This Week’s Haul

A little late this week:

  • Action Comics #866, by Geoff Johns, Gary Frank & Jon Sibal (DC)
  • Booster Gold #10, by Geoff Johns, Jeff Katz, Dan Jurgens & Norm Rapmund (DC)
  • Salvation Run #7 of 7, by Matt Stuirges, Sean Chen, Walden Wong & Wayne Faucher (DC)
  • ClanDestine #5 of 5, by Alan Davis & Mark Farmer (Marvel)
  • newuniversal: shockfront #2 of 6, by Warren Ellis, Steve Kuth & Andrew Hennessey (Marvel)
  • The Twelve #6 of 12, by J. Michael Straczynski, Chris Weston & Garry Leach (Marvel)
  • B.P.R.D.: War on Frogs #1, by John Arcudi, Herb Trimpe & Guy Davis (Dark Horse)
  • Locke & Key #5 of 6, by Joe Hill & Gabriel Rodriguez (IDW)
  • Invincible #50, by Robert Kirkman & Ryan Ottley (Image)
Action Comics #866 Geoff Johns’ next major story in Action Comics is “Brainiac” – but which one? Honestly I gave up reading Superman in the early 90s before they had really figured out who the post-Crisis Brainiac was. But it seems like Johns’ goal with his run on this book is to redefine some elements of the Superman mythos. So it looks like Brainiac is back to being an alien who captured the Kryptonian city of Kandor years ago. He appears to be a green alien who operates out of a skull-shaped metal ship. But he also appears to have tangled with Superman before, and operates through robot proxies.

My bet? That the alien in the ship isn’t really Brainiac – he’s probably been captured by the ship itself. Who has Superman fought before? Beats me. Maybe offshoots or other instances of the ship – if it’s a machine who says there has to be only one?

The issue has a fun interlude in which the Daily Planet staff has a meeting. Some of it feels a little forced (okay, mostly I haven’t really liked any portrayals of Steve Lombard since Julie Schwartz retired), but has some funny moments, especially the interplay between Lois and Clark afterwards. (I’m also really glad Lois is back to having black hair; I thought it was ridiculous when John Byrne turned her hair brown.) Superhero comics spend so much time on the action and so little on the characters these days, especially the ones who have secret identities.

As usual, Gary Frank’s art is nifty, although also as usual the backgrounds feel rather sparse. I enjoyed his renditions of the Brainiac robots the most, he’s taken the old Gil Kane designs to a new level.

Salvation Run #7 Salvation Run ends – not really a surprise – with a whimper and not a bang. Several fourth-string super-villains bite the dust, Luthor gets his mad on, and the status quo is restored, except for one character who’s left hanging at the end. It doesn’t mesh very well with Final Crisis, but it also slipped until it shipped after the first issue of that series. Grant Morrison pretty much says that he didn’t factor Countdown or its spin-offs into Final Crisis, which mostly makes DC editorial look like a bunch of chumps, although it’s difficult to shed any tears over Countdown, which as I’ve said was pretty much a complete disaster of a series. It makes the end of Salvation Run seem even more superfluous.

I’ve been an admirer of Sean Chen’s artwork in the past, but his work on this series was pretty mediocre: Not much detail, and I don’t think his renditions of Luthor and the Joker are very true. I don’t know if he was rushed, of if his inkers were just not good matches for him, but it was pretty disappointing. Especially since he left Nova to do this series. Sadly, with the art factored in, this series ended up being pretty much a waste of time.

ClanDestine vol 2 #5 This ClanDestine mini-series felt like a straightforward continuation of the old series, which is awkward since it’s been over a decade since the first series came out, and it didn’t last very long, so I imagine there weren’t many people scrambling on board to read it. And I guess it didn’t do very well in the sales department. Moreover, it brought back the old Alan Davis X-Men team Excalibur and otherwise rehashed a villain from the first series, and also the background of Adam Destine, complete with the requisite deus-ex-machina (since Adam is pretty much a walking deus-ex-machina).

All of which made this series something of a “shrug”, albeit an extremely well-drawn “shrug”. It ends with a teaser for a third series which I’d be much more interested in reading, but I bet the sales won’t cause Marvel to rush out to publish it. Alas, I think the time for ClanDestine passed some time ago.

The Twelve #6 The Twelve is shaping up to be one of J. Michael Straczynski’s best comics works, behind Midnight Nation. This is not strong praise on its own, since you may have noticed that I’ve been lukewarm-at-best towards all the other Straczynski comics I’ve read, but in this case I’m actually enjoying the book quite a bit. It helps that the art team of Weston and Leach have given the book a visual look unlike most other mainstream comics, with details and character designs few other artists at the big two can match.

The first six issues of the series have mostly been character spotlights, showing what makes each member of the Twelve tick, and how they react to being thrown from the end days of World War II to the 21st century. Not all of the characters are interesting – Mister E, for instance, is pretty much a nonentity – but some of them are quite good, and Straczynski has thrown in a few enjoyable twists, especially regarding Dynamic Man and – in this issue – Rockman. I was also satisfied with the explanation for my concern about Electro, which I expressed in my review of issue #1.

I think these first six issues have set the tone for the series and put all the pieces in place, and now I expect the second six will bring things together into a unified story, presumably as one or more of the characters either end up being a threat, or being not what they seem to be. Or maybe in some other way. Regardless, pulling everyone into a single story and not leaving them with twelve separate threads will be the difference between the success or the failure of this series, I think. Although admittedly Straczynski could surprise us all and do something unexpected yet still fascinating. His track record in comics writing doesn’t suggest that that’s likely, however.

