Turns out that it’s one of the delayed conclusions DC’s becoming famous for. Written by Geoff Johns and Richard Donner with art by Adam Kubert, the previous pieces of this story came out over a year ago. (Johns blamed Kubert’s schedule for the change when it was announced in April 2007.)

It was interesting enough, with Lex and his anti-Kryptonian weapons and villains — Parasite, Metallo, Bizarre — teaming up with Superman to fight Zod and a gang of escaped Phantom Zone inmates. Plus, it explained the young Christopher Kent. And the art was attractive. (Except for the odd up-the-butt center spread on pages 14 and 15. If I’m going to be staring down the wrong end of someone’s alimentary canal, the package ought to at least be attractive and full packed. Instead, it appears that this flying guy has no buttocks.)

My biggest problem started about page 12. (The comic is 64 pages in total.) I started being distracted by the ads. I’m reading this violent battle between a group of superpowered criminals bent on taking over the earth, destruction be damned, and a group of vigilantes pushed to the limit in fighting them. And on page 12, there’s a bright yellow and orange Scooby Doo ad. “That’s odd”, I thought.

Then I started noticing the other ads: they were promoting the Batman Strikes! comic, the Johnny DC titles, the Legion cartoon comic tie-in. DC must classify Action as a kids’ title and run the children’s ads in it. Which sounds like a fine idea, that Superman comics sell to kids, until you realize that these ads are interspersed with scenes of someone threatening to pop a child’s head like a grape. Of turning a Kryptonian into an ant and squashing his head. Of bad guys falling out of the sky and splatting on the sidewalk. Of someone on fire being shot through the forehead and burning up. And then there’s the happy Super Friends ad!

That aside, this was a pretty good read, although it apparently causes continuity problems due to the publication delay.

What confused me? That this #1, labeled First Issue, says it’s “Part Two” of the story “The Fickle Hand”. I went and asked KC where part one might be — because of course we aren’t told in the comic itself, and why would anyone expect to be able to start with a #1 issue? — and he told me it was in the “tasteless snuff book” Teen Titans East Special. I looked it up, and it came out before Thanksgiving last year. So part one appeared five months ago. Yeah, that makes sense. That in itself made me throw the comic aside and not bother.

Instead, Tiny Titans #3 is much more my speed. It’s funny! I like the short stories (by Art Baltazar & Franco) that end up adding up to more as you read more of them. Oh, and it’s great to share with others. There are references that an older DC reader can explain to the newer, younger, but they’re not necessary to get the gag.

For instance, take the standout piece this issue, in which Rose Wilson brings her little brother to school for show and tell. For those of you who don’t know, her brother is Jericho, with the ability to possess those who look in his eyes. He’s absolutely adorable as a toddler (but then, Jericho was always quite a good looker), with a huge face with little eyes and smile. And the possession effect looks like a kid drew it, with these huge green circles and rays emanating from his eyes.

Even better was the second issue, with a one-page almost wordless strip featuring Kid Devil. I don’t know why he’s part of the gang, since his look is creepier than most of them, but if all they’re going to use him for is a hot plate, I guess it doesn’t matter.

Completing the Titans Triumverate, why did no one tell me that Teen Titans Go! #52 featured the H-Dial? It’s a great story, with new superheroes showing up who have similar powers to the team. And writer J. Torres made a wonderful nod to the rich DC history by naming Beast Boy’s opponent Changeling and Kid Flash’s Jesse Quick and Robin’s the Protector. I can envision parent and child reading this together, with daughter being impressed that Mom can tell her more stories about why those names are meaningful.

In other comics, I’m intrigued that Supergirl is actually tackling something unusual to superhero comics. She promised a dying child she’d cure cancer. After all, in the real world, that’s what fantastic heroes with amazing powers should be about: something to believe in when all hope is lost. And who needs that hope more than a kid with an incurable disease?

Issue #28 starts off with Wonder Woman telling her she’s an idiot, which is a reasonable response. It nicely captures both the naivete and energy of the younger hero, making her seem like a realistic teen for once, as well as putting into words the reader’s response. Who else but an adolescent would ask

What if we’ve all been wrong? What if we’ve all been fighting crime and saving dozens — when we could have been saving billions? Saving everyone?

