Pfeiffer is Now the Meow About Town
Following Scott Morse’s three-part story in Catwoman #38-#40, Will Pfeifer jumps on board as the new Catwoman writer beginning March 2005. DC Comics has confirmed for Newsarama that Pfeifer will be joined by penciler Pete Woods on the title.
Sure, the name’s familiar, but for the writer, comics aren’t (yet) his full time gig. Pfeifer is assistant features editor for the Rockford Register Star newspaper. He got his first break in the comic book industry when he collaborated with artist Jill (Scary Godmother, Death: At Deat’s Door) Thompson on Vertigo’s Finals.
Comic news is like your catnip so stop holding out and just go on over to Newsarama.
Pfeiffer impressed me with HERO, no doubt about that. It is good to hear that he is keeping a lot of what people loved about Catwoman under Brubaker. However, there is this one phrase that keeps coming up”¦
“For now.”
The costume will remain”¦for now. The tone will remain similar”¦for now. And so on. I don’t know what that means, and every creator has the right to make their own impact on the character, but”¦well, the “for now” tends to mean, “until I change EVERYTHING,” and nothing makes us fans more nervous than things changing. However, for now, (there it is again!), it seems like Selina is going to keep on the path that Brubaker and Cooke began.
This article also confirms Pete Woods as the artist on Catwoman, which I believe is the first time that anything official has been said on the subject. Look for an interview from Comics Nexus with Pete Woods somewhere on the horizon. Sure, we won’t be breaking his new assignment like I’d hoped, but are getting to get in-depth with him and you are going to love it.
One question that probably won’t make the list, but I wish would, is, “Why does it look like Catwoman is fighting Mutant 2099 in those preview pages?” But, of course, I kid. Woods has proven himself on Robin and on Batman and I have no doubt he’ll do it here as well, unofficial inter-company crossover or not.
Floyd Lawton, Meet Your New Maker
Steve Cummings always wanted to draw comics for a living, but it wasn’t until he moved to Japan for Graduate School that he truly got serious about this career path. He learned to draw in Japan and, when he returned to the States, he began working with IDW on Kamen, Elektra for Marvel, Flash for DC, and the Deadshot miniseries written by Chris Gage. He told us, “This miniseries moves beyond the normal comic book in a way that I think will draw a lot of new fans to Deadshot.”
Set your sight and take aim at The Pulse
I have a review of the first issue at the bottom of the column this week, but let me just say here that Cummings has outdone any and all of his previous work here. I really enjoyed the Mirror Master issue of Flash he did, but honestly thought his work on the costumed aspects of the story was the weakest part of the whole thing. Here, there are none of those problems. If he keeps getting this dramatically better with each new assignment, DC has a man of scary talent on their hands.
Big Smiles Everybody!
He’s been a thorn in the Batman’s side for over 60 years, but in February, DC will release Batman: The Man Who Laughs by Ed Brubaker and Doug Mahnke, a story which presents the first meeting of Batman and the Joker in current continuity. Inspired by the original story from Batman #1 in 1940 by Bob Kane, Bill Finger, and Jerry Robinson, the new special takes its name from a 1928 silent movie, whose villain, Kane later recounted, gave Finger and him the inspiration for the character (Robinson also claimed that he had come up with the idea for the Joker).
The February one-shot realigns the first meeting of the hero and his nemesis a little, in that it’s set just after Frank Miller and David Mazzuchelli’s Batman: Year One, and thus shows a pre-Robin (he was there in the 1940 version) going up against the Joker for the first time. We spoke with Brubaker about the story.
Get in on the joke at Newsarama
It’s disappointing to here that what might have been the only time Steve Dillon would draw Batman went slip sliding away, but taking a look at the preview pages, Mahnke stepped up nicely. As I have said in the past, I am always impressed with artists who can change their style depending on whom or what they are illustrating and the tone of the story. With his work here, Mahnke appears to be just that sort of creator. That’s good news.
