks so far into my hide that I can feel it in my colon. Anyhow, it’s not a bad thing because every tie-in book thus far has been worth the money. I haven’t been let down by anything in the Shadowland pantheon as of yet. I picked up this one because I was hoping to figure out where Moon Knight plays into the whole thing and how he wound up in the underground prison in the main series.
While the book does address those issues it also seems to focus on the themes presented in the Vengeance of Moon Knight book with Moony becoming a less violent hero and Khonshu taking it the wrong way, seeing as how he lives off of the blood that his avatar delivers to him through acts of vigilantism. I assume I’m getting that right, Moon Knight can be confusing sometimes. So Khonshu is haunting Moon Knight in his dreams and his waking hours in the visage of a gigantic chicken (I know he’s not really a chicken, but he looks like one and I find that funny) and another nutjob is running around as the “Shadow Knight” giving Khonshu the blood he wants and making Moon Knight feel all guilty. It’s a damned odd book but the way they weave it through the Shadowland tapestry makes it worth picking up.
Also, I guess Quesada pulled the stick out of his ass about the smoking edict because one of the characters is perpetually puffing away in this issue and that kind of made me chuckle.
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Well, that’s it for this week. I’ll be back next week with more unless I get another superflu of some sort. If that happens I swear I’ll never leave the house again.
Weekly Comic Reviews
Here’s the deal. I’ve been busy with a TON of stuff today. Like, just about everything that I need to do in a given month I had to get done today and then some. So you’ll have to apologize when I eschew the typical format of these reviews and go about this a little differently this week. This week’s reviews will be comprised of just two books, Batman and Superman # 701. Basically, the biggest two books to hit this week. I mean, Birds of Prey # 3 was awesome, and a bunch of people who went apeshit over certain events in the second issue had eat some serious crow. I finally picked up a copy of The Sixth Gun which I recommend to anybody who likes Jonah Hex but wants a little bit of mysticism thrown in without being outright terrible like the film. Also Generation Lost made me fall in freaking love with the Rocket Reds.
Let’s start with Superman # 701.
Dear god, this whole issue seems like 32 pages of JMS trying to justify the premise of his arc to us by hammering us over the head with apathetic retreads of tired philosophy and even more tired retreads of scenes that Grant Morrison already did to perfection a few years back with All-Star Superman. Seriously, that suicide jumper scene was basically everything Morrison did but stretched out for a few pages with no sense of gravitas. It’s so mind-numbingly blunt that it looses any and all effect.
I think my biggest problem with JMS’s retread of Hard Travelin’ Heroes starring Superman is that JMS doesn’t seem to write Superman in the classic sense. The Superman I know is not the spiteful, sarcastic, embittered abuser of power that we get in this issue. This feels like Stracynski trying to finish out what he had wanted to do with Thor but couldn’t because he got tossed to the curb by Marvel editorial. I think that a lot of the bitterness that he feels over how that panned out is being transferred onto his Superman. Superman here doesn’t feel like he needs to answer to anybody. Not reporters, not the man on the street, nobody. He is sick and tired of everyone’s impatience and expectations. The problem is, he’s made Superman borderline unlikeable in this instance.
I’ve seen just as much love for this issue as I have hate, so obviously he’s struck a chord with people. But I’ve noticed that a lot of the praise is coming from people who are new to reading Superman on a regular basis. A lot of first timer’s interested by the premise got drawn in, and having no attachment to everything that makes Superman…well, Superman, they find this sort of bland retread to be new and fresh and exciting.
It’s not.
It’s lazy and it doesn’t really work for anyone who has any real understanding of Superman as a character. Some would argue that JMS is attempting to write away the flaws of Superman, but by turning him into a cynical jerkwad doesn’t do anything but create more flaws. It alienates the previously faithful readers and the new readership is not likely to stick around in the long run.
It’s not the worst issue of Superman ever written, it’s just an egregious slap in the face to fans of the character. It collapses under the weight of it’s own self importance and in the end will just be another footnote in the long history of the book that people look back on and sort of chuckle at.
Still better than Electric Blue Supes.
