So much good and a sizeable helping of bad. Dig in!
Astonishing X-Men #20
Published by: Marvel Comics
Writer: Joss Whedon
Artist: John Cassaday
Colorist: Laura Martin
The only X-Men book I’ve ever bought. There’s a reason for that. This won’t change your life but is solid storytelling with gorgeous art. Plus, I actually have a reason to care about Colossus for once and I’m pretty sure that’s a first.
Grade: B
Nextwave #12
Published by: Marvel Comics
Writer: Warren Ellis
Penciler: Stuart Immonen
Inker: Wade von Grawbadger
Colorist: Dave McCaig
There are, no doubt, greater injustices in the world that this book being cancelled. I’m sure of it. That said, I do think my life will be a bit less sweet for its absence.
Why is Nextwave so excellent? Well, if you’ve been reading it, you already know. If you haven’t, you a.) are part of the problem and b.) don’t deserve to know.
But, I like you, so I’ll try to explain it to you anyway.
Nextwave is a highly cynical superhero comic that reminds you what’s so great about superhero comics. It is flippant, sarcastic, and dismissive and wears its heart on its sleeve the whole time while doing it. It has managed to be utterly ridiculous, wildly hilarious, crazy inventive, and surprisingly deep. It has the best letters page in comics (sorry, Powers, but you know it’s true) and a great recap page to match it.
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Nextwave is a highly cynical superhero comic that reminds you what’s so great about superhero comics. |
And if none of this gets you going, there are plenty of various MODOKs to draw you in.
This issue is more of the same. Machine Man sews up series MVP with his appreciation of his newly acquired sucking chest wound. Captain Marvel proves to actually be a competent leader as Nextwave generates and executes an effective plan. The true face of the Beyond Corporation is revealed and while I won’t spoil it, I can assure you that it is large, red, and possessing of comically undersized arms.
It’s all grand fun and it is really a shame if you failed to get on the ride. Pick up the trades. Go ahead, you deserve it.
Grade: A
Thunderbolts #111
“Faith in Monsters†Part 2
Published by: Marvel Comics
Writer: Warren Ellis
Artist: Mike Deodato, Jr.
Colorist: Rain Beredo
Did you know Jack Flag was cool? Yeah, neither did I. The thing is, unlike many, I knew who he was. My younger brother, for some reason, had a large collection of Captain America comics from the “Fighting Chance†era that saw Cap dying, wearing a ridiculous suit of armor, and searching for replacements to succeed him. Jack Flag was one of those replacements. He dyed his hair red, white, and blue, carried boom box weapon of some kind, and was generally the kind of regretful cast off character one might associate with the early to mid 90’s. So how the heck did he end up being cool here?
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Did you know Jack Flag was cool? Yeah, neither did I. So how the heck did he end up being cool here? |
Because Warren Ellis cares. Or maybe he doesn’t. But he does take the time to invest enough strong characterization into Jack to make him more than a one note almost Cap replacement who was not nearly popular enough to ever appear again. Even better, is Ellis manages to eliminate Jack (come on, you had to know it was going to happen) in a way that keeps the Thunderbolts from looking weak out of the gate but also keeps him available if future writers would like to pick up the strong foundation Ellis built him and use it.
Deodato’s art is problematic. It has no problem depicting the scope of the Thunderbolts attack on Jack Flag, but when it comes to people, he often drops the ball. His tendency to use celebrity faces can be a bit distracting and his figures are a bit…lumpy. Add in Beredo’s dark palate coloring, which would seem to be a smart thematic call, and the results become worse. Obviously, he has a lot of talent and it shows. However, his slipups can be quite jarring in places.