DC loves its Year One style stories, especially when it comes to Batman. Heck, they have an entire title practically setup for only that sort of thing (LOTDK). So sometimes, I just say “eh” and don’t give much thought to when they are doing it again. Recent examples include the Robin: Year One and Batgirl: Year One stories. I heard they were pretty good and everyone knows that I love Mr. Dixon, but a man can only take so many prequels.
That occasional bias being confessed to, this story does sound like it has angle that would work for me. The idea of a Batman at the start of his career, having strained only for the common criminal, coming up against the madness of the Joker for the first time is a brilliant angle that I am stunned has not been explored before (except in LOTDK #50, which I myself have not read and I don’t believe is considered canon). How does the Batman of Year One deal with his first, and most dangerous, “freak” villain for the first time? I don’t know, but I am so there.
Time to Get Byrne-d
Controversial creator John Byrne made his only convention appearance this year at the Mid Ohio Con in Columbus, Ohio this past weekend. To his fans’ chagrin, the event was advertised as his last appearance”¦ever. Fans seemed to forget their sadness as they sat down for an hour long questions and answer session with the man himself. Byrne covered everything from future X-Men plans to Christopher Reeve, to how he draws his pages.
Check out the last appearance”¦ever (*giggle*) at Newsarama
Last appearance ever? Why even say that? If he was retiring, maybe I’d buy it, but come on now, he’s still getting all sorts of work. And some people love the Byrne. Why risking being the Cher of the comic book world.
I also don’t know he bothered tackling the controversy about Christopher Reeves again. I get what Byrne is saying, that Reeves simply did a good thing with a bad deck of cards and that that does not make him a hero. I am sure many would disagree with that. However, the way Byrne talks about it seems to always just dig himself deeper. I know he has made a career out of speaking his mind, but sometimes, I feel like, you have just got to swallow it and realize that this one is lost.
The writer of this article also seems to be striving to incite a little controversy, I would say, unnecessarily. At one point, the article turns to DC and Marvel’s big events, and the article reads, “To the audience’s surprise he has not read them but that doesn’t stop him from having an opinion on them.” But Byrne’s quote on the matter is so benign, so even that it makes that lead-in seem inflammatory. What Byrne says amounts to, “I get nervous when companies plan a large, overarching series of changes.” So do I. So, I think, do most fans. He didn’t spout off something like, “ID Crisis was the worst story on earth,” or anything of the sort. It might be semi-ironic given his role in the post Crisis DCU, but that is not where the writer is leading us. Instead, it is a setup for outrage, “How dare Byrne comment on a series he has not even read,” when really Byrne is just commenting on trends.
Sleeper Agent Phillips and the Five Questions of Doom
I’m definitely a fan of the less-is-more school of comic art, guys like Alex Toth, Darwyn Cooke and this guy, Sean Phillips, all of whom can take a minimum of lines and a masterful understanding of page design and mood to convey any situation the script calls for.
Phillips and writer Ed Brubaker have had my full and complete attention with Sleeper for many, many months — making this super-powered espionage book one of the most unpredictable and exciting books on the stands. With six issues to go on Sleeper’s second season, Phillips and Brubaker are looking ahead to some creator-owned works that I have no doubt will push the medium ahead as they further explore the possibilities of their rich, rewarding creative partnership. I was thrilled Sean took the time to respond to The Five Questions.
Reading 5 questions is not much of a commitment at all. Plus, it is Phillips. So click on over to Newsarama because you know it is the right thing to do.
Five questions to too short to justify my prattle. Good interview though.
They’re No Newsboy Legion, But”¦
This December, everyone’s favorite “Legion” of teens from the future are going to be seeing big changes and that doesn’t just mean adding the “of Superheroes” back to their name.
Under the guidance of writer Mark Waid (“Empire,” “Fantastic Four,” “Superman: Birthright”) and artist Barry Kitson (“Empire,” “JLA: Year One”), DC Comics is bringing back “Legion of Superheroes” in a big way. With the new vision of the Legion ready to hit fans in a few weeks, Waid took some time to speak to CBR News about the series and address this big question: is this a reboot or reinterpretation of past events?
