This Week’s Haul

  • Blackest Night: Tales of the Corps #3 of 3, by Geoff Johns, Peter J. Thomasi, Chris Samnee, Mike Mayhew & Ivan Reis (DC)
  • Justice Society of America #29, by Bill Willingham, Matthew Sturges, & Jesus Merino (DC)
  • Madame Xanadu #13, by Matt Wagner & Michael William Kaluta (DC/Vertigo)
  • Wednesday Comics #4 of 12, by many hands (DC)
  • Ignition City #4 of 5, by Warren Ellis & Gianluca Pagliarani (Avatar)
  • Dynamo 5: Fresh Blood vol 3 TPB, by Jay Faerber & Mahmud A. Asrar (Image)
Blackest Night: Tales of the Corps #3 From that cover, maybe the final issue of Tales of the Corps should have been titled “Boobest Night”. Geez, guys.

This has actually been a fun series, and the two stories in this issue are quite good, focusing on a pair of Green Lanterns. I especially like Mike Mayhew’s art on the Arisia story – where has this guy been hiding? (Well, here, apparently.) It’s tough to pull off an anthology series, but this has been a nice diversion.

Justice Society of America #29 Bill Willingham and Matt Sturges take over the writing duties on Justice Society this month. I think Don McPherson’s put his finger on it when he says that the book doesn’t really feel like it marks the beginning of a new era as the cover proclaims – fundamentally it feels like an extension of Geoff Johns’ run, with too many characters and not enough characterization. On the other hand, there are a couple of mysteries thrown into the mix almost immediately, and my experience with Willingham’s writing is that his mysteries usually pay off. But yeah, at first blush it’s more of the same (and I suspect that might be by editorial fiat, since, after all, JSA has been selling well for years). But hopefully it will evolve into something better in the coming months.

I really wish Willingham or someone else would pare the team down to just 7 members or so. Writing for more just leaves lots of characters without any screen time, and is rather a waste.

Wednesday Comics #4 The stories in Wednesday Comics finish their opening acts this week (if one assumes a 3-act structure), so most of them are just keepin’ on keepin’ on. The pleasant surprise this week is that Metamorpho has more than a single panel of story, so (a little) something actually happens. On the other hand, I’m disappointed at the turn The Demon and Catwoman story has taken, with Selina turning into a puma, which basically removes her from the picture as a character, and the Demon isn’t much of a character (he’s a Kirby DC creation, after all).

Other strips I haven’t mentioned yet: J.D. asked me about Batman last week, and I agree that it’s a rather undistinguished strip. I think scenes with heroes in their secret identities are very underused these days, so I appreciate Azzarello playing around with Bruce Wayne a bit, but overall I have a hard time figuring out what the point of the strip is.

Much as I enjoy Amanda Conner getting to draw Supergirl with a variety of facial expressions (such expressions being her forté), the story is just her zipping from one place to another, and is thus rather dull.

Deadman appears to have been sent to hell or some equivalent, which isn’t very interesting. Deadman can be a hard character to write as a leading man; I think this story would have been better served taking a page from the Deadman shorts from Adventure Comics back in the 70s, where he basically works on helping someone else through their problems. Not that he can’t be written on his own, as the Andrew Helfer/José Luis Garcia-Lopez mini-series from the 80s that wrapped up the plot threads from the Neil Adams run was fantastic, and the Mike Baron/Kelley Jones series from the 90s was an interesting take.

This Week’s Haul

  • Blackest Night #1 of 8, by Geoff Johns, Ivan Reis & Oclair Albert (DC)
  • Black Night: Tales of the Corps #1 of 3, by Geoff Johns, Peter J. Tomasi, Jerry Ordway, Chris Samnee & Rags Morales (DC)
  • The Brave and the Bold #25, by Adam Beechen, Roger Robinson & Hilary Barta (DC)
  • Fables #86, by Bill Willingham, Jim Fern & Craig Hamilton (DC/Vertigo)
  • JSA vs. Kobra #2 of 6, by Eric S. Trautmann, Don Kramer & Michael Babinski (DC)
  • Wednesday Comics #2 of 12, by many hands (DC)
  • Captain Britain Omnibus Edition HC, by Alan Moore, Alan Davis, Jamie Delano, Chris Claremont, and others (Marvel)
  • Incognito #5 of 6, by Ed Brubaker & Sean Phillips (Marvel/Icon)
  • Artesia Besieged #3 of 6, by Mark Smylie (Archaia)
  • The Unknown #3 of 4, by Mark Waid & Minck Oosterveer (Boom)
  • Unthinkable #3 of 5, by Mark Sable & Julian Totino Tedesco (Boom)
  • RASL #5, by Jeff Smith (Cartoon)
Blackest Night #1