I can’t wait to see how writer Kelley Puckett gets out of THIS one! And that’s precisely the reaction I should have when reading serial adventure fiction. The guest star, a forgotten DC hero, was a neat surprise, too. Perfectly chosen for the storyline. And big thanks to Drew Johnson and Ray Snyder for concentrating on the storytelling and not flashing various bits of Supergirl’s anatomy at the reader.

Page three: Billy (Wiccan) has been explaining how he’s been having nightmares, which motivate his quest.

Will readers know what “BFs” or “P-town” means, or only those already “in the know”?

Speed shows up on page four and hurries them along. Then the two say goodbye on page five:

At this point I am yelling at the comic. You do TOO have to say it! It’s important to be explicit so your relationship can’t later be retconned or ignored or handwaved away! And to quit caving in to the frightened who think it’s just fine for Superman and Lois to be shown in the sack but a cute, hand-holding gay relationship is “shoving their sexuality in our faces”.

This was somewhat redeemed by the first panel on the next page.

So overall, touching, subtle, but unarguable. The rest of the issue wasn’t nearly so interesting to me, as the two boys tour various Marvel locales and find not much. Then there’s a battle and a lecture and ultimately, nothing changes.

I’m looking at the latest issue of Shadowpact, a comic with an intriguing group of mystical grumpy characters that have been wasted in what is likely next on DC’s chopping block.

I’ve been a Blue Devil fan since the first issue of his series back in 1984. I learned to my regret that sometimes it’s better a character you love stay unpublished than return out-of-character in something like Underworld Unleashed. (When the biggest selling point for a crossover event is “hey, our printer discovered how to use a fifth color ink on their presses, so we’ve made our logo a disgusting shade of chartreuse!”, run.) I don’t even know how he came back from his death in the throwaway Starman #38.

Anyway, he’s been a member of this team since the beginning, although it’s not the hard-working, normal-guy-in-abnormal-circumstances Dan Cassidy I loved. This issue, it appears that someone, whether new writer or editorial influence, is forcibly jerking the team and series in a new direction. And BD’s the biggest casualty.

He’s been off-screen putting himself through thirteen labors in a bid to win freedom from having his soul sold by his brother to the devil. (I didn’t know someone else could make that deal for you.) There’s two pages of a dumb translation joke, then a lot of plot shortcutting. Apparently labors 7-13 aren’t worth talking about, then there’s a trial in hell (more entertaining when the Monkees did it over a harp), won by fiat.

The result is (and here’s where the real spoilers come in) — Danny’s no longer Blue Devil. He’s just a regular human. One on the one hand, that’s a nice rescue from a DCU that has little place left for non-traditional heroes and comics. On the other, I’m still sad to see him go … especially since it was so anti-climactic. On the same page his teammates find out about this, the Phantom Stranger appears to exposition the group into yet another battle … this time with two teams of characters no one knows or cares about.

So, am I the only one who’s going to miss Blue Devil? Did you think he was treated properly here?

Comments on The Twelve #3, Justice League: The New Frontier Special, and Teen Titans: Year One #3 follow.
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It’s an all-girl issue! Which has already led to some wondering if their little boys will like it. To them I say, “learn a new perspective already.” If I could identify with Sherlock Holmes as a kid, boys can learn to want to be Marvel Girl. (Isn’t she the coolest X-man anyway?)

Ahem. Politics aside, this is the kind of superhero story where the powers are used creatively, there’s plenty of action, and yet the relationships come first.

Marvel Girl and the Scarlet Witch are friends. It’s nice to have a buddy who can identify with your struggles and has similar challenges. The two are ice-skating when they meet the Black Widow, who neatly splits them apart. She’s come to recruit the Witch for SHIELD, but before you can blink, things escalate drastically.

I love Jeff Parker’s writing because the characters are distinctive. They don’t all have the same voice, but different motivations and behaviors. I’m not familiar with the artists, but it’s refreshing to see work where the girls are feminine but not overly sexualized. Lots of diverse shots and panel arrangements, too.

So, another fine issue of this outstanding series, worth reading for all ages. Classic superhero action adventure with plenty of soap opera too. And a one-page humor strip drawn by Colleen Coover in which the Widow finds a new costume. Funny and pointed!

Jeff Parker has accomplished something I thought impossible: he’s made the X-Men fresh again. His back-to-basics approach takes the original team, teenagers with amazing abilities under the guidance of teacher Professor Xavier, and teases out stand-alone stories that remind the reader just why these characters have lasted so long.

