Fascination Place

• Countdown #30 of 52 (backwards), by Paul Dini, Justin Gray, Jimmy Palmiotti, Keith Giffen & Jesus Saiz (DC)
• Metal Men #3 of 8, by Duncan Rouleau (DC)
• Welcome to Tranquility #11, by Gail Simone, Neil Googe & Irene Flores (DC/Wildstorm)
• Annihilation Book One TPB, by Keith Giffen & Mitch Breitweiser, Scott Kolins & Ariel Olivetti, and Dan Abnett, Andy Lanning, Kev Walker & Rick Magyar (Marvel)
• Ms. Marvel #20, by Brian Reed, Greg Toccini & Roland Paris (Marvel)
• Lobster Johnson: The Iron Prometheus #2 of 5, by Mike Mignola & Jason Armstrong (Dark Horse)
• The Boys #7-10, by Garth Ennis & Darick Robertson (Dynamite)
• Atomic Robo #1 of 6, by Brian Clevinger & Scott Wegener (Red 5)
• Modern Masters: Jerry Ordway TPB vol 13, edited by Eric Nolen-Weathington (TwoMorrows)

I feel like Metal Men is getting a little too byzantine for my enjoyment: It’s becoming harder to figure out what time period events are occurring in, and why they’re all part of the same story. There’s the present day, a few years ago, and then quite a few years ago back when Will Magnus was creating the Metal Men. Rouleau’s art is really neat, but I think the story’s structure is essentially reducing the characters to caricatures (Magnus’ final line in this issue - “you jerk!” - ring completely false for him). There’s still plenty of time left for everything to work out, but I wonder if Rouleau’s ambition has exceeded his writing talents here.

Having enjoyed the current Annihilation Conquest event at Marvel, I’m picking up the trades of the first Annihilation series. I haven’t finished this first one yet, but it sure does have terrific artwork. As with the current series, I like how Giffen and company have carved out this space in the Marvel Universe to play in so they can tall big, character-changing stories without needing to tie closely into the main Marvel continuity.

I think Ms. Marvel #20 is the last issue of this series I’ll be buying. There’s just been too much thrash and not enough progress. In many ways I think this series was just cursed by the Civil War, but it also feels like writer Brian Reed doesn’t have a firm idea of the direction the series is going in. After 20 issues, I feel like the story should have gotten somewhere, and it hasn’t. The last page suggests that it might be getting close, but only regarding one of its many story elements. The central theme of the series’ launch - that of Ms. Marvel trying to become one of the premier superheroes in her world - seems to have been lost along the way.

For an opposing opinion, here’s Aaron Glazier’s review at Comics Nexus. It’s like we’re reading different books: I hate how Machine Man is portrayed here, I find the characters weak and the storylines very muddy and directionless. I do agree that the art is quite good, but that’s not enough for me.

The Boys #7-10 comprises the third story arc in the series, and it’s a lot worse than the first two (which are in the collection I reviewed last week). It opens with Tek Knight, a superhero with a severe sexual dysfunction - but this one not only feels gratuitous (and not a little bit ridiculous), but it’s almost entirely irrelevant to the overall story. Here, Butcher and Hughie set out to find some justice for a young gay man who was found dead in the street some weeks previous, taking them on a short odyssey into the personal lives of several local heroes. That part of the story is actually rather good, and it throws some light on a particular dark facet of what superheroes might be pressured to do through their public image as do-gooders. But the Tek Knight elements are just superfluous. It’s like Ennis felt the story wouldn’t be shocking without the sexual deviancy, but even if less shocking, it would have been a much better story had it been shorted and focused to just the investigation of the presumed murder.

Atomic Robo is pretty neat: Early in the 20th century Nikola Tesla builds an atomic-powered sentient robot who (the book’s introductiont tells us) helps shape the rest of the century. This issue introduces the character in 1938, who at that time is not yet considered a free person, but basically the story is an adventure: He’s sent to the Himalayas to stop a Nazi plot. Although the dialogue is full of anachronisms, the book generally taps the same sense of fun and period adventure as Captain Gravity and some segments of Hellboy. Wegener’s art of reminiscent of Michael Avon Oeming’s at its best (Oeming did the cover of this first issue), although many panels are background-free. Overall it’s a fun issue, and there’s plenty of promise here, although there’s definitely a sense that this might just be a frivolous adventure yarn without a greater purpose. But that’s not the worst thing in the world.