Overall, I’m enjoying this new Thunderbolts direction. Speaking as a big fan of the original incarnation who was bored silly by Avengers/Thunderbolts, but stuck with it, and who eventually got too bored with New Thunderbolts to continue collecting, I understand some of the brickbats being leveled at it. Perhaps it would’ve been better off being called something else. But, for now, it is a good steward of the name
Grade: B
52 Week 41
“Miracles and Wondersâ€
Published by: DC Comics
Writer: Geoff Johns, Grant Morrison, Greg Rucka, Mark Waid
Art Breakdows: Keith Giffen
Penciller: Giuseppe Camuncoli
Inker: Rodney Ramos
Colorist: Alex Sinclair
As 52 rolls towards its end, the pacing increasingly becomes a problem for me. We have just under three months to go and the tension should be ratcheting up. This is especially the case when you consider that World War III is in about a month. And yet, I still feel like the stories are in a holding pattern. They don’t need to all coming roaring into the station at the same time, but damned if that doesn’t seem like what they are set up to do.
This week’s top contender for story in stasis is Ralph Dibny. We check in on him as he drinks, solves a minor mystery, and steals a wheel (of the mystical variety) from some fella in a wheelchair. Change the locale and the mystical object and it is more or less like Dibny’s previous appearances. In fact, it is lesser than them. From the point where Dibny was shown the mysteries of life and death in Nanda Parbat, what should have been a turning point, he’s been more or less shuffling around 52 and reminded us that for him, nothing’s changed. And that’s just not all that interesting.
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Their [Diana and Renee’s] conversation is fine, I suppose, but it feels largely like it is there to check another item off the “52†list. Squeeze in a brief Diana appearance. |
The other two storylines, thankfully, do show some forward progress though. Montoya finally takes a good look at herself in the mirror (or ice cave, as it was) a move that most expect will end with her as The Question II. She also meets Wonder Woman along the way. Their conversation is fine, I suppose, but it feels largely like it is there to check another item off the “52†list. Squeeze in a brief Diana appearance. Check. Nonetheless, this plotline finally seems to have taken the breaks off after three grinding months of “Charlie slowly, ever so slowly, dies from his sudden illness†plotting.
The thirds storyline is the cosmic one as Strange and Starfire finally catch a break. Or rather, someone catches them (ba-dum-dump). Either way, this could be a good sign and the two could be back on Earth (or Rann) by Week 43. My personal fear is that this does not represent an ending but rather simply another stalling tactic. We shall see.
C+
Batman #663
“The Clown at Midnightâ€
Published by: DC Comics
Writer: Grant Morrison
Artist: John Van Fleet
Credit where credit is due, Morrison and Van Fleet take an interesting approach to this story. It is a largely prose story paired with computer generated imagery (if you hadn’t heard) depicting the resolution of Joker being shot in the face in the first issue of Morrison’s run by a faux Batman.
The prose style is wonderfully over the top. Morrison has poured so many noir clichés into it the book practically drips with them. Your tolerance for this approach may vary (I can imagine a great many folk feeling as though it wore out its welcome somewhere along the way, probably earlier than later) but I love noir and pulp and I appreciated it as a sort of satire of the format. Plus, it is always a kick to see how versatile Batman is, easily sliding amongst several storytelling approaches with little problem fitting in.
The art is a touch more problematic. Computer generated art, in general, has always been an iffy proposition in comics (see also: Batman: Digital Justice) and this is no exception. I suppose we all keep hoping for the breathtaking landscapes of Tron and end up disappointed (remember, 2 types of people in the world: those that like Tron and those that LOVE Tron). (Slightly) more seriously, computer generated art is largely a static affair and that’s problematic for comics. In this particular instance, it is okay, given that this is more of a short story with pictures. However, video game graphics have advanced so far by now, you can’t help but feel like you are just staring at stills from the latest game. This is especially distracting when it comes to a full page depiction of the “new†Joker that is so reminiscent of an image I’ve seen before I spent at least five minutes pondering what video game I’d seen it in. (Still no answer on that, by the by).