Really, The Twelve is the latest series to follow the Watchmen approach to super-team storytelling: Take us through the backgrounds and circumstances of a group of individual characters, and then bring them together at the end. James Robinson’s The Golden Age worked in a similar manner. Even after 20 years, it’s still not a very common approach to superhero comics, so it still feels relatively fresh whenever it pops up. That’s probably a big part of why I’m enjoying The Twelve.

Invincible #50 Invincible really might be the best superhero comic being published – as it pretty much claims on the cover – even on the erratic schedule it’s been on recently. It reaches #50 this month, marking another turning point in a series which has had plenty of them, as Invincible cuts ties with his government boss in a rather bloody manner.

Invincible is great for so many reason: The main character is a through-and-through hero, which is refreshing these days, even if he does have his flaws and foibles. He means well, and he usually does well, and people respect him for that. The supporting cast vary widely, and few of them are out-and-out villains, usually with personal motivations which make them sometimes do good, and sometimes behave suspiciously. Alliances shift, and characters change and develop. And that’s the best thing: Even though it’s an ongoing, open-ended story, there’s a definite sense of change and progress unlike almost any other superhero book out there. You never know what’s going to happen next, but when it does it’s usually both exciting and it makes sense.

Artist Ryan Ottley keeps up with Kirkman’s script wonderfully, with dramatic action sequences, different-looking characters, and a colorful world. In some ways his art reminds me of Michael Avon Oeming (of Powers), but I think Ottley balances the realistic and the cartoony much better.

50 issues under their belt, and Kirkman still has plenty of irons in the fire for this character. Here’s hoping the next 50 are just as much fun.

This Week’s Haul

  • DC Universe 0, by Grant Morrison, Geoff Johns, George Pérez, Doug Mahnke, Tony Daniel, Ivan Reis, Aaron Lopresti, Philip Tan, Ed Benes, Carlos Pacheco, J.G. Jones, Scott Koblish, Christian Alamy, Oclair Albert, Matt Ryan, Jeff de los Santos & Jesus Merino (DC)
  • Action Comics #864, by Geoff Johns, Joe Prado & Jon Sibal (DC)
  • Legion of Super-Heroes #41, by Jim Shooter, Aaron Lopresti & Matt Ryan (DC)
  • Ex Machina #36, by Brian K. Vaughan, Tony Harris & Jim Clark (DC/Wildstorm)
  • Glamourpuss #1, by Dave Sim (Aardvark-Vanaheim)
DC Universe 0 DC Universe 0 is the prologue to the upcoming Final Crisis, and is – sorta – the bridge from Countdown to that series. But I think Valerie D’Orazio is right when she says it’s really an ad: It’s a 50-cent advertisement for upcoming storylines in the DC universe, such as Final Crisis, “Batman R.I.P.”, and stuff I care about even less (and honestly my level of caring about those two stories isn’t very high).

This comic is basically a series of vignettes each illustrated by a different art team, with a disembodied narrator sorta tying it all together (but not really). So there’s not really a story here, just the hints of several different stories. The art is generally strong, but of course it changes every few pages. The overarching portent is that evil is somehow on the verge of winning the day over good, a notion which hearkens back to Alan Moore’s run on Swamp Thing, but which is too abstract to have any meaning to me as a reader.

Overall this issue feels completely unnecessary. In years gone by, other writers might have managed to cover this ground in 2 or 3 pages, but DC seems bent on drawing things out as long as possible these days. So we end up with stuff like this, which seems destined for the recycle bin.

Action Comics #864 Despite its problems, I enjoyed “Superman and the Legion of Super-Heroes” enough to keep buying Action Comics for a little while, although promos for upcoming issues make me worry that it’s going to be one big event after another, which will probably drive me away.

Anyway, this issue is also a sort of introduction to Final Crisis, specifically a lead-in to the Legion of Three Worlds mini-series, which intrigues me since I’m a longtime Legion fan, having read all three of the Legions which will be involved in that series. This issue opens with Batman visiting Superman’s Fortress, where Superman is talking with Lightning Man from the Legion, reminiscing about old times. Batman and Lightning Lad get on like oil and water, especially once the bodies of two Legionnaires – who were killed in Countdown – turn up. We also briefly visit with the JSA’s Starman, who’s also a former Legionnaire.

The more I read of Geoff Johns’ writing, the more it seems like its hallmark is putting in as many nifty ideas as he can come up with – especially of the “mining DC’s past” variety – but not really plumbing any of them in depth. Mark Waid went further with the “Batman and the Legion of Super-Heroes” idea in one issue of The Brave and the Bold than Johns does here. Really, one could probably do a good 6-issue story with such an idea. So this issue ends up feeling like no less an advertisement for an upcoming series than did DC Universe 0, which is too bad, because even as a bridge between two Superman arcs, this could have been a much more insightful story than it was.

It was better than DC Universe 0, though, if for no other reason than the scene in which Lightning Man wonders aloud how Batman would have turned out had the Legion contacted him in addition to Superman back when they were teenagers.

Glamourpuss #1 For those who don’t know, Dave Sim is the creator/writer/artist of Cerebus, the longest-running self-published comic book in history. Originally a parody of Conan the Barbarian, Cerebus evolved to parody many aspects of popular culture, and later became a platform from which Sim proclaimed his social and political opinions at great length. The pros and cons of Cerebus are outside the scope of this review, but in short I’ll say that it produced what I think is one of the ten best graphic novels I’ve ever read (Jaka’s Story), and a whole lot of near-unreadable claptrap.

Glamourpuss is Sim’s first comic since Cerebus ended its 300-issue run in 2004.

And it is, frankly, a really bad one.

Sim is still an excellent artist: He reproduces a variety of glamour magazine photos in linework, and also reproduces many panels from the comic strip Rip Kirby. Even if the work isn’t original, it’s still impressive in its attention to detail. Sim can really draw.