At their core, they represent all teens: feeling different from everyone else, with abilities that are new or frightening, needing guidance but wanting so badly to be treated like an adult, seeking to make a difference and figure out one’s path in life. Parker doesn’t forget the adventure that makes them fun to read about. There are huge amounts of imagination on display here, ably illustrated by penciler Roger Cruz and inker Victor Olazaba.

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So what did I read? Action Comics #861, only because of my strong nostalgia for the Legion of Super-Heroes, and The Spirit #13.

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The Order #7

Namor is threatening to drown San Francisco with a wall of water, so he and Anthem (leader of the team) sit down to negotiate. This is the best superhero team book out today, so of course it’s ending with issue #10. In the meantime, I’ll enjoy the blend of characterization, stunning art, and action. Heck, just in density (the amount of what happens and what we learn), it’s tops of the pack.

The two men go back over Namor’s history while the team on the ground tries to deal with rising panic and riots. I like the way parts of Namor’s speech can be interpreted on multiple levels. “You think you’ll last? Come back to me in forty–in four–years and tell me I’m wrong.” It’s an immortal monarch talking to the new kid on the block… and the established character pointing out how the new ones can’t get the foothold they need to last. Under the superheroics, this issue is a sophisticated exploration of how you draw the line between what’s good and bad, what’s useful and what’s expedient and what’s effective. How “terrorism” is defined by perspective and the nature of superheroes in today’s world. Kudos to Matt Fraction, Barry Kitson, and Jon Sibal.

X-Men First Class #8

The team fights Man-Thing after investigating a swamp time warp that leads to alternate realities, which allows for clever references to well-known other versions of some of the characters. Eric Nguyen’s sketchy art (reproed from pencils?) works well for the more horror-influenced tale that explores the nature of fear. I so admire writer Jeff Parker for doing single-issue stories that have meaning to them.

Young Avengers Presents Patriot #1

Eli Bradley, Patriot, struggles with what patriotism means while adventuring with Hawkeye Kate and following the Winter Soldier (Bucky). A thought-provoking book — the series has yet to really start, but Ed Brubaker sets up the history and motivation of the character in preparation, and it’s inspiring to see heroes acknowledge America’s problems while still trying to live up to the ideal.

The Twelve #1

Surprisingly good! And even more interesting, put in conjunction with the previous, since they both explore the nature of loyalty to one’s country in a time of war. J. Michael Straczynski postulates a group of costumed heroes frozen at the end of World War II as a last-ditch Nazi scheme and awoken today. There’s a strong guy, the token female, and a lot of mystery men with only masks, trenchcoats, and snappy monikers.

Chris Weston and Garry Leach do a great job of building modern, detailed pages with an old-fashioned approach to figures and story-telling. It’s not faux-old comics, but it has an antique feel, especially in body shape (an important factor for authenticity of an earlier period).

I hope the book, in future issues, explores culture clash in depth. My favorite page of this issue was the one where the defrosted reporter (there’s always a reporter secret ID) is figuring out he’s not still in the 40s from the little things he observes. I love that kind of stuff!

Then there were some not so enjoyable ones this week.

Iron Fist #12

I don’t care about the never-ending mystical tournament, and there’s too much macho “what it means to be a man and a fighter” in between. Dropped.

She-Hulk #25

Boring. Jen and Skrull Girl argue about identity and what it means to be a hero. Not funny, not exciting. Still dropped. There are also a couple of backups to make this oversized and justify the extra dollar on the price. I was mildly amused by the one where Jen attacks the Marvel offices. It’s a cliched story, especially for this character, but the style fits better, in my opinion, than the lead moroseness. Even if it’s another example of writer Peter David responding to other writers’ stories by fiat. (This one deals with the question of whether did she/didn’t she with the Juggernaut.)

Astonishing X-Men #24

I gave up on this a long while back. John Cassaday’s art is as lovely as ever and I like most of Joss Whedon’s projects, but I couldn’t keep track of the space opera, and the whole thing seemed written for long-time fans with its air of “remember why they’re so great?” I mention it only because I laughed at the idea of Whedon getting a year’s worth of issues (that took longer to come out) and still not being able to make the planned schedule. The story doesn’t end here, instead needing an upcoming annual for its conclusion.