On the flipside, we have Batman 701, which goes back to the moments immediately following Batman R.I.P. and leading up to Batman’s collision course with Darkseid in Final Crisis. This issue is the first time in a while we’ve seen Bruce Wayne in the suit for the main story. I think Morrison was wise to hold off on this issue until now, simply because it gives the audience a broader understanding of his entire overall story and allows for the reader to follow the action with greater ease than if it had come immediately following R.I.P.
The artwork is just amazing, a step-up from Daniel, whose work seemed to be rushed while he had to perform the writing duties as well. There is more definition, more style on display here. It matches the mood of the story perfectly, and I think that goes a long way towards crafting an excellent issue.
The basic premise is centered around Hurt’s declaration that following the events of R.I.P., if Bruce were to wear the cowl again it would be the last time. A prophetic curse that weighs heavy on Bruce. It’s interesting that he takes this to heart the way he does, seeing how he comes down on criminals as being overly cowardly and superstitious and I don’t think that is an accident. Morrison doesn’t do coincidence.
His reaction to the death of a New God shows us exactly how Morrison feels about Batman as a character and it works well within everything that’s come to be associated with Bruce as far as his determination and his psyche. It’s the exact opposite of Stracynski’s Superman in that regard. Nobody will accuse this Batman of not being in character. He is the driven detective, the dark knight and he acts as such.
I’m looking forward to the rest of this arc.
Happy Father’s Day
I could have gone with a Batman “Dead parents” joke but we’re classier than that around here. You’re welcome.
Weekly Comic Reviews
It was a hectic week at the shop. UPS lost one of the shipment boxes, and it happened to be the one that contained the packing list in it. Not gonna lie, UPS is about as competent as a brain-damaged snail when it comes to the handling and delivery of packages. When that’s your entire purpose for existing and your that bad at it, perhaps you don’t deserve to be in business. Just saying. Actually, I’m not really saying anything as much as I’m venting. There’s a subtle difference and most of it has to do with the tone of voice I hear inside my head while I type this, which is probably not conveyed very well as text over the internet.
ARRIVALS 5-26-2010
AMAZING SPIDER-MAN #632 2.99
BATMAN RETURN OF BRUCE WAYNE #2 OF(6) 3.99
CHOKER #3 (OF 6) (MR) 3.99
DAZZLER #1 3.99
DEADPOOL MERC WITH A MOUTH #11 (OF 13) 2.99
DETECTIVE COMICS #865 3.99
EARP SAINTS FOR SINNERS #0 1
FALL OF HULKS SAVAGE SHE-HULKS #3 (OF 3) 3.99
FANTASTIC FOUR #579 HA 2.99
FORTUNE & GLORY A TRUE HOLLYWOOD COMIC BOOK GN HC 19.99
GOTHAM CITY SIRENS #12 2.99
GREEN LANTERN #54 (BRIGHTEST DAY) 2.99
JUSTICE LEAGUE GENERATION LOST #2 (BRIGHTEST DAY) 2.99
POWER GIRL #12 2.99
PREVIEWS #261 JUNE 2010 (NET) 2.7
SECRET AVENGERS #1 HA 3.99
THOR #610 SIEGE EPILOGUE 2.99
THUNDERBOLTS #144 HA 2.99
WOLVERINE WEAPON X #13 3.99
WONDER WOMAN #44 2.99
X-FORCE #27 XSC 2.99
X-MEN ORIGINS EMMA FROST #1 (MR) 3.99
And because I have access to the internet, now come my opinions:
DAZZLER # 1
I freaking love Dazzler. If ever there was a character who deserved more respect, it’d be her. She pre-dates Jubilee and has enough of a sob-story background to appeal to the angst-happy comic reader of the modern generation. It would be a dream come true for me to write a team book led by Dazzler and Boom-Boom that goes off and fixes all the problems that the A-Listers can’t because they’re too busy dealing with a crossover or something.
The issue picks up on the threads left in the Necrosha crossover following Dazzler’s run-in with her sister, a mutant who can kill with a single touch. She and Rogue should have a pow-wow. Anywho, Dazzler’s feeling all misdirected and shaken up after the events of Necrosha and then has to deal with Arcade kidnapping her and dropping her into Murderworld, which honestly needs a new name as I’m not sure anyone has ever been killed in Murderworld. It sounds all ominous and scary but Arcade is probably the least successful X-Villain with the best ideas for marketing.
