Year: 2009

Blackest Night is this year’s big event in the DC Universe, although writer Geoff Johns says it’s a story he’s wanted to do since he relaunched Green Lantern. There’s a hint of it back in the Black Hand story in the series’ first year, so clearly Johns has had something in mind since then.

This is one of the higher-quality FCBD issues from the Big Two that I can recall: It’s the beginning of a larger story, written by one of their big name writers with solid art (although I’m not entirely sold on Ivan Reis as a top-tier guy). It also does a pretty good job of recapitulating the set-up of Green Lantern, explaining the assortment of “Lantern Corps” through a series of pin-ups, leading into the main story, and also providing a bit of insight into the hero through GL’s dialogue with the Flash, reminiscing about their fallen friends and especially GL’s relationship with Batman. It’s not a complete story in itself – though you can’t fault DC for using a freebie as advertising for the rest of the story – but for what it is it’s quite good.

As I’ve said of late, Green Lantern is probably Geoff Johns’ best work. This issue might not completely sell you on the series – especially since it has a complex backstory at this point – but it certainly tries its darndest. I approach all big events in comics with trepidation, and I don’t have much confidence that it will, as Johns says in his afterword, “recharge the DC Universe”, but I think it could be a fine, fun story.

So check it out. You can’t beat the price.

This first issue restores her Karen Starr identity from the 70s, in which she’s the head of a tech company. As PG, she fights a bunch of constructs controlled by the Ultra-Humanite (who must be back from irrelevance for about the fifth time by now). It’s okay, but it’s only the barest of groundwork for putting together a complete series about the character. Abnett and Lanning tend to hit more than they miss, but they’ve got their work cut out for them. At least they’re aided and abetted by the always-terrific artwork of Amanda Conner.

I may be a bit skeptical, but I’m pulling for this one to succeed. And not just because PG is a babe!

Kurt Busiek has said that The Dark Age is the story he’d originally come up with as a sequel to Marvels, but when Marvel didn’t seem interested in it, he reworked it for Astro City. And then came up with a sequel for Marvels anyway, the currently-running Eye of the Camera. Unsurprisingly, since the two series cover the same time period, they have a very similar feel, a general bleakness and foreboding which accompanies the outre and often violent heroes and anti-heroes who peppered comic books of the era. Both series also whip through a large number of events, focusing on their characters from time to time, but often leaving me with a feeling that I’ve missed an awful lot and that I’m not getting the careful exploration of the main characters that I’ve come to expect from Busiek’s writing. In both cases, it seems like he’s trying to jam too much into the series, and that’s saying something given the length of The Dark Age.

I’m hoping that The Dark Age will come to some transcendent climax which will justify the series’ length and some of the larger-than-life keynote moments (the SIlver Agent’s death, and the Apollo Eleven team, for instance), while still bring a sense of closure to the brothers’ lives. It’s a tall order, really. Busiek’s one of the very best writers in comics, but I wonder whether he’s bitten off more than he can handle, here.

The second half of a new Far West story by Moore also came out this week – but I missed the first issue, so I haven’t read it yet. Thumbing through it I see the pencils are un-inked; Moore’s a fine artist, but his stuff looks a lot better when it’s been inked.

The Black Dossier took place in the 1950s, and this volume takes place in 1910, 21 years after the first League story, so to some extent we’re catching up with the League as it’s evolved in more-or-less continuous existence since the disastrous encounter with the Martians in volume two. The story mainly follows two threads: Mina Murray and Allan Quatermain‘s team’s quest to stop a wizard from bringing about the end of the world – a chase which leads them down a seemingly blind alley, although the reader knows there’s more going on than meets their eye. And Janni, the daughter of Captain Nemo, coming to England, and eventually taking up the mantle as his successor. In the mix is a series of dockside murders which swirl around Janni’s story and are told partly in song (more allusions to fictional figures of the time, naturally), although it kind of splutters out at the end.

I think it’ll be hard for LoEG to ever recapture the sense of fun and excitement it had in its first volume, mainly because in that one Moore hit the nail squarely on the head with a collection of well-known, yet exotic, characters, and a nifty little puzzle for them and the readers to figure out. In later volumes, the lead characters have gotten more and more obscure, and that’s made elements of the series less interesting to people who don’t want to go to great lengths to figure out who these people are, or who don’t have any particular interest in the characters. (In other words, Carnacki, Raffles and Orlando don’t have quite the cachet of Mr. Hyde, Captain Nemo and the Invisible Man) Century: 1910 has the additional problem that it’s just the first part of a three-part story, so it sets up both an over-arching threat, and what will presumably be a significant new character (Nemo’s daughter), but ultimately it’s all set-up. But with the last two chapters taking place in 1969 and 2009, I wonder what it’s going to be set-up for Certainly if Janni and the wizard aren’t major components, it will really diminsh the impact of this volume.

Overall, the story so far works much better than almost all of The Black Dossier did, with more little details that are interesting in and of themselves (such as “the prisoner of London”, which obviously will be showing up again). Also, Kevin O’Neill outdoes himself on the artwork, his characters having more fluidity and a wider variety of facial expressions than he’s employed in the past. While I’ve always appreciated O’Neill’s art for what it was, it’s great to see him evolving it.

I’m hopeful that Century will be a good, solid story when it’s all told. The first volume is encouraging, and I look forward to the rest of it.