Marvel has just announced that this issue sold out (which doesn’t mean much if they won’t say how many they printed). They’re going to print a new issue with a variant cover (of course). So my first question is: when are comic customers going to learn that all that counts is sales? If you don’t like the concept or think it’s a dumb choice, don’t buy it. Whatever you say gets ignored if Marvel sells comics.

Second question: This all came about because head honcho Joe Quesada doesn’t like the idea of his supposedly young hero being married. He thinks there are stories you can only tell about a single superhero. (Which shows a distinct failure of imagination.) He wants to do cheap-and-easy romance stories. Oh, no! How will Peter get a date with Girl X when he has to leave the coffee shop in the middle to fight Doc Ock? Should Peter kiss the girl superhero or the girl next door? (Are there any left?)

Yet divorce wasn’t an option. Why, exactly?

If divorce would stain the character, what does that imply? And what does that say about Quesada’s attitude towards the huge number of readers with divorced parents or spouses or other relatives? And since when is a broken marriage a worse moral choice than making a deal with the devil?

The fact is, divorce implies the possibility of reconciliation. (Viz The Parent Trap and all those other fantasies.) Having Spider-Man and his wife of over 20 years (real-time) divorce would give fans an opening to constantly badger Quesada and his crew about the eventual reunion story. Quesada doesn’t want that. He wants to wave a magic eraser instead, because he’s interested in the lazy way out. At least, that’s my opinion.

Sheesh. Trafficking with Satan over simple no-fault divorce. Only in superhero comics. Or should that be superhore?

Update: John Jakala has a terrific conversation with his non-comic-reading wife, trying to explain the situation, and she has a wonderful idea. As she says,

“[Y]oung adults never get divorced? Look at entertainment ‘news’ — it’s almost all gossip about which celebrities are getting married and divorced. They should have gone in the other direction and made Spider-Man’s divorce as trashy and tawdry as possible! Say that Spider-Man was caught sleeping with Wonder Woman! Have there be all kinds of rumors circulating about illegitimate Spider-Babies crawling around! Insinuate that Spider-Man is gay!! It could have made him even more interesting to kids who follow the lives of ’stars’ like Britney and Jessica Simpson.”

“Well, his wife is a supermodel, so I guess they could have played up that angle and tried to cash in on that whole aspect of popular culture.”

“See? I’m a genius! I should be writing these comic books!”

Yes, yes, she should.

All-New Atom #19 — A classic fill-in issue, with the first page featuring the hero thinking about all the things going on in the “regular” title storyline, before the rest of the book becomes about an unrelated adventure. Some have of his buddies have been exploring an abandoned mine, and they haven’t returned in days. The Atom goes after them, with text lumps conveniently explaining heavy-handed plot needs to keep the story going: the radio must not work at that depth, no one can excavate because the ground gives way, and so on.

A scary underground inbred community living like its the 1800s has already been done, and much better, by Grant Morrison and Frazer Irving in Klarion the Witch Boy. Here, it feels very by-the-numbers, and the “hero” is just along for the ride. He falls into a cavern, where he’s thrown deeper, and he’s freed from imprisonment because someone else gets a crush on him. He doesn’t take any positive action or solve any problems on his own, even to the point of standing by helplessly while his best friend is dragged off to presumed death. The resolution only comes about through some pseudo-scientific claptrap leading to a punch and the bad guy going poof.

I don’t understand why inker Keith Champagne keeps getting writing work. His plotting is mundane and his dialogue even more cliched. Expectations these days should be higher.

Supergirl #25 — The first page features before-and-after shots of Kara’s best friend as a skull-crushed skeleton. This is really what gets approved by the Comic Code Authority these days? I guess it goes along with the creepy Terminator ad featuring a girl’s head, breasts, and armless torso. Doesn’t make me want to watch the TV show (even if it is River from Firefly). Instead, it makes me ponder when female dismemberment (even if she is a robot) became an attractive advertising feature.

Back to Supergirl. Apparently, she’s having disturbing flashbacks about remembering how her world was destroyed. I guess it’s a benefit that today’s superhero comics can acknowledge post-traumatic stress disorder instead of the earlier generation’s “gee, it’s good to be here, cousin Kal!” I do wish it was handled more substantially, though. Or at all. Superman tries to talk to her, but the sum total of his message is “I feel it too”. So it’s always about you, dude? She reaches out, he bails… And then we get the other half of the issue, pointless fight time. I couldn’t even tell what was supposed to be happening during some of it. And nothing’s resolved, the better to try and bring the readers back next issue.