Unfortunately, this is a comic book without a story. Rather than assembling a story to which he can apply his prodigious artistic skills, Sim strings together a series of unrelated panels and adds text which is nothing more than a monologue in which he discusses his intention to do a book of “cute teenaged girls in his best Al Williamson photo-realism style”, and goes on to talk at some length about his love for Alex Raymond’s and John Prentice’s art on Rip Kirby.

And boy, I couldn’t care less.

I have some interest in the analysis of comic art, to be sure, but this is little more than navel-gazing; a couple of cheap gags, but otherwise nothing really entertaining. I’d much rather read a prose piece about the strip with some key illustrations, with more historical context about Raymond, Prentice, and the strip itself. But Sim’s thoughts about his admirations for the artists and his striving to emulate them are not worth three dollars, or even the time it took to read this issue.

I keep wondering who exactly Sim’s target audience for this series is, or how long he expects it to keep going. I even wonder if he’s chuckling to himself as having ‘put one over’ on his readership. Probably not. I think this is a perfectly earnest effort to express his admiration for this art style, to have some fun flexing his artistic muscles, and figuring that there are a few thousand people out there who will find it all as interesting as he does.

And he might be right, but I’m not one of those people, and I won’t be back for a second issue (though Jog apparently will be).

This Week’s Haul

Comic books I bought the week of 2 April 2008.

  • Action Comics #863, by Geoff Johns, Gary Frank & Jon Sibal (DC)
  • Countdown to Final Crisis #4 of 52 (backwards), by Paul Dini, Sean McKeever, Keith Giffen, Jamal Ingle & Keith Champagne (DC)
  • Metal Men #7 of 8, by Duncan Rouleau (DC)
  • Clandestine #3 of 5, by Alan Davis & Mark Farmer (Marvel)
  • The Twelve #4 of 12, by J. Michael Straczynski, Chris Weston & Garry Leach (Marvel)
  • The Boys #17, by Garth Ennis & Darick Robertson (Dynamite)
  • Project Superpowers #2 of 6, by Alex Ross, Jim Krueger & Carlos Paul (Dynamite)
Action Comics #863 Action Comics this week wraps up “Superman and the Legion of Super-Heroes”. It’s been a strange nostalgia trip for us 70s Legion fans, starting with “The Lightning Saga” and now this one.

To summarize, as a boy Superman was recruited by the Legion – a group of teenaged heroes who live in the 30th century – to become a member, and to give him a sense of belonging to a group of his peers. However, this isn’t the Legion of his 30th century, since that’s presumably the group currently being published in Legion of Super-Heroes. Rather, this is the Legion whose adventures were published in the 1950s through the late 80s. Only in this world Karate Kid never died (instead he gets to die in Countdown to Final Crisis, but that’s another matter), and the Magic Wars never brought the 30th century to its knees, and thus the Five Years Later stories never happened. Rather, Superman grew up and stopped going to the 30th century. And the Legion grew up, too, without him.

In “The Lightning Saga” a few Legionnaires came back to the 20th century to bring the Flash back to his time. Karate Kid and Starman stayed behind. And then Brainiac 5 contacts Superman and brings him into the future to help overthrow the future Justice League, a group of former Legion rejects led by Earth-Man, who can absorb the powers of other heroes. The rejects have convinced Earth that Superman was a human like them who fought for human rights and that they should kick all the aliens off of Earth – a bummer for the Legion since they’re mostly aliens. When Superman arrives he finds that the sun has been turned red, so he loses his powers, and that other planets are preparing to stage an all-out war against the xenophobic Earth.

All of this is pretty silly, and it gets sillier in this issue, which features such elements as a complete disregard for the speed of light, and Superman gaining and losing his powers instantly depending on the sun’s color (I thought Superman acted more like a solar battery rather than the sun acting like a magic on/off switch like it did in the 1950s, but admittedly I don’t follow too closely). From a structural standpoint, it’s never clear why Superman needed to be involved in this story at all, as he has only a marginal effect on the outcome (besides throwing the final punch). Thematically he witnesses what happens when his name is used to evil purposes, but a thousand years down the line there’s not a whole lot he can do about that.

I sound like a sourpuss, but despite the continuity confusion and story silliness, I actually enjoyed the story and it was consistently near the top of my reading stack each month. Johns may have written a very loose story, but I was genuinely interested in what the heck was going on, and it features plenty of rah-rah heroism to make it actually feel good. Plus as a fan of the Legion from the 1970s, I enjoyed seeing “my” Legion back again; their backstory may not make any sense, but by-and-large they acted like the Legion I loved, and in a way that’s more important. So as self-indulgent, ultimately-meaningless stories go, it was a fun read.

I’m conflicted about penciller Gary Frank’s art. His style has evolved over the last 10 years from a clean-lined cartoonist to a strict realist, rendering his figures in careful detail. However, he’s another artist who rarely draws backgrounds, which means his panels are often missing a sense of place. The cover of this issue (at left) is a good overview of his style in all these regards, actually. Still, he does have a strong feel for facial expressions and draws some nice action scenes which keeps the story moving along. (He also draws a terrific Dawnstar.) Overall it’s a net win, although I think if he fleshed out his panels a bit more then he could move up into Dave Gibbons territory as an artist.

I guess this Legion will next pop up later this year in something called Final Crisis: Legion of Three Worlds, which might explain why there are all these Legions running around. Or not. Still it’ll be drawn by George Pérez, and that’s enough to get me to check it out. (There’s an interview with Geoff Johns about it here.)

Countdown to Final Crisis #4 As I feared after last week, Countdown to Final Crisis undoes all of the ballsy moves they put in place in the last few weeks by revealing that it all happened on an alternate Earth. So Karate Kid and Una die for nothing (not that their presence in the book ever made the least sense at all), we we’re not back to the silly Dark Mary Marvel stuff, which also makes no sense.