Blackest Night: Tales of the Corps #1

DC’s next big event is Blackest Night, which is basically the next Green Lantern event (the last one was The Sinestro Corps War. Extending the theme of power-ring-empowered characters across the color spectrum, Blackest Night introduces the Black Lanterns, spearheaded by longtime C-list Lantern foe Black Hand. The Black Lanterns’ rings seek out dead heroes and villains and turns them into evil zombies, rising from the grave to strike out against their former friends and allies.

Honestly, I wish this had stayed just a Green Lantern story, rather than bringing in all the other DC characters. I can see bringing in The Flash since he’s one of GL’s best friends, he’s newly back from the dead himself, and the fact that Flash and GL are both dead men walking looks like it’s going to be a theme of the series. But bringing back dozens of dead heroes and villains who are largely unrelated to GL seems completely gratuitous and unnecessary. This first issue’s final scene involves Elongated Man and his wife Sue coming back as zombies to attack and take down Hawkman and Hawkgirl, which is grisly and basically no fun. Whereas the scene in which a legion of dead Green Lanterns erupt from their mausoleum is actually pretty creepy.

(Aside: From my understanding of the status quo, the Elongated Man scene strongly suggests that the black rings haven’t brought the bodies’ souls back to their zombie forms, because Ralph and Sue Dibny’s souls have been doing good work as spiritual detectives lately. So the bodies have been reanimated with a vestige of their former personalities, I infer. But hopefully it will all be explained.)

Anyway, unfortunately we’re stuck with this as a company-wide crossover. Don McPherson liked it, while Chris Sims hated it. I’m closer to Sims’ opinion, as it mostly feels like a misfire: Geoff Johns’ attempts to paint various heroes’ emotions regarding their deceased comrades feels abrupt and artificial, basically manipulative. Johns does a decent job dealing with “his” characters (GL and Flash), but few of the other characters’ portrayals work for me.

I think this story can work if it focuses heavily on the Green Lanterns and shoves most of the other DCU character aside. I don’t think it’s going to do that. It could achieve a lower level of success by making the Black Lanterns interesting and novel, which it just might do. But it’s not off to a strong start. Ivan Reis and Oclair Albert’s art is good as always, though.

(BTW, DC is promoting the series with plastic Black Lantern rings, and I got one from my store on Wednesday.)

Blackest Night: Tales of the Corps is a tie-in title focusing on some of the supporting cast of the GL series. It’s not essential, but it is pretty fun. The first story provides the backstory of Saint Walker, the first of the Blue Lanterns, with excellent art by Jerry Ordway. The second story is about the son of the villain Mongul, is a very slight piece, and I didn’t care for the art at all. The third story is the introduction of the engimatic Indigo Tribe, with great art by Rags Morales (who I wish we saw more of), though the story is little more than a teaser.

Fables #86 Gee, what more can I say about the new Fables that Greg Burgas hasn’t already said?:

Now that the interminable Great Fables Crossover is over, Willingham has turned back into a good writer and gives us a nice tale about the Dark Man and how he came to be trapped in a box.

The backstory of the Boxers – a secret society of powerful wizards tasked with imprisoning powerful evil creatures in the Empire – is compelling, one of the more interesting ideas put forth in the whole series. I’d be willing to read a whole mini-series about this group, honestly! Jim Fern and Craig Hamilton produce some stunningly lovely artwork here – among the best the series has ever seen, and that’s saying something! Hamilton is one of those rarely-seen artists whose absence is always sorely felt on those rare occasions when he does come back to draw something; even just as the inker here, his impact is clear. I still pull out his old Aquaman mini-series from 25 years ago in large part to enjoy his art anew.