This was a waste of my time. Nothing about it was interesting or worth looking at.

JLA Classified #49 — This issue is a typical example of the problems of increasing continuity. I was intrigued by the cover, promising to focus on “those left behind” (which, from the image, was girlfriends, wives, and Alfred). The cover is misleading, by the way, instead being mostly a conversation between Alfred and Lois Lane when Bruce Wayne ducks out on an interview with her because the JLA is off fighting aliens.

I have no context for this story, so when Lois, greeting a returning Superman, says “we don’t know each other well”, I’m left wondering. Is this story set years ago? (Yet Lois uses a Blackberry.) Has DC decided they’re not married? That she’s married to Clark but doesn’t know he’s Superman? It’s the only thing that sticks with me after reading, and that distraction does the story a disservice.

I’ve just noticed I haven’t bothered to mention the art in any of these comics. It’s the generic mediocrity so common to DC these days. Competent, but nothing outstanding or memorable.

Teen Titans Year One #1 — Always good to end on a high note. This is great stuff. I’m immediately interested in the characters and the mystery. Batman’s going berserk, way too grim on minor criminals, and Robin’s asking for help from other kid heroes. This is the best portrayal of what it would be like to be Kid Flash I’ve ever seen, with pages capturing the boredom he feels in only a few minutes.

Writer Amy Wolfram really gets what it’s like to be young, with the kids communicating through IM and believable attitudes, ably backed up by Karl Kerschl, Serge LaPointe, and Steph Peru. Terrific stuff, made better by the way the text and art work together and Wolfram is willing to rely on the pictures to tell her story.

Hulk vs. Fin Fang Foom — I’m surprised no one’s thought of pitting the two green laconic purple pants-wearers against each other before. I was looking forward to a fun slugfest, but I was even more surprised that Peter David’s put in a story. In a situation reminiscent of The Thing, a group of Antarctic scientists discover Fin Fang Foom under the ice.

The art team of Jorge Lucas and Robert Campanella do a terrific job of capturing the original beetle-browed Hulk look. I’m ordinarily not a fan of Kirby lookalikes, but it’s the perfect style for this kind of no-holds-barred adventure.

David’s Hulk is simple but poignant in his desire to simply be left alone. Instead of some long drawn-out miniseries, we get a quick bout that leaves us wanting more. There’s also a reprint of Foom’s first appearance, complete with the gaudiest four-shade coloring I’ve seen in a long while: yellow Asians, orange dragon, blue walls… it’s like Lucky Charms spilled over the page. Good

She-Hulk #24 — After not enjoying the previous two issues, I promised writer Peter David I’d give it one more try, since this is the issue where the fighting’s over and we get lots of characterization.

And, well, to me it starts like an episode of Law & Order: SVU. She-Hulk spats with booking cop who persists in using diminutive nickname. Partner Skrull Jen similarly has attitude with perp she’s bringing in. Then the two swap clever dialogue with each other before a gang of kids from the RV park where they live wander in. There’s also a troubled teen with father issues.

I’m thrilled to see women with distinctive personalities lead a superhero comic, since it’s rare we see more than one female talk to each other in the genre, let alone about meaningful issues, but it’s just not clicking for me. I like that there are so many different characters, but so far, they’re flat, one-line descriptions intead of three-dimensional people. I don’t feel anything to grab onto, any need to learn more about them. Sure, they’ve got to hold back to have somewhere to go in future… but I’m just not interested in the ride. I wish I was. I’d like to feel the curiosity of meeting new friends instead of the tedium of attending someone else’s class reunion. Okay

The Order #6 — This comic makes me feel the way I did when I first encountered The Legion of Super-Heroes during the 1990s run. There’s a whole bunch of different characters with strong personalities, unusual powers, and codenames. Interpersonal relationships matter more than superhero battles. Every issue makes me want to reread the previous to make sure I’m caught up with what’s going on. It’s almost too much to keep track of, but the more attention you pay, the more you’re rewarded.

That’s a really cool feeling. I’ve missed something with that depth