- Final Crisis #3 of 7, by Grant Morrison & J.G. Jones (DC)
- Avengers/Invaders #4 of 12, by Alex Ross, Jim Krueger & Steve Sadowski (Marvel)
- Hulk #5, by Jeph Loeb & Ed McGuinness (Marvel)
- The Twelve #7 of 12, by J. Michael Straczynski, Chris Weston & Garry Leach (Marvel)
- Echo #5, by Terry Moore (Abstract)
- The Boys #21, by Garth Ennis & Darick Robertson (Dynamite)
- Star Trek: Assignment Earth #4 of 12, by John Byrne (IDW)
I’m not sure two reviews of Final Crisis #3 could be more different than Brian Cronin’s and what I’m about to write. Cronin loved it, while I, well, didn’t.
Almost everything Morrison does here is either boring, or has been done before. A few people seem to be impressed with how he’s handling bringing back Barry Allen (the silver age Flash), but c’mon, it’s not like Barry hasn’t been popping up from time to time for the last 20 years anyway. The guy’s a time traveller! Maybe he’s back for good, but – so? Hal Jordan (the silver age Green Lantern) died, and came back not once (as the Spectre) but twice (as Green Lantern again, complete with his own ongoing series). There’s nothing in this to get even a little excited about.
Almost everything in the series feels like it’s been done before. The running subplot involves bringing back characters from Morrison’s Seven Soldiers series (and what a mess of a narrative that was). The main threat is of Darkseid and his minions of Apokolips conquering the world – “the day that evil won” as the series’ tag line goes. But Morrison used this exact same premise – and used it very well – in his own run on JLA a decade ago!
This issue also features the conscription of superheroes to fight the threat, hearkening back to the formation of the All-Star Squadron (which is explicitly referenced), but doing so makes no sense: Far direr threats have arisen in the DC universe in the past without resorting to such measures. Why this, why now? History suggests that simply putting out the call to all hands would be sufficient – these are the DC heroes, after all.
This series is just one instance after another of things that either don’t make sense, or just aren’t fun or exciting or thought-provoking. The longer Final Crisis goes on, the more pointless it seems. If this really is the “final crisis” of the DC universe, it’s because the concept has jumped the shark – there are no more interesting crises to tell.
Alex Ross/Jim Krueger projects don’t have a good track record in my estimation, going all the way back to my bitter disappointment with Earth X, but I keep trying them out anyway. Project Superpowers over at Dynamite has been pretty awful, but to my surprise I’m rather enjoying Avengers/Invaders. The premise is that the Invaders from World War II – Captain America and Bucky, the Human Torch and Toro, and Namor the Sub-Mariner – have been accidentally brought forward to 2008 New York City, along with (and without their knowledge) a US soldier of that era. This is problematic since in the present Marvel Universe, Cap is dead, Bucky is the new Cap, Namor is King of Atlantis and has withdrawn from the surface world, and, well, I don’t know what the status of the Human Torch and Toro are, since it seems like it changes every few years. Moreover, the Invaders think this is all some Nazi plot, especially since Iron Man and S.H.I.E.L.D. capture them while trying to figure out how to return them to their own time. And frankly, after the Civil War I can’t really fault anyone for accusing Iron Man and S.H.I.E.L.D. of being Nazis. Anyway, two groups of Avengers end up fighting over the Invaders which is where this issue leaves off.
I think what’s winning me over with this series is that it’s treating time travel seriously and not as some sort of gimmick: The adult Bucky finds the Invaders Cap’s shield and shows up at the end of this issue, clearly having memories of this adventure. The current Namor also recalls what happened and deliberately sends his younger self off without help from Atlantis to fulfill his destiny. And the soldier meets his future self – who’s nearly 90 years old – and compares notes. It’s all played for drama rather than convenience, and with the hint that the Invaders’ removal has also changed history, with dire consequences on the way once the changes catch up to the current day.
Admittedly, none of this is especially original, but it’s a lot less ponderous than the usual Ross/Krueger fare, with good art by Steve Sadowski. 12 issues might end up being too long if there aren’t some new plot twists in store, but so far, so good.
Speaking of heroes transported from World War II to the present day, J. Michael Straczynski’s The Twelve starts its second half this month. Like Ross, Straczynski’s another comics writer whose stuff I find to be too slow without much ever happening. (His current run on Thor is a perfect example of this.) The Twelve isn’t exactly gripping, but the mix of plot (which is shaping up to be a murder mystery of sorts) and drama (the heroes meeting their old – now very old – friends and their descendants) is nonetheless engaging. The gorgeous artwork by Weston and Leach helps quite a bit, too.
This issue continues the theme of characters reconnecting with their past 63 years later, as Captain Wonder meets his former sidekick, Tim, now an old man. The guy’s hard a rough time of it, as his wife and sons all died before he was revived. But the ongoing story makes some progress as Master Mind Excello tells the Phantom Reporter of some premonitions he’s had regarding the group, and the Reporter both investigates a murder in the city and then confronts the Black Widow about her nighttime excursions.
There are lots of hints that funny things are going on: Dynamic Man might be involved in the aforementioned murder, the Widow is being used by some demon as an angel of vengeance, and the inert robot Electro apparently has been wandering off as well, but who’s been doing what is still unclear.
The main thing I regret about this series is that the cast feels too large for its scope, as several characters seem both fairly generic and don’t get much screen time, which makes me wonder why they’re there. With five issues left to go perhaps they’ll play a role. But although the series superficially feels a bit like Watchmen, the storytelling is pretty standard and not very dense, so there’s only a limited amount of space per issue to tell the story, so perhaps not. Still, I’m certainly enjoying it enough to want to see how it turns out.
I’m still enjoying The Boys, Garth Ennis & Darick Robertson’s brutal take on amoral superheroes, but the current story, “I Tell You No Lie G.I.”, has been somewhat disappointing. Early on it seemed like the world was overrun by superheroes, who mostly (maybe entirely) got their powers from a special drug which seemed to have gotten leaked to many companies and governments able to produce these supers, and The Boys were a covert group trying to rein in the worst abuses, especially a few corporate-run American superheroes.
This story reveals a lot of the series’ backstory, and the book’s scope is narrowing to being a conspiracy story: The drug which creates heroes is mainly controlled by a single company (Vought American), which is using it to become a major player on the national and world stage. I find this disappointing because giving the heroes a major villain and target (Vought American) seems just too simplistic; having a few foes who are representative of the larger problems – but a problem which is too big to be tackled by a single covert team – would be much more interesting, I think. The series is feeling more and more like Warren Ellis’ Transmetropolitan, only with superpowers and some gratuitous sex and violence (well, okay, even more gratuitous sex and violence than in Transmet).
Or maybe I’m just tired of this sort of conspiracy story.