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No, near as I can tell, the all-new, all-different Joker is a murdering psychotic…which isn’t different at all. What Morrison has done here is crafted a metamorphosis story where no one has bothered to metamorphosize. |
All of this focus on presentation, however, can only distract from content for so long. Sadly, in the content department, this package is empty.
The whole point of it is that Joker is a personality-less sociopath who is driven to reinvent himself every few years. That’s a great idea and one that Morrison has played with in the past (Arkham Asylum, Aztek #6-7) so no complaint there. I also liked the idea of Joker killing off all past henchmen to achieve a clean slate. I’m not sure why he did not do it before with the other “evolutions†but not a big deal. However, when it all goes down, when Joker “transformsâ€â€¦what’s the difference? I mean, he’s largely mute, but that’s a condition of his being shot and all, not a choice for this new version of him. That’s evident by the fact that he does try to talk at times. No, near as I can tell, the all-new, all-different Joker is a murdering psychotic…which isn’t different at all. What Morrison has done here is crafted a metamorphosis story where no one has bothered to metamorphosize. Creative presentation or not, the issue cannot escape the fact that it fails in its intent.
Grade: D+
Green Arrow #71
“Change Partnersâ€
Published by: DC Comics
Writer: Judd Winick
Penciller: Scott McDaniel
Inker: Andy Owens
Colorist: Guy Major
Ahh, here we are.
Sometimes, I like to read an action comic that is one long (or, in this case, several long) fight sequences. Comics that are filled with quick snaps of dialogue and physical specimens at the height of their abilities doing their best to seriously hurt one another.
In other words, I really like when I read Chuck Dixon comics.
Well, this, despite not being written by Mr. Dixon, is the best Chuck Dixon comic I’ve read in some time.
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This, despite not being written by Mr. Dixon, is the best Chuck Dixon comic I’ve read in some time. |
I know that’s sort of ironic given Winick and Dixon’s respective political bends and their rather disparate approaches to writing and characterization, but there it is nonetheless. This is a really good issue of Nightwing that just happens to be written by a completely different guy and star a completely different character.
This is not to say that I think GA is being written out of character here (although, dude’s got a sword. Wha?!). I don’t particularly feel that way at all. Ollie isn’t spouting Dick Grayson dialogue or anything. It just has the feel of those classic Nightwing issues where Dixon and McDaniel were hitting on all cylinders and the book was just so much damn fun.
Part of that, of course, is McDaniel. He’s much better here that he was the last time I reviewed this book and last time I thought he was pretty good. But Winick can take a big bow too. He works the action scenes right, cutting between Brick v. Batman and Red Hood v. Green Arrow seamlessly and in a way that builds the juxtaposition. The foreboding subplot is well checked (even if I am a bit sick of Deathstroke’s constant presence in Winick’s books). The ending is no great shock, but played strongly and creates a decent cliffhanger leading into next month’s conclusion.
I know Green Arrow’s not like this every month, nor, probably, should it be. But, for now, boy it is a lot of fun.
Grade: B+
Justice Society of America #3
“The Next Age†Chapter 3
Published by: DC Comics
Writer: Geoff Johns
Penciller: Dale Eaglesham
Inkers: Ruy Jose
Colorist: Jeromy Cox
First of all, because I don’t think enough people have acknowledged this (including me) I have to heap generous amounts of compliments onto Dale Eaglesham. In just three issues, he’s done an excellent job of becoming a Justice Society penciller without reducing his drawing to a generic pastiche of previous efforts. To look at the art, you can tell it is Eaglesham, but unlike his JSA efforts previous to this series (he drew the Stargirl focal issue that finished out Johns run on JSA) it fits. He’s evolved in a way that is best for the title but sacrifices none of his appeal and for that, I (and everyone else should) applaud him.
And now for a tiny (ever so tiny) rant. What’s the deal with Kingdom Come? I like the book, very much in fact. With the exception of Morrison’s JLA, it is probably the story most instrumental in making me a full time comic fan as opposed to a “maybe I’ll pick one up on occasion†fan. I own the Absolute Edition and before that I owned the plain old trade. So, I won’t pretend to you that I’m somehow above the story.