(Why is it that I can enjoy a book, and yet lament that it doesn’t feel like something that will be cohesive in the long term, or have some ultimate direction or destination? Can’t I just enjoy it for what it is? Well, I can enjoy it, but it’s the books that deliver more than their basic narrative that end up sticking in my memory.)

Lastly, if you’re a fan of comic book art in general, I do recommend TwoMorrows’ Modern Masters series. These slim paperback volumes consist of extensive interviews with their respective creators, and a large collection of often-previously-unseen-or-rare artwork by those artists. So you learn a lot about the artist’s career and philosophy, and get to see a lot of art you might not have seen before. I’ve been cherry-picking the volumes of the artists I’m really interested in, which means I’ve picked up about half the volumes.

• Countdown #31 of 52 (backwards), by Paul Dini, Sean McKeever, Keith Giffen, Manuel Garcia & Rodney Ramos (DC)
• Countdown to Adventure #2 of 8, by Adam Beechen, Eddy Barrow & Julio Ferreira, and Justin Gray, Travis Moore & Saleem Crawford (DC)
• Supergirl and the Legion of Super-Heroes #34, by Tony Bedard & Dennis Calero (DC)
• Astro City: The Dark Age vol 2 #4, by Kurt Busiek, Brent Anderson, & Alex Ross (DC/Wildstorm)
• Annihilation Conquest: Starlord #3 of 4, by Keith Giffen, Timothy Green II, & Victor Olazaba (Marvel)
• Girl Genius: Agatha Heterodyne and the Golden Trilobite HC vol 6, by Phil & Kaja Foglio (Airship)
• The Boys: The Name of the Game vol 1 TPB, by Garth Ennis & Darick Robertson (Dynamite)
• Boneyard #26, by Richard Moore (NBM)

Wow, the last issue of Astro City came out back in April. I know there are many good reasons why it comes out so slowly, but it’s still frustrating considering this is one of the best comic book series ever published. This is a pretty good issue where the stuff hits the fan for our protagonists, the Williams brothers, as well as suggesting what the scoop with the Silver Agent is. One more special is up next, and then the third and final mini-series to conclude The Dark Age Can’t wait! I hope they can get it all out in the next year.

Speaking of excellent comics, I finally got my copy of volume 6 of Girl Genius. This is a hefty volume concluding Agatha Heterodyne’s adventures in Sturmhalten, including the truth about her mother, Lucretia Mongfish, the plans her mother left behind after she disappeared: Specifically, the plan to return her consciousness to life in the body of her daughter.

Unfortunately, though there’s a lot to like here, the story is both padded and confusing. Most of the padding is in the form of Agatha’s allies who spend much of the book wandering around in the sewers of Sturmhalten, an expedition which is sometimes amusing, but which does absolutely nothing to move the story forward. Most of the confusion comes in trying to figure out when we’re watching Agatha and when we’re watching Lucretia, and in trying to figure out exactly who did what, and why. The motivations here are slippery things, and I think the Foglios overextended themselves in trying to be too clever with what amounted to the mechanical aspects of the plot. I think I finally got it all figured out, but it shouldn’t have been this hard.

Those frustrations aside, the book is still tremendously entertaining, very funny, and full of action, adventure, and things blowing up real good. And the secrets of Agatha’s family history are slowly emerging, although - again - the issue of motivation is central to the goings-on, and it’s not at all clear to me what exactly happened in the war against The Other all those years ago. Are the revelations herein supposed to be taken at face value, or is it all a blind for something deeper? That’s the problem with a story that has games-within-games, you can never tell when you’ve reached the center, and that can be really annoying. Eventually the Foglios are going to have to make it absolutely clear in the story that “this is what happened, and there are no more secrets to be revealed”. I hope that’s where this is all going.

(I had a similar problem with Babylon 5: When it was revealed what the Shadows and the Vorlons were really up to, my reaction was, “Nah, that’s silly! It’s gotta be a blind for their real motivations. But in fact, silly or not, that was it. But directions had reversed so many times that it was hard to believe.)