Anyway, this is a great issue which has rekindled my enthusiasm for the series. I can’t wait to see what’s next!

Wednesday Comics #2 Wednesday Comics‘ second week is about the same as its first. The standout story is Karl Kerschl & Brenden Fletcher’s Flash, which has a very interesting development involving time travel. The Demon and Catwoman is also becoming intriguing.

On the other hand, I couldn’t even read the Wonder Woman story, the layouts are so convoluted. The Superman page is just awful, with a tired old character development and artwork I really can’t stand. Teen Titans I could read, but I just don’t care. Hawkman has nice Kyle Baker artwork, but I really hate the ultra-violent portrayal of Hawkman that’s been in vogue over the last decade.

The other stories are, well, second pages of their stories, moving things forward a little bit. Kurt Busiek’s Green Lantern story is amusingly set in the (I think) 1950s, and it ends in a cliffhanger. Neil Gaiman and Mike Allred are taking a decidedly offbeat approach to their Metamorpho story, having a lot of fun with some clichés of the genre, although there’s not a lot of story yet.

So as you’d expect, the second issue goes in all sorts of different directions, a few good, many bad. But the whole package still hasn’t really distinguished itself.

Captain Britain Omnibus Edition HC Captain Britain was originally a British superhero created and written by Americans. In the early 80s, Marvel Comics UK was interested in publishing a little original material, and pulled this character back from oblivion for a long run of short chapters in a variety of titles. The artist of the relaunch was Alan Davis, doing his first major comics series, who would go on to become one of Marvel’s major art stars in the 80s and 90s. Meanwhile, the writing included a lengthy story by Alan Moore (yes, that Alan Moore) and a run by Jamie Delano. Captain Britain and his girlfriend Meggan then became mainstays of Marvel’s Excalibur title.

In other words, despite a haphazard publication history, a neophyte artist, and stories that were sometimes hard to follow, Captain Britain ended up establishing both creators and characters who would impact Marvel for years to come. And after a couple of paperback collections from a decade ago, Marvel’s now given this the hardcover omnibus treatment, with the whole run – plus a few miscellaneous extras – collected in one lovely package.

Unfortunately, at just under a hundred bucks, it’s difficult for me to say, “Try it, you’ll like it!” The early chapters are pretty weak, and Davis is a below-average artist at first. Moore’s celebrated run is pretty good, but often a little too metaphysical for my tastes, as it’s difficult to figure out what’s going on or how the characters came around to their presence circumstances and motivations. Nonetheless, as a battle of heroes against two tremendously powerful – nigh-unbeatable, really – foes, it does a good job of evoking up the “always darkest before the dawn” feelings that such a story should have, and it has a satisfying climax.

Delano’s stories don’t hold together as a coherent whole, they’re more a series of vignettes, but overall they’re better than Moore’s story, with much deeper emotional resonance, and even a certain sense of regret that the series was ultimately cancelled even though it seemed there was a lot more story to tell. Captain Britain’s heroic deeds have a certain amount of fall-out which his friends and especially his sister believe it’s their responsibility to care for. Cap doesn’t agree, since his actions were really cleaning up someone else’s mess, and he’s not truly responsible for the events. This leads to a schism between Cap and his friends, but he finds a new ally – and lover – in Meggan, an elfish shapeshifter. Each individual chapter is powerful, and the ongoing story shifts and develops over time, but the ending feels rather abrupt, even if it’s arguably the best that could have been done under the circumstances. Still, really good stuff.

Holding it all together is Davis’ artwork, which steadily improves, and arguably the early Delano stories feature some of the best art he’s even done, imaginative yet realistic, and a little more moody than his hyper-polished style that he developed not long after. Certainly if top-shelf Davis artwork is what you want, you can’t really ask for better than what you’ll find here.