Who thought all this was a good idea?

This Week’s Haul

Comic books I bought the week of 21 November 2007.

Still catching up on recording my weekly haul. Two large weeks in a row didn’t make it easy to keep up, since it look quite a while just to read everything (which is sort of the point, right?). This is the haul for 21 November 2007, Thanksgiving week:

  • Action Comics #859, by Geoff Johns, Gary Frank & Jon Sibal (DC)
  • The Brave and the Bold #8, by Mark Waid, George Pérez & Bob Wiacek (DC)
  • Countdown to Final Crisis #23 of 52 (backwards), by Paul Dini, Keith Giffen, Tom Derenick & Wayne Faucher (DC)
  • Countdown to Mystery #3 of 8, by Steve Gerber, Justiniano & Walden Wong, and Matthew Sturges & Stephen Jorge Segovia (DC)
  • Ex Machina #32, by Brian K. Vaughan, Tony Harris & Jim Clark (DC/Wildstorm)
  • Annihilation Book 3 TPB by Keith Giffen, Andrea DiVito, Christos N. Gage, Giuseppe Camuncoli, Stephano Landini, Stuart Moore, Mike McKone, & Scott Kolins (Marvel)
  • The Incredible Hulk #111, by Greg Pak, Jeff Parker & Leonard Kirk (Marvel)
  • The Umbrella Academy #3 of 6, by Gerard Way & Gabriel Bá (Dark Horse)
  • Castle Waiting #9, by Linda Medley (Fantagraphics)
  • The Boys #12, by Garth Ennis & Darick Robertson (Dynamite)
  • Invincible #46, by Robert Kirkman & Ryan Ottley (Image)
Action Comics #859 “Superman and the Legion of Super-Heroes” in Action Comics is turning out to be a pretty entertaining story: We find out why the Legion is persona non grata in the 31st century, and who their antagonists are. And it doesn’t look good so far, as several more Legionnaires fall to the enemy. How Superman figures into all this is probably the neatest part of this story, as the enemy has twisted Superman’s legacy to their own ends, and imagining how he feels about that – and knowing that no one other than the Legion believes the truth – is a compelling notion. What would be worse than finding out that you’ve been forgotten a thousand years in the future, than to learn that your name means something the opposite of what you worked to achieve?

So it’s a cool set-up. I hope Geoff Johns can avoid the clichéd ending to wrap it up. For instance, the “Some super-villain’s mind-controlled everyone” ending, or the “Superman beats the main antagonist into submission thereby winning the goodwill of the public” ending.

Annihilation Book 3 I’ve thoroughly enjoyed Annihilation, of which Volume 3 is the final volume. It’s even better than Annihilation Conquest, which is currently running and also entertaining.

The premise of Annihilation is that Annihilus – the extremely powerful armored insectoid who’s faced the Fantastic Four in the past – learns that our universe is gradually expanding into the Negative Zone where he rules, and he convinces virtually the entire Negative Zone to launch a massive attack on our universe. The emerge through the Crunch, the edge of the universe containing the energies of the universe’s creation, and in doing so destroy a high-security prison – the Kyln – and set a variety of nasty creatures free.

The first two volumes collect a number of mini-series spotlighting individual characters dealing with the “Annihilation Wave” – the influx of Annihilus’ forces, who begin by rampaging through the Skrull galaxy. The Nova Corps are destroyed and Richard Ryder is last as the last Nova centurion. The Super-Skrull tries to take the fight to the Negative Zone. The Silver Surfer learns that two creatures freed from the Kyln are nearly as old and as powerful as Galactus, and he returns to Galactus’ service to try to draw him away from the Annihilation Wave. And Ronan the Accuser returns from exile when he learns that the Wave is bearing down on Kree space.

This final volume resolves everything, as Nova leads the resistance against the Annihilation Wave and things go exceedingly poorly, even more so once Annihilus enlists the help of Thanos to tame the power of Galactus for himself.

I’ve always been a little skeptical of Keith Giffen as a writer. I was not a fan of his run with Paul Levitz on Legion of Super-Heroes, and I really hated his sense of humor that he applied to DC in the late 80s and early 90s, such as on Justice League and Ambush Bug. I thought it was, well, rather childish. But as the mastermind (it seems) behind Annihilation, I’m most impressed with his ability to write dark space adventure. Not only does he have real skill at slowly ratcheting up the tension of the story, but he does a great job of handling the myriad characters and making them all seem unique and driven in their own ways: Nova is a pure hero, the Silver Surfer is a tortured hero, Drax the Destroyer is a programmed killing machine who nonetheless does the right thing when not under the thumb of his programmed imperatives, Ronan is a true patriot who believes in doing whatever is best for his people no matter what the cost, and even the villains all have different shades of character and motivations. In short, Giffen is doing today what Jim Starlin did in his heyday on books like Captain Marvel, Warlock and Dreadstar.

(Incidentally, I think that Starlin brought to Marvel in the 70s what Jack Kirby tried to bring to DC in the 70s, except that Starlin actually succeeded in creating a compelling little mythology within the Marvel Universe, whereas all Kirby did was create a surreal and silly little pocket of colorful costumes within the DC Universe.)

Perhaps most importantly, Giffen delivers the true payoff in this concluding volume with both triumphant character moments and dramatic battles. Perhaps the best single moment is when Nova and Ronan talk when things seem darkest, and Ronan the Kree patriot says to Nova the human hero, “Were you Kree, I would call you brother.” Ronan, Drax, the Silver Surfer and Nova all get their moment of triumph (Ronan’s is the best, while the Surfer has to wait for one of the epilogues), and it’s all a lot of fun.