What I don’t get is why so many seem unhappy with just leaving as it was: an Elseworlds about a possible DCU future. At first, it was just fans with their incessant “will Kingdom Come become continuity†questions. And that was okay because, hey, they’re just fans. Alright maybe it was not okay so much as “kind of dumb but in a largely harmless way†because, well, come on! Of course the DCU was never going to become like Kingdom Come.
Then, however, the pros began to embrace it. Kingdom was released and that okay because it was largely separate, but still had tendrils touching the “real†DCU. An Annual depicted the Brain Trust, villains from KC, but it was isolated, why did we care.During Our Worlds at War, Superman wore a black shield suit reminiscent of Kingdom Come but that was no biggie, a nice nod but largely abstract. Then came Gog being in Action Comics while what’s his name that everyone loves to hate was writing it. However, because everyone hated him, we sort of could just ignore that. At roughly the same time Kingdom Come Superman showed up in Superman/Batman to start fights and talk cryptically but the whole book was dumb as could be so we let that go to.
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I just wish I could concentrate on enjoying that. Instead, I find myself playing “catch the KC reference†and trying not to get too annoyed with DC’s ongoing need to either bring back the past (Green Arrow, Green Lantern) or repackage the present so it looks exactly like the past (Sandman). |
But now, what are we to do?
The new Starman is from or on his way to Kingdom Come. Wildcat’s son is, inexplicably, a Wildcat. Swastika, another KC villain, is on hand. Rebel was going to be Von Bach, but it didn’t quite work. Oh, and KC Superman is set to show up again.
Plus, in another book, Arsenal, for some reason, is becoming Red Arrow, just like in Kingdom Come.
I love the book, but there is such thing as too much of a good thing. Starman on his own? Cool, I can dig that. Swastika hanging about? Fine, no reason why villains can’t have legacies too. Wildcat’s son becoming a Wildcat? Well, that one’s hard for me to swallow with or without the KC link.
And, as long as we are on the topic of Wildcat’s son, let me address another issue I’m having. Although it seems almost impossible, given the nature of the Justice Society, I think Johns is working the legacy angle entirely too hard. Jesse becoming the new Liberty Belle does not feel like character growth to me, it feels like no one could justify her unless she took up an existing character’s legacy. Sand becoming Sandman is weird too, as though Sand, with his unique look and abilities, was not quite legacy enough. In order to really fit in, he has to wear Wesley’s costume (more or less) and be more about dreams and less about turning to silicon. To me, it was like the mantel of Hourman being handed from an android with his own personality to Hourman’s son whose distinguishing features seem to be he’s younger than his dad, his costume is slightly different, and he’s way in love. The only difference is it’s even worse when the mantel hasn’t changed owners, the owner’s just been made a bit more…blank.
The thing is, I like the book. I like it a lot in fact. I have affection for almost all the new characters. I’m excited for Mr. Terrific and Dr. Mid-Nite. I look forward to Obsidian stepping up and being more than shadow who whispers. I’m curious to see if Damage’s new sullen, borderline jackass personality will pay off. And the new characters have promise too. Cyclone is lots of fun (don’t believe anyone who tells you different) and Steel has a level of pathos that could make his transition from handicapped to hero very interesting. Even the plot, now done with the mystery aspect of it, is intriguing.
I just wish I could concentrate on enjoying that. Instead, I find myself playing “catch the KC reference†and trying not to get too annoyed with DC’s ongoing need to either bring back the past (Green Arrow, Green Lantern) or repackage the present so it looks exactly like the past (Sandman). They are little things that I consider largely unnecessary to telling the story. I could end up being wrong, they might be completely necessary. But for now, I’m hoping they aren’t. Because if they are, I get the feeling they won’t be slowing down anytime soon.