I admit a waffled a little on whether I really wanted to pick this up. I finally decided there was just enough material here that I hadn’t seen before that combined with the lovely hardcover volume it was worth the money to me. I’ll surely pull it out and read it many times. But it’s a tall investment for other fans, I understand. You might do better to seek out one of the older paperback collections to give it a try before you plunk down a C-note – or even a little over $60 at Amazon.com – for this one.

(I think Marvel issued this with two covers, one each with Cap’s two costumes. I picked up the one with his original costume, as depicted at left. I actually like his original costume better, but it’s incongruous here since he shifts to his new costume on the very first page. Small matter, though.)

This Week’s Haul

A friend of mine told me that I read a shitload of comic books. I’m not sure whether he meant an imperial shitload, or a metric shitload, but whatever crappy units you use, this week was another big load:

  • The Flash: Rebirth #2 of 5, by Geoff Johns & Ethan Van Sciver (DC)
  • Blackest Night #0, by Geoff Johns, Ivan Reis, Oclair Albert & Rob Hunter (DC)
  • Astro City: The Dark Age Book Three #1 of 4, by Kurt Busiek, Brent Anderson & Alex Ross (DC/Wildstorm)
  • Power Girl #1, by Justin Gray, Jimmy Palmiotti & Amanda Conner (DC)
  • War of Kings #3 of 6, by Dan Abnett, Andy Lanning, Paul Pelletier & Rick Magyar (Marvel)
  • Far West: Bad Mojo #2 of 2, by Richard Moore (Antarctic)
  • Fire and Brimstone #5 of 5, by Richard Moore (Antarctic)
  • Irredeemable #2, by Mark Waid & Peter Krause (Boom)
  • The Boys #30, by Garth Ennis & Darick Robertson (Dynamite)
  • The Life and Times of Savior 28 #2, by J.M. DeMatteis & Mike Cavallero (IDW)
  • Star Trek: Crew #3 of 5, by John Byrne (IDW)
  • The League of Extraordinary Gentlemen: Century: 1910 by Alan Moore & Kevin O’Neill (Top Shelf)
Blackest Night #0 A friend asked if I was going to review Blackest Night #0, which was part of Free Comic Book Day, and how could I resist a direct request?

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.

Power Girl #1 Superman’s almost-cousin Power Girl gets her own ongoing series this month. Thankfully she’s seemingly past the ridiculous identity crisis that plagued her JSA Classified story a few years ago, but the challenge for the series is to give her a reason for being a headliner. PG has always been at her brightest when she plays a counterpoint to other characters – she was, after all, conceived as a young, upstart counterpoint to the stodgy Golden Age Superman – but she’s had trouble leading up her own stories, because she’s not really grounded in anything but being one of the heavy-hitters on a super-team. I assume her appeal is a mix of her (ahem) physique and her strong, no-nonsense personality. Neither of those are really enough to carry a series, but filling her with angst over her background runs counter to her essential personality, and is why the JSA Classified story didn’t work.

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!

Astro City: The Dark Age vol 3 #1 Astro City: The Dark Age finally continues with the third part of – I think – four. For those who’ve forgotten – and given the series’ publishing schedule (for which the creators frequently apologize) – it focuses on Astro City in the 1970s and 80s, especially a pair of brothers, one a cop, one a small-time hood, who witness and frequently get caught up in the larger events going on during the time.

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.

Fire and Brimstone #5 Richard Moore’s Fire and Brimstone wraps up this week. The story of an angel and a demon who have been tasked with rounding up a collection of demons they accidentally unleashed on the world millennia ago has been little more than a diversion from his on-hiatus series Boneyard, with wacky and sexy hijinks and not a whole lot of a story (the cover to the left sums up the tone of the series rather well). This last issue involves a deity-turned-hitman gunning for our heroines, with a somewhat tried-and-predictable resolution. It’s nice to see Moore’s art in color, but overall the series has been fluff.

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 League of Extraordinary Gentlemen: Century: 1910 I was resoundingly unimpressed with the third volume of The League of Extraordinary Gentlemen, The Black Dossier, which seemed mostly like in-joke wankery and had an utterly lame ending. And it got mixed reviews across the Web, as well. Alan Moore and Kevin O’Neill are at it again, though, with the first of three volumes of a story called Century.

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.