Andrea DiVito has a solid, dynamic art style which serves the story well. There are plenty of full-page and two-page spreads to keep the action moving, and he handles the large cast with their various eccentric designs quite well. The guy must be a machine to have pencilled and inked this whole story himself, although I imagine he had plenty of lead time, too.

Overall, Annihilation is one of the best things Marvel’s published in years. It once again proves the theory that comics are best when they involve assembling great creators when letting them produce great stories, a lesson that Marvel seemed to have learned with “Heroes Reborn” back in 1999, but seems to have forgotten again these days given stuff like Civil War and its aftermath. I’m glad Giffen was able to play with this corner of the Marvel Universe, though, because this was well worth the time it took to read it.

(If you want to read more without reading the story, the whole series is summarized in the Wikipedia entry.)

This Week’s Haul

Comic books I bought the week of 31 October 2007.

  • Action Comics #858, by Geoff Johns, Gary Frank & Jon Sibal (DC)
  • Countdown to Final Crisis #26 of 52 (backwards), by Paul Dini, Justin Gray, Jimmy Palmiotti, Keith Giffen & Scott Kolins (DC)
  • Countdown to Adventure #3 of 8, by Adam Beechen, Eddy Barrows & Julio Ferreira, and Justin Gray & Fabrizio Fiorentino (DC)
  • Countdown to Mystery #2 of 8, by Steve Gerber, Justiniano & Walden Wong, and Matthew Sturges & Steven Jorge Segovia (DC)
  • The Death of the New Gods #2 of 8, by Jim Starlin & Matt Banning (DC)
  • Justice Society of America #10, by Geoff Johns, Alex Ross, Dale Eaglesham, Ruy José & Drew Geraci (DC)
  • Supergirl and the Legion of Super-Heroes #35, by Tony Bedard & Dennis Calero (DC)
  • Annihilation: Book Two TPB, by Keith Giffen & Renato Arlen, Javier Grillo-Marxuach & Gregory Titus, and Simon Furman & Jorge Lucas (Marvel)
  • Annihilation Conquest: Quasar #4 of 4, by Christos N. Gage, Mike Lilly & Bob Almond (Marvel)
  • Mouse Guard: Winter 1152 by David Petersen (Archaia)
  • The Secret History Book Three: The Grail of Montségur by Jean-Pierre Pécau, Goran Sedzuka & Geto (Archaia)
  • The Secret History Book Four: The Keys of Saint Peter by Jean-Pierre Pécau & Leo Pilipovic (Archaia)
  • The Perhapanauts: First Blood TPB, by Todd Dezago & Craig Rousseau (Dark Horse)
Action Comics #858 Action Comics is continuing the latest weirdness at DC Comics: The “return” of the “original” Legion of Super-Heroes, as prefaced in the awful “Lightning Saga” in JLA and JSA earlier this year. This issue kicks of “Superman and the Legion of Super-Heroes”, in which Brainiac 5 sends an automated time bubble back to the 20th century to recruit superman to help with some disaster in 3008. He also fixes Superman’s memory so he remembers the Legion (without explaining why Superman remembered them perfectly clearly in the Lightning Saga), triggering a reminiscence of Supes being recruited into the Legion as a boy. He’s then catapulted forward where he finds that things are in bad shape indeed, and that the rest of the Legion had a really good reason to not want Superman brought into the fray.

I’m not a real big fan of either Geoff Johns or Gary Frank. In Johns’ case, I find his characterizations bland and his stories so even-keeled that one hardly notices when they pass their climactic moment. In Frank’s case, I think it’s mostly his association with the tedious and dull Supreme Power series over at Marvel, and that’s not really his fault. His designs and rendering are actually quite strong, although I wish his characters weren’t so… toothy. Reservations aside, this issue is a fine example of hooking your readers and drawing them in: Why did the Legion vanish from Superman’s life when he became an adult? Why did they contact him now? And how’s he going to get out of this one? The success or failure of this story will primarily rest on answering those questions.

All of this completely shoves aside he question of how this Legion reconciles with the other in-continuity Legions which have been around for the last 15 years, which have all be in-continuity, too. My bet is that most or all of them have been from the futures of parallel Earths, now that we have them back thanks to Infinite Crisis. Which is not a very satisfying answer, but DC’s continuity isn’t exactly about satisfaction these days.

Rachelle has some nice scans of this issue, although she also spoils the cliffhanger at the end, so view at your own risk.

Anyway, if this sounds at all interesting, I would in fact recommend it. The art is nice, Johns does a fine job of recapping who the Legion are and why they’re important without going into the nitty-gritty details that casual readers won’t care about, and like I said it ends on a compelling cliffhanger. Maybe this story will be Johns art his best>?

Countdown to Mystery #2 Three Countdown books this week. Countdown itself has been renamed Countdown to Final Crisis, and the story is mainly a recap of what’s going on. Since the answer is basically “nothing much” you can draw your own conclusions. (There’s some reason to believe that Final Crisis will reboot the DC Universe again. While Crisis on Infinite Earths rebooted things while DC was at its creative apex, a reboot now feels like editorial admitting that things are so screwed up that it’s not salvageable. Which ironically is exactly the opposite message delivered by Infinite Crisis. But nothing DC does these days can really surprise me – I’m that cynical about it.)

Countdown to Adventure is the best of the three, a little on the grim side to my tastes, but at least it’s exciting and the heroes (Adam Strange, Starfire and Animal Man) are likable. The backup story with Forerunner is vaguely interesting since she’s visiting a new parallel Earth, but the use of Dark Angel as the villain is a big snooze.

Countdown to Mystery is somewhere in-between. Steve Gerber’s Doctor Fate is not without interest, although it’s slow and feels like he’s trying to impose some structure onto Fate’s magic, which always seems like it’s just a bad idea when it comes to magic in fiction. So I’m on the fence about it, but it could turn out to be good. The backup story involving Eclipso, however, is just vile: Eclipso corrupts Plastic Man and then sets her sights on the Creeper. It’s borderline-unreadable. Yuck.

Justice Society of America #10 Geoff Johns is a busy guy – I may not be his biggest fan, but I sure can’t complain about his work ethic. After last issue’s prologue, this issue launches full-on into “Thy Kingdom Come”, in which the Kingdom Come Superman from Earth-22 is pulled into Earth-1. He resembles Power Girl’s late cousin, leaving her confused and disappointed, and Starman knows him, having been to Earth-22 for the events of Kingdom Come. This Superman is pretty messed up, having seen a lot of death and destruction on his world, much of it due directly or indirectly to him, and he feels responsible even for that which he wasn’t responsible for. This could play out any of several different ways, and I hope Johns surprises us rather than ending the story with a silly “Superman on a rampage” fight.

The real potential of this story is that it could make the JSA matter again. The JSA has felt for a long time like a team whose time is long since past, and the array of bland writers and artists who have been helming the book for the last ten years haven’t helped. Just because the team has multiple generations of heroes doesn’t mean it’s anything more than a generic superhero book. (Contrast with the 1970s revival of All-Star Comics, which is the finest example of multigenerational superheroes I’ve yet seen.) It would only take a little adventurousness to give this JSA series some depth and feeling, and the KC Superman could give it that.

Incidentally, I’ve given penciller Dale Eaglesham the short shrift when talking about this series: His simple linework is winning me over: His facial expressions are getting stronger with every issue, and unlike many artists he draws full backgrounds, making it feel like his characters are inhabiting a fully-realized world. This issue opens with a full-page panel with Power Girl, Cyclone and Ma Hunkel, and Cyclone’s expression is just perfect. It’s followed by a double-page spread with Superman and the original JSAers in their meeting room, and it’s equally powerful. Later on, there’s another nearly-full-page panel of Superman’s first public appearance, and while the focus is entirely on Superman, the backgrounds are fully-rendered and the composition is great. While Eaglesham’s style isn’t entirely to my taste, I definitely have to applaud him for putting so much effort and detail into his work, without compromising basic storytelling. Honestly it seems like there aren’t a lot of artists around today who can do all that.

Mouse Guard: Winter 1152 #2 Archaia Studios Press has been bunching up their releases lately, with two issues of another series I don’t read coming out last week, and two issues of The Secret History this week. I suspect ASP is growing a little faster than it can keep up with, so some stuff is getting delayed due to lack of manpower or capital. That’s just my guess, though. I’m pretty forgiving of small presses and their delays, although I am an unusually committed comics reader. Surely a regular schedule would serve the company’s cash flow better, though.

I’m mostly enjoying The Secret History, although it delves too far into historical details I’m entirely unfamiliar with. The general storyline is okay (four powerful individuals influencing world events from prehistory through today) and the art is excellent (even with a different artist each issue), so I’m willing to follow it through its 7-issue run. I just wish it were more accessible.

David Petersen keeps a perfectly regular schedule with Mouse Guard, and the second issue of the new series came out right on time, so he’s bucked the trend there.. The series has been a surprise hit and has gotten lots of critical acclaim. I enjoy it myself, and can certainly recommend it as well-drawn entertainment, albeit maybe not for preteens since the violence does get a little rough sometimes.

The Perhapanauts vol 1: First Blood The Perhapanauts resembles Mike Mignola’s B.P.R.D. in that it’s a team of operatives who investigate paranormal phenomena and deal with them if necessary. This team is a little more out there than B.P.R.D., with Bigfoot and El Chupacabras as team members, along with a telepath, a ghost, and a mysterious guy whose background is kept secret. They can time travel and dimension hop with minimal difficulty, although they also face some pretty rough opposition as a result.

Nonetheless, the series feels a lot like Mignola’s work, which isn’t bad, but being “B.P.R.D. lite” isn’t a real strong recommendation. Moreover, this first volume ends on a cliffhanger, which is a pretty lousy way to treat new readers. Johanna Draper Carlson likes the series more than I do, I just thought it was pretty lightweight.

This Week’s Haul

Comic books I bought the week of 5 July 2007.

I couldn’t wait for Wednesday, so I went and picked up last week’s comics last night. I walked in on the gang processing thousands of comics they’d just bought. I told them I expected the store to be spotless when I came back on Wednesday. Good thing they like me, ’cause they outnumbered me.

  • All-Star Superman #8, by Grant Morrison & Frank Quitely (DC)
  • Countdown #43 of 52 (backwards), by Paul Dini, Jimmy Palmiotti, Justin Gray, Manuel Garcia, David Lopez, & Don Hillsman (DC)
  • Welcome to Tranquility #8, by Gail Simone, Neil Googe, Jason Pearson, Chriscross, & Georges Jeanty (DC/Wildstorm)
  • Ms. Marvel #17, by Brian Reed, Aaron Lopresti & Matt Ryan (Marvel)
  • Thor #1, by J. Michael Straczynski Oliver Coipel & Mark Morales (Marvel)

Both Greg Burgas and Chris Sims were disappointed in this month’s All-Star Superman, and I’m with them: Devoid of the madcap zaniness of the classic Bizarro stories, saddled by the bleak imagery of Quitely’s artwork, and with nothing particularly deep or insightful to say about the Bizarro world, the whole issue just feels like a pointless aside to the already rather loosely-assembled story which comprises the series. All-Star Superman has certainly had its high points, but this is its nadir.