B
Manhunter #28
“Blue By Youâ€
Published by: DC Comics
Writer: Marc Andreyko
Pencillers: Javier Pina & Brad Walker
Inker: Robin Riggs
Colorist: Jason Wright
There has been some criticism of Manhunter for botching its second chance. For being too complex, too new reader unfriendly since its relaunch. It has been pointed out that the book came out swinging with three plots (I’d say a plot and two subplots but they have been more or less equal in importance), splitting the focus between Kate, Chase (with Dylan along for the ride), and Mark Shaw. There are those who would say that having Kate’s plot hinge on Wonder Woman’s actions in “Sacrifice†a story that is more than two years old in our time (although, certainly not DC’s, even with the flip), removing the chance for gaining new readers even more.
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For me, it all comes down to this simple question: would you want your favorite book saved at the cost of what made it your favorite book? If Manhunter is truly cancelled (and it probably is) and beyond saving, at least it went uncompromised. I’ll have 30 issues I can look back and enjoy, not 24 excellent ones followed by 6 demonstrating a dramatic dip in quality in a hope to get the masses to love it. |
When I heard the imminent re-cancellation of Manhunter was coming up (in a mere two issues now) I acquiesced that, perhaps, these folks were right. Maybe Manhunter did squander its chance to be a long running series. But then I read this issue and it reminded me why I like the book so much and I figured, “who gives a damn?†Maybe this was a wasted second chance, maybe it wasn’t. I do know that the title did experience a jump in sales, somewhere in the neighborhood of 5,000 books, after the relaunch and that, new readers being as rare as they are in comics, is a victory, even if it’s not enough. And I think the idea of pointing out that the DCU is now too interconnected and reliant on backstory is a bit like a fad. Remember when it was cool to point out how not connected comic book universes were? Same thing, different words. Also, the myth of comics being “too complicated†for new readers to get is largely that, a myth. We’ve repeated it so many times we’ve come to believe it, but, be honest, when was the last time you joined a book midstream, with very little knowledge of it, and found yourself overwhelmingly confused? You might’ve hated the book, but chances are you understood.
All of the above, however, isn’t really the point. I’m not here to debate whether or not the criticism is or isn’t right. For me, it all comes down to this simple question: would you want your favorite book saved at the cost of what made it your favorite book? Obviously best case scenario, you to have your cake and eat. Push comes to shove though and I’m forced to choose, I choose my favorite going out as it came in, every time. Sure, it is a suicide run of sorts, but what a way to go, you know? If Manhunter is truly cancelled (and it probably is) and beyond saving, at least it went uncompromised. I’ll have 30 issues I can look back and enjoy, not 24 excellent ones followed by 6 demonstrating a dramatic dip in quality in a hope to get the masses to love it.
But, that’s just me.
As for this issue. It’s excellent. The art is strong (even Brad Walker’s pinch hitting works). The writing is stronger. Batman is cold, aloof, but still helpful and not a total dick (yeah, he’s dismissive of Kate, but remember, she kills, and yeah, he’s mean to Blue Beetle, but how would you be if someone you felt responsible for the death was most likely being impersonated by someone cracking bad jokes). The two other plots are moving along with Dylan stepping up huge (or setting the stage too) and poor Mark being brainwashed by yet another group. The only problem I see is in the characterization of Wonder Woman and that’s more of an inconsistency across lines. In 52 and Wonder Woman, she is seemingly still dealing with having killed Max Lord and the guilt from that. In Manhunter, she seems at ease with herself and with Kate, a hero who kills. There is no guilt and there is no “there’s always another way†lecturing. It’s like DC hasn’t quite figured out how to feel about Diana.
Otherwise though, it is another great issue of Manhunter. Sales be damned.