Here’s the sad thing about this issue; it’s really good. But not a whole lot of people are going to pick it up because Dazzler has essentially been reduced to a one-note joke and nobody realizes the potential there is for good stories with her in the lead. I’d rather read a story with Dazzler than Cyclops, honestly. But then again, that’s just me I guess.
EARP : SAINTS FOR SINNERS # 0
I love proto-futuristic, psuedo-apocalyptic stories. The environment presented in those types of books usually do it for me. They just suck me in and I don’t want to leave. Earp has the added bonus of transplanting famous historical gunslingers from the past of the American west and dropping them into the future. Is there any reason why they couldn’t have told this same story with new and original characters? From what is presented in the pages of this zero issue, the answer is pretty much a solid no. There’s not any real impedus given for the characters relation to historical figures, it just works with the story they’re trying to tell.
Radical publishing is hit and miss with me. I love Last Days of American Crime but I never quite got on board for FVZD or Hercules. This book seems to fall within my sensibilities. I think that’s why I added it to my pull sheet when I saw the ad for it in Previews. It takes a lot to get me to jump onboard a series nowadays, so it’s high praise when I say that something will keep me around for the next issue, which is the case here with Earp.
POWER GIRL # 12
This issue was darn near perfect. It was a great send off issue for the creative team that has kept me onboard for the last year and made me punch a wall when I heard they were leaving. This issue we get all the major players from the series coming back and tying up the loose ends so that anybody who doesn’t want to stick around can feel like they had closure. I’m still not sure if I’ll be sticking with the book when Winick comes on. I feel like I have to because I don’t want DC to think that the demand for Power Girl isn’t there.
But seriously, if you can find the issues still on shelves, pick them up. Or barring that, be sure to pick up the trades. Because this run was seriously some of the best anything that DC put out in the last year. For sure.
SECRET AVENGERS # 1
Ed Brubaker. That guy is something. I feel like if GI Joe had never left the Marvel umbrella all those years ago, this would resemble his take on that particular property. Brubaker knows how to utilize characters to their fullest extent, and here he meticulously points out how every member of the new covert ops Avengers team fits into the mold and makes sense in their appearance in the book.
I also get the feeling that he’s gearing up to write something that has the same scope and over-arching intricacy of his Captain America or Iron Fist runs. It’s easy to see that he’s hitting the ground running a little faster than Bendis is over in the flagship title, where by the end of the first issue we’ve already seen the team operating on multiple levels and we have an idea of what kind of foe they’ll be up against.
I won’t argue which of the two writers is better, as they’re working in two entirely different arenas, that having been said I do believe that Secret Avengers sucked me in a little better than Bendis’ mainline book, simply because of who they have on the team and the manner in which they were utilized. With Nova’s book off the market, this seems to be where I’m going to get my fix and I like the way Brubaker handled him in the overall context of the group.
This is going to be a series to keep your eyes on.
X-MEN ORIGINS : EMMA FROST # 1
I almost didn’t pick this up. I’m not going to lie. I’ve mostly ignored the other installments in this little expirement, but I like Emma Frost as a character. I think that she has the most potential for interesting stories out of any of the high tier X-people on the roster right now, with the possible exception of Rogue, who has been proving her value in X-Men Legacy for the last few years.
Having read the issue, I would like to say that with all the books that came out this week, only two inspired real gutteral emotional responses from me. One was War of the Supermen, where (***SPOILER***)Krypto took a kryptonite knife to the spleen to protect his master (***END SPOILER***) and the other was this issue, where Emma’s struggle to deal with her father twisted my stomach into a pretzel. I think that we all have a sort of undying need to please our parents, but the extremes presented here with Emma’s dad exemplify the sort of worst-case-scenario that every child fears. Emma’s father is presented as the physical embodiment of the no-win scenario, and the manner in which she deals with his abuse, and let’s face it, whether his intentions were pure or otherwise, such treatment of any child is abuse, forms Emma into the character she is today.
Most of the best X-Men stories revolve around family. The X-teams are essentially the family that most of the members never had. This issue ties into that by showing how important family is to the development of certain characters. Emma has a family in the beginning that offers no solace and she drifts from the Hellfire Club to the X-Men later in life, all in the search of the acceptance her father never gave her. Such a story could have come off as overwrought or melodramatic, but this particular issue handles the situation well and seems organic to what we know about Emma overall, which is the true test of validity for a story like this.