Ms. Marvel #17 actually has enough stuff in it to get me interested again: A.I.M. undergoes a transformation, Ms. Marvel turns blue and speaks with a different voice and then wakes up normal and has no idea what happened, her S.H.I.E.L.D. team is decimated and she faces a crisis of confidence, her would-be boyfriend is up to something, and a couple of A.I.M. wackos concoct an odd-looking scheme which is surely not going to end well.

If only the first 16 issues had had this much story. I just hope all this goes somewhere over the next few months.

And lastly:

J. Michael Straczynski’s comic books drive me crazy.

There’s always the germs of some really excellent stuff in there: The metaphysical underpinnings of Spider-Man’s powers. The spot-on handling of Peter Parker’s wit. The complex world of Rising Stars. The characterization of the Thing.

But Jesus, his stories take so-fricking-long to develop. It took years for the relatively-simple story of Spidey’s powers to play out, and while that stuff was really good, the stuff in between wasn’t. Fantastic Four never really went anywhere (but arguably got shanghaied by Civil War). And along the way he often hits as many wrong notes as true ones: The inevitable-yet-tedious battle for domination in Rising Stars, or the stilted and cringeworthy characterization of Mr. Fantastic. Really, only Midnight Nation – probably his most personal book – worked all the way through.

Thor brings the god-turned-hero back to the Marvel Universe after an absence due to, well, I really neither know nor care what happened to him, but apparently the other Norse gods are gone, and Thor is back to being bonded with Donald Blake. Straczynski provides some interesting theoretical backbone to Thor’s return and the nature of godhood, and some nice grounding to Blake’s humanity. And then, the questions lurking in the background are just as interesting: What will Thor think about the Civil War that occurred in his absence, and the role his closest human friend – Iron Man – played in it? How will Donald Blake pick up the pieces of his life after years of absence?

But the book noodles all over the place, starting with someone (Blake?) picking up Thor’s hammer in the middle of the desert (a scene set up in Straczynski’s Fantastic Four run), followed by a lengthy encounter between Blake and Thor in the limbo they’ve been lingering in for the last few years, followed by their return to Earth. But it’s all set-up: There’s hardly any actual story here. Straczynski’s Supreme Power played out excruciatingly slowly (I gave up after two depressing years), and I worry that that’s what’s going to happen here.

Still, it’s a first issue, and it’s got some promise. And Coipel’s art gets prettier with each new project: Remember how quirky and grim his style seemed back in Legion Lost, with those severe, undifferentiated faces? Oh yeah, he’s come a long way, that never would have worked on Thor. But as with most comics these days, I just hope that Straczynski’s got a plan, and that Thor is going to go somewhere. Because this sort of meandering will get boring by about issue #3. I also hope he lightens up on the gravitas a little (and boy is it unusual for me to be wishing a book were a little lighter), because it often feels like his books should have a funeral dirge as their soundtrack.

Greg Burgas seems to agree, but says so in fewer words than I do. So, there you go.

This Week’s Haul

Comic books I bought the week of 4 January 2007.

And this week it really was a haul:

Manhunter is an acclaimed ongoing series about a Los Angeles lawyer who gets tired of super-villains going free for various reasons, and decides to take the law into her own hands by lifting some superpowered gadgets she has access to and playing vigilante by night. While it’s “acclaimed”, it hasn’t sold very well, and was nearly cancelled last year, but reader outcry caused DC to revive it. This kerfuffle was enough to make me decide to try it out, and my shop got a copy of the first collected volume this week, since the second volume, Trial By Fire, just came out.

It’s okay, but not great. Penciller Jesus Saiz does a fine job drawing both Kate Spencer’s everyday life and her extracurricular adventuring. Writer Marc Andreyko’s scripts, though, are rather haphazard: Kate’s broken family life hits us over the head. The source of her weapons is shown to subtly that it’s hard to believe (why didn’t anyone know the stuff was missing and put two and two together?). For the book’s supposed realism, chain-smoking lawyer Kate is surprisingly athletic and skilled in combat. And Kate is certainly not a likeable protagonist. (In fact, everyone in the book is rather unlikeable.)

And yet, despite these rough edges, I can see the attraction of the book, that it might develop into something with more depth and texture, and that this volume is merely the set-up for more interesting stories down the road. I’ll check out the second volume and let you know what I think.

This is the first issue of All-Star Superman to come out since I started this journal. To the extent that the series has a premise, it concerns Superman before he was rebooted in the 1980s, finding out that his cells have been overloaded by sunlight and that he’s going to die sometime soon. So writer Grant Morrison gets to put the classic incarnation of Superman in some unusual situations as a result. Each issue only advances the story a little bit, though, and it reads more like a set of standalone stories. This issue sees several of Superman’s descendents coming back to the beginning of his career to meet him and fight a time-eating Chronovore who arrives in Smallville.

I’ve never been a big fan of writer Grant Morrison: I think he’s a great idea man, but his characterizations border on nil and his dialogue often feels stilted and ridiculous. I think he’s basically the same writer he was when he broke into American comics back in the 1980s, and frankly I have never really seen what all the hubbub is about. Honestly, I think his best work was his run on JLA a decade ago. All-Star Superman is largely more of the same: Inventive. Loud. Emotionally void.

I’ve never been a big fan of Quitely’s art, either. Mainly I feel that most of his characters’ faces look the same, and often they look downright inhuman. His renderings of Lana Lang and Pete Ross here are completely unrecognizable and kind of grotesque. He also seems to skimp on the backgrounds, which is really clear in this issue, which takes place in Kansas. His basic antatomy is quite strong, but while anatomy is a necessary element of a good artist, it’s not sufficient.