Grade: A-
Tales of the Unexpected #5
“Bad Medicine or A Cup of Coffee, A Syringe, and Four Bags of Extra Cheesy Flavored Chips Is All I Need to Make My Life Completeâ€
Published by: DC Comics
Writer: David Lapham
Penciller: Eric Battle
Inker: Prentis Rollings
Colorist: Guy Major
“Architecture and Mortality†Part Five
Published by: DC Comics
Writer: Brian Azzarello
Artist: Cliff Chiang
Colorist: Patricia Mulvihill
Wow…just how low can the Spectre story go? Every time I think to myself, well, that’s rock bottom and every time, it isn’t. I suppose it is impressive in some ways.
We won’t dwell too much on it though so, quickly, here’s why it was lousy. The title screams “I’m trying to be funny†and falls wildly short of the mark. The Cris Allen Spectre manages to be even more ineffectual than the Hal Jordan one and that’s saying something. This is specifically because a.) Spectre can never help anyone, just punish and b.) Spectre is drawn to wherever there needs to be vengeance and instinctually knows who to punish…except when it comes to this apartment building when he either needs to witness the crime or have some confess to it. The whole thing is ugly and depressing and I wish to god (heh) it was not connected to such a great backup story so I could just drop the whole thing.
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The whole thing is ugly and depressing and I wish to god (heh) it was not connected to such a great backup story so I could just drop the whole thing. |
Speaking of the backup, could you have ever predicted that Azzarello would be the champion of the overlooked, goofy characters of the DCU? He who produced one of the most dour, depressed Superman arcs ever? Yup, me either. Yet, here we are. And it is glorious.
This issue, two ghosts fight with swords with predictable results, a connection that some might not be aware to Haunted Tank is revealed, Mt. Rushmore attacks, Genius Jones explains that Marvel/DC sales competition better than anyone ever, a sad ape finds a new calling, and Dr. Thirteen proves what a sarcastic jerk he can be (pay close attention to how he talks to Infectious Lass…wonderful!). It’s so good, I don’t even mind that I’m spending 4 dollars for essentially only half an enjoyable book.
Main Story Grade: F
Backup Story: A
Stormwatch PHD #4
“Ladies’ Nightâ€
Published by: Wildstorm
Writer: Christos Gage
Artist: Doug Mahnke
Colorist: Peter Pantazis
This Cristos Gage fella…he can write the hell out of comics. And that Doug Mahnke guy…he draws incredibly well. The two of them together on Stormwatch…simply excellent.
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How did the Wildstorm relaunch with the least buzz and the least marquee names turn out to be the best? |
This time around, it is, as the title implies, a night out on the town for the female members of Stormwatch. I love when books do these sort of “slow down†issues where we watch the characters interact and grow with one another. It sounds cheesy and after school special-ish, I know, but that’s just because I’m describing it poorly. Think the X-Men playing softball or Daredevil and Spider-Man enjoying a hotdog on a rooftop or the JLA enjoying some of Green Arrow’s chili. It’s a grand tradition and Gage nails it. Mahnke is no slouch either, delivering equally well on the opening action sequence as he does with the women sitting around and dancing at a superhero dive bar.
How did the Wildstorm relaunch with the least buzz and the least marquee names turn out to be the best? Besides coming out on time, I mean. By telling stories like this. Smartly paced, well characterized, and not afraid to have a sense of humor (best line: “So…uh…we’re both black.â€)
Grade: B+
Also Read: Marvel Legacy: The 90’s Handbook. I know in my Manhunter review a few moments ago I was advocating not worrying about “confusion†for new readers, but boy did 90’s Marvel really test that theory. I liked Darkhawk when I was young so when my buying power expanded (and I discovered 50 cent bins) I rounded up the whole series. I’ve read each issue, some more than once. Still, reading his bio in the Handbook made my head hurt. There is complex and then there is downright unnecessarily complicated. This handbook makes it pretty clear that the 90’s were all about the latter.
Fun to look back on all the stuff that was on shelves when I was a kid though.