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I’m done for now. Have to get some rest before the weekend, as it looks like it’ll be a long and tiring road ahead of me. Cheers.
What Would You Write?
Yesterday while working in the shop, a discussion formulated about this blog and my attitudes toward certain writers or characters. The conversation inevitably led to the question, if I were writing for DC or Marvel, what character would I most like to write and who says I could do any better than the people writing that title at this very moment.
The real truth is that while I absolutely adore the characters of DC and Marvel, I don’t have any true aspiration outside of perhaps a childhood fantasy wish fulfillment scenario to write those characters. I don’t think I’m particularly well suited to writing in that particular field. Not because I dislike serialization or don’t think that I have stories that fit the characters, because I do, but moreso because I would rather self-publish a book entirely of my own design in the mold of fellow Houston writer/artist Terry Moore, or have an original creation published through Image or some other publisher.
I am in fact working on the script for such a series, though I don’t know how I plan to publish it. Either through the same company that I used to print my first novel or to shop it around to publishers like Image. I suppose I need to get an artist on board first, as that would be a major part of getting the thing published in the first place.
But back to that original question, if tomorrow I got a call from the people at Marvel or DC and they said they wanted me to pitch them a story for a character of my choosing, who would I choose to write? Everyone here should know how much I absolutely love Batman. I mean, the first film I can remember seeing was the 1989 Batman movie with Jack Nicholson and Michael Keaton. I’m currently wearing my “lucky” bat-symbol boxers as I type this. But I don’t think that I would be able to take the reins of Batman either in his main book or even in an ancilliary mini-series due to the fact that there’s too much hovering over my head in terms of expectations, and I fear that immediately following my run some big name writer would erase my work with the stroke of a pen and all my writing would have been for naught. And were I to do a mini-series it would likely be regarded as insignificant and passed over.
The same goes for characters like Captain America or Spider-Man over at Marvel. I’d be so intimidated by the legacy of those characters that putting my name on the book would render me into a quivering neurological mess.
So who would I like to write?
Over at DC, there’s only one choice:
That’s right damnit, Power Girl.
Why? Because I love fun characters, and PG is one of the most fun DC has to offer. I feel like she has been written extremely well by some really talented people, especially the current creative team, whom I will be sad to see depart with this week’s issue # 12. That having been said, there is plenty of room for expansion on the character. I think that there are many writers who are two quick to see what’s been done with her and reduce the book to a one note joke or they don’t know what to do with the character at all.
I would like to take hold of Power Girl and expand on the great work that Jimmy and Justin have done, and bring her to prominence in a way that makes it hard for her to be ingnored in the grander scheme of the DCU. Essentially do for her what Marvel has done for Ms. Marvel lately. Her book may not have been a mega-seller but it did raise her level of recognition and ingrain her into the rest of the shared universe, making her a central character. PG may be a member of the JSA but she’s not popping up in other books simply because she’s such a public figure in the whole of the DC universe.
In the grand scheme of things I suppose most of the characters I would most enjoy to write would be the ones who have been written well in the past but aren’t really very prominent when you look at the progression of the shared universe as a whole. Over at Marvel I’d love to write She-Hulk, Wonder Man, and I’d really like to try my hand at The Runaways even though I know that the internet would condemn my writing before a page ever hit the stands.
Will any of this ever come to fruition? Probably not. I think my teeth gnashing towards Geoff Johns has essentially black-listed me there at DC, and I’ve been fairly vocal about my displeasure with Marvel from time to time. I’ll have to publish my own horse-crap from here until the end of time.
Such is life.
The Next Batman Movie Is Coming…
I could very well be talking about the fact that the sequel to The Dark Knight now has a July 2012 release date, but I’m actually talking about Batman XXX: A Porn Parody directed by Axel Braun.
Ladies and gentlemen, fuck Christopher Nolan.
Things Batman Has Taught Me Over The Years
1. He’s Batman
2. All Problems Can Be Solved By Face Punching
3. He’s The Biggest Mack Daddy This Side of Tony Stark.
4. He’s Not Getting Over His Dead Parents Anytime Soon
5. He. Always. WINS.
This has been a shameless waste of time, but it’s better than no content at all, so suck on that while I take a nap.