The Boys didn’t really registered on my consciousness until the controversial decision by DC to cancel it from its Wildstorm line, resulting in the book moving to Dynamite. While I’ve enjoyed Darick Robertson’s artwork in various places, I’ve not read much by Garth Ennis, who is probably best known for his series Preacher, which, well, I haven’t read. However, the brouhaha and a flip-through in the store made me decide to pick up the trade paperback, which collects the first 6 issues.

The first three words that come to mind about this book are not for children. This is a grim, edgy, extremely violent, and often gratuitous story about a world in which superheroes are real, and their fights and whims take a huge toll on normal humans. Ennis doesn’t shy away from just about anything he can imagine super-powered people would do with their powers, and Robertson illustrates it in graphic detail. So if any of that is the sort of thing you wouldn’t be able to appreciate, then The Boys is not for you.

“The Boys” themselves are five people who work as a covert team to put the fear of god into superbeings, through threats, blackmail, and sheer force. Needless to say, some of them are powered themselves. Their leader, Billy Butcher, is assembling the team anew after it having disbanded some time previously, and he recruits three of his old mates as well as a new recruit, Wee Hughie, to start executing his plans. His first target is an out-of-control teen group of superheroes. Even as Hughie is getting his first taste of working with the Boys, a charming midwestern superheroine named Starlight is recruited to join the Seven, the country’s premier super-team (with the usual analogues to members of the Justice League), who learns that playing with the big boys isn’t at all what she’d expected.

The Boys reminds me strongly of Grant Morrison’s The Invisibles, not just in its approach of an undercover team fighting the forces which dominate the world, but in giving the story an “everyman” point of view: The story (almost) opens with Hughie seeing the woman he lives brutally killed during a fight between two superbeings, much as Jack Frost is the young ne’er-do-well who joins the Invisibles. Ennis is more deft at characterization than Morrison is, but then, Morrison had bigger fish to fry than following Jack through the series, while The Boys is fundamentally very much about the perceptions and reactions of the characters.

It’s probably inevitable that The Boys also be compared to Warren Ellis’ Transmetropolitan, as both books take place in which certain trands have resulted in a seriously damaged world in which our heroes (who are anti-heroes in both instances) operate, plus of course they’re both drawn by Robertson. Robertson’s artwork has advanced considerably since Transmet; it no longer feels like that of a darker Shawn McManus, it feels more realistic and more expressive, especially in his faces. I don’t think this book would have worked with anything less.

Does it work? Well yes, it does. As I said, there are many gratuitous elements: Nudity, sex, drug use, violence, which often don’t contribute directly to the story but serve merely as a backdrop. But every so often Ennis drops in that one “whoa, holy shit” moment which demonstrates that the book isn’t all about sex-and-violence, but that there are really things worth fighting for in this comic. The panoramic view of New York City part-way through was the moment that I realized the book is being serious. As I said, if you can’t get past the less-important moments, or if seeing horrible things done to good people with little immediate hope of justice being done is something you can’t stand, then this book is not for you.

Contrasting The Boys with Warren Ellis’ major works is I think most worthwhile: Ellis’ stories are, fundamentally, about people pursuing the right ends for the right reasons. His stories really are about heroes, although those heroes sometimes use questionable means to achieve their goals, but they are usually reluctant to do so, or feel that they’ve been backed into a corner and have no other choice. The Boys are about people pursuing the right ends, but maybe not for the right reasons, and certainly not choosing very clean ways of going about it. Both Butcher and Hughie have a revenge motive, and also a motive to keep what happened to their loved ones from happening to anyone else. (The motives of the other Boys are so far unknown.) And their frank vigilanteism (even if tacitly supported by shady arms of the government) is not exactly admirable. But I think the point of the story is to see how far these characters can be pushed in a decidedly hostile environment, and the story in this volume is the set-up for what comes next.

Am I thrilled to be reading this book? Well, it was pretty interesting, and a little nauseating at the same time. But also compelling. I definitely think there’s a lot of promise here, and I’m going to pick up the issues that Dynamite has published since.

If you’ve been waiting for the superhero equivalent of Transmetropolitan, then The Boys may be the book for you.