To read all about the other Legion, go to Comic Book Resources
So this is awkward, but”¦
I just don’t have much to say here. I am impressed that the book will run 30 pages for every issue instead of the traditional 22. Besides that though”¦I got nothing.
Sorry.
Presents! From USA Today!
Comic books aren’t all about capes and secret identities. Several recent collections unearth rare, underground and early works that don’t often get the Hollywood treatment.
Though they’re not appropriate for children, they may make adult readers recall childhood trips to the comic shop. Here’s a roundup of the best offerings:
Check out the link for a few more ideas to buy fellow comic fans for the holidays at USA Today
NOSTAGLIA TIME (Presented by The Tony Bennett Box Set (aka That Box Set from That Guy Who SO Is Not Sinatra)
Batman: Gotham Knights #1-11
With War Games now behind us, I looked to the past and the No Man’s Land mega-crossover that dominated the Bat books for over a year (if one includes the Quake as well). And then I thought”¦damn that is a lot to review. So I put it away again and instead picked up Gotham Knights, the book that was debuted the month after Gotham rejoined the United States as, essentially, Shadow of the Bat’s replacement. Devin Grayson (still rocking her middle initial K back then) was given the writing duties and created a book that used a third person narration (via “Files”) to focus predominantly on Batman’s relationship to his supporting family. Additionally, the first 11 issues of the book were concerned with the mysterious writer of these files. Was it a new villain or and old villain? Alfred? Bruce himself? And what did those files mean for the future. It was an ambitious start to a new series and Grayson’s biggest gig yet. Made up predominantly of one shots, the first overall arc culminated in a four parter that revealed the writer of the files and marked the return of one of Batman’s more interesting villains. But were they related? Let’s find that out together as we journey back to March of 2000 and the beginning of the series.
What Worked
The setup is very smart. Although the first 11 issues are, when completed, all one big story, Grayson does a great job of breaking down the parts so that they can stand on their own while feeding into the larger story.
The stories themselves are strong as well. Grayson makes great use of Batgirl’s guilt (and possible deathwish), Barbara Gordon’s feelings of isolation and loneliness, Batman’s inability to save everyone given (sort of) human form, the missed opportunities of Doctor Leslie Tompkins and Alfred Pennyworth, and Dick Grayson’s enthusiasm, trust, and love. Also, for a JLA dork like me, it is cool to see the Key show up in only post-Morrison makeover appearance (that I am aware of) to date.
However, none of this would make a difference, I expect, if the common thread, that of the mysterious writer, did not prove compelling. The third person narrator approach is rarely used for any great period of time and can often prove quite off putting. Here, however, Devin is successful in its use. The mystery is consistently intriguing and the third person narrative proves quite insightful about what makes Batman (and Company) tick the way they do.
The art is also generally strong, with the highlight, for me, being Eaglesham’s work on 1, 2, and 5. Paul Ryan and Roger Robinson, however, do quite nicely on their issues. I just have a person preference toward Eaglesham’s art when it comes to him drawing Batman.
What Didn’t
The reveal of the true writer is interesting on the surface, but there is never explanation enough offered for that character to be writing them. As a result, it feels a bit silly and underdeveloped when it all comes out. The previous issues’ narration proves perceptive and attention-grabbing enough to justify its presence regardless. However, since the first 11 issues were all, seemingly, driving towards that moment, the offhand nature of the reveal and the lack of satisfying explanation is a disappointment. For something that had heretofore proven so insightful, this was an odd moment to drop the ball.
Stand Out Issue
For me, it is issue #5 which features the return of The Key and Eaglesham at the top of his game. Oddly enough, it is probably the weakest use of the third person narration, but I didn’t really notice while reading it. I think there are issues that are stronger overall, but this sticks out as my favorite read of the bunch.
Bottom Line
The device (or gimmick) that initially garnered this book all its attention when it debuted ended up proving to be its weakest part. The good news is by that point, the series had more than proven itself on its own grounds. Grayson knows the characters and it shows. The art is crisp and clean. The storylines are interesting.