I keep trying out Morrison’s comics because he’s a great idea man, but All-Star Superman is not one of his better outings. Of course, neither was Seven Soldiers. And both of these opinions seem to put me in the minority of comics bloggers.

newuniversal #2 shows us that the original New Universe series was actually in-continuity, and it does so in that very Warren Ellis-esque way. Kinda neat.

If you’re a fan of medieval fantasy, give Artesia a look. I’m not a fan of the subgenre, and I enjoy it: Artesia begins as a concubine for a king in a remote hills country, but for various reasons she overthrows her king and siezes power for herself, and then gets caught up in a major invasion of her land by armies from the south. It’s at its best when it’s dealing with the characters of Artesia and her supporting cast. Writer/artist Mark Smylie has a tendency to introduce way too many characters at times, and focus more on Artesia’s position as a character of destiny and less on her as an actual character, so motivations and feelings tend to get lost in the shuffle. The series is uneven. Smylie’s a terrific artist, though, especially in his figure designs and ability to draw large battle scenes, which are often stunning.

I really need to sit down and read the whole thing at once to reacquaint myself with all of the details and see if I appreciate it more.

These two volumes are new hardcover collections of the first two mini-series. They look like nice packages, although the first volume has a big, yellow “Foreword Magazine’s Book of the Year Award Winner” badge on the front cover, marring the artwork. They couldn’t have put this on the back cover, or used a removable sticker? Sheesh!

Kane is a noirish police series by Paul Grist. Grist published 30+ issues of the black-and-white series in the 90s, and then put it on hold to work on Jack Staff. Grist has a simple but capable style with strong use of light and shadow and interesting panel layouts. I can imagine it wouldn’t work for everyone, but it works for me. His writing has the signature note of playing with time perception, leaping between events that take place at widely different points in time (and sometimes in dream) without warning. When it works – as when Kane is flashing back to confronting his on-the-take partner – it’s very cool. Grist vastly overuses the stunt, though, which has made Jack Staff nearly unreadable at times. Kane is still pretty nifty, though, mainly because the characters are all playing different games with different motivations, and that transcends the sometimes-awkward storytelling. (Grist has a nice, warped sense of humor, too.)

If you’re a fan of character-driven police shows such as Homicide (as opposed to today’s never-ending crop of procedurals), then give Kane a try. Start with the first volume, Greetings From New Eden.

Finally (whew!), Richard Moore’s Boneyard is another series on an irregular schedule, although supposedly Moore has had some (as he puts it) setbacks recently which have slowed down his production of the series. This is a very fun comic, and it’s one of the few that Debbi reads. Our hero, Michael Paris, inherits a plot of rural land which happens to hold a graveyard. An, uh, inhabited graveyard. The series is mostly about Paris’ relationships with the inhabitants of the graveyard, especially the vampire, Abbey, to whom he is attracted (and it’s reciprocated). The gang has a few supernatural adversaries who pop up from time to time as well.

It’s fun, and has been collected by NBM in several volumes. Annoyingly, we seem to have the choice between full-size black-and-white volumes, or small-size color volumes. I go with the B&W volumes. If they ever produce full-sized color volumes, I’ll switch to those.

(Can you tell that it bugs the heck out of me when creators or publishers make unfortunate decisions about the format of an otherwise-handsome collection? All I can do is vote with my pocketbook, or complain about it here, so that’s what I do.)

Whew. And with that, it’s time to collapse.

This Week’s Haul

Comic books purchased the week of 22 November 2006.

  • 52 #29 of 52 (DC)
  • Jack of Fables #5 (DC/Vertigo)
  • Superman/Batman: Absolute Power TPB
  • Wonder Woman #3
  • Red Menace #1 of 6(Wildstorm)
  • Fantastic Four: The End #2 of 6

This week’s 52 has the cover tag: “Last Days of the JSA”. To which I thought, “What, again?” Of course, a new JSA series is due to be launched in a few months, so the story within is about as exciting that that implies.

I’ve been reading the paperback collections of the Superman/Batman series even though they often don’t make a lot of sense. Jeph Loeb’s ideas are often pretty nifty, but he’s not very good at executing them. In Absolute Power, three super-villains from the future come back in time and adopt Superman and Batman as children, and together the five of them eliminate most other heroes and set up Supes and Bats as world dictators. Things then go horribly wrong, leading to a little romp through alternate timelines.

There are plenty of questions left unanswered: The villains have a blind spot where Wonder Woman is concerned, which is odd since she’s both famous and extremely powerful, and this helps lead to their undoing. Also, why would they bother to adopt Batman, who is not powerful and is unlikely to be a significant asset in world domination? And although Loeb tries, playing around with history and with the characters’ memories to the extent he does here is very hard to pull off, and the story doesn’t quite hang together. The art by Carlos Pacheco is very pretty, though, and is almost worth the price all by itself.

The book does end on a high note, though, with Loeb performing a neat connection between Mark Waid and Alex Ross’ Kingdom Come and Alan Moore and Curt Swan’s Whatever Happened to the Man of Tomorrow?. So overall this volume gets a thumbs up (which is more than the last volume, Supergirl, got from me).

The re-relaunch of Wonder Woman is running terribly late. The art by Terry and Rachel Dodson is very pretty, but the story is a huge shrug, as Allan Heinberg doesn’t really have a new spin to put on DC’s prime superheroine.

Red Menace has Jerry Ordway’s always-wonderful artwork to recommend it. The story is by a trio – Danny Bilson, Paul DeMeo and Adam Brody (none of whom I’ve heard of before) – and it’s okay. It concerns a hero being accused by Joe McCarthy’s HUAC in the 1950s, and it’s a promising start, although so far it feels rather by-the-numbers. If the writers manage to pull it off, then this might slide in nicely alongside Astro City. We’ll see.