I just wish I could get a better explanation for the writer.
OPINIONS ON THE WORK OF PEOPLE FAR MORE TALENTED THAN I
THE QUESTION #1-2
For fans of prose so purple it would embarrass Barney the Dinosaur, this is the book for you. Otherwise, the only thing to really recommend it is the art. Color me disappointed.
RICHARD DRAGON #5-7
And now, on the opposite end of the scale, we have Mr. Dragon, who is the model of efficiency in vocabulary. When you are kicking a$$ (admire my wit with the avoidance of swearing) who has the time for anything by clipped, simplistic language? Despite what the faceless chap above may lead you to believe, the answer is no one.
This book is not bad, it is just so mediocre that, with the creators involved, I always end up feeling a bit cheated.
FIRESTORM #8
I have a review of this coming up later in the week. I hope you can wait til then to see how I felt about this. Nay, I don’t hope”¦I pray.
DEADSHOT #1
This is not a big event miniseries, but I very much hope that doesn’t prevent you (and you, and you, etc) from picking it up. Christos Gage, a newbie to the world of comic writing (coming to us from the realm of entertainment I like to call, “the Teevee”), gets the character and is able to nicely adapt to script writing for comics (as opposed to TV). The issue has a background in continuity, but nothing that overwhelms. It is what I would call the “good” type of continuity. Everything from the past that you need to know is explained right there on the page, making it approachable for new and old readers alike. Plus, for the more hardcore in the reading audience, there are a subtle drop ins that will make them go, “ooh, cool,” but still work just fine for those without that background.
Nice superhero art too from Cummings, last scene on the Mirror Master profile story in The Flash. As I predicted when the preview images of this series were released, his work here is head and shoulders above that previous assignment. The figures have weight in and out of costume and he has a good sense of layout, both panel and within the panel.
Like I said, this is not a big splashy event miniseries, but it is still well worth the read.
DETECTIVE COMICS #801
This is what I get for getting my hopes up. The first full issue of Lapham’s City of Crime read remarkably like the preview short story a few weeks back. And by remarkably, I mean, redundantly. The narration is a bit plodding and what once sounded unique and cool to me comes across as “same as it ever was” on the page. The art is laudable, but the total package left me unimpressed.
MONOLITH #10
Yes, this book is cancelled. That does not mean I have to stop enjoying it though.
The final slugfest is well drawn by Phil Winslade, who, honestly, I can never say enough good things about. However, what really made this issue work for me was The Monolith out of fight mode, when his childish nature shown through. The Gentle Giant mold has been fitted to Frankenstein, The Hulk, heck even Lenny from Mice and Men before, but done well it is an effective device. Here it is done very well. The Monolith, so brutal in battle, is like a small child or puppy every other time. He has a great sense of wonder and hope to him. Sweetly, he seems to have no more ambition beyond being there for his friends.
My lone strike against this book is Tilt’s reaction to having gotten HIV. It is all well and good for her to proclaim herself a “whore” and to say that HIV is her punishment. I am sure a lot of HIV positive individuals feel that way initially. I am even okay with Monolith having brought up her doing “bad things” as it is a reflection of his childish state of mind. What I don’t like is that Alice does not step in. She never attempts to argue or disaffirm Tilt’s belief in her “dirtiness”. Thankfully, Monolith seems to come out with the right thing to say, but Alice’s silence comes across as an agreement and I just don’t see her feeling that way.
That is all she wrote on this edition of DC News and Views. Remember that we have entered the month of holidays a go-go, so Christmas, Chanukah, and Kwanzaa are on the way. If you looking to get someone a gift for Ramadan, sadly, you have missed the boat. Still, late is always better than never, so rectify that mistake in the mean time. More to the point, however, beyond the gifts, is the whole family/friends/faith aspect. Don’t let the incessant barrage of music and commerce get you down. Take a step back and you’ll see that this can be a pretty sweet time of year.
Alright, lecture over. Go on and get out of here, we’ve all get work to do.
Un Gajje, Needlessly Sentimental About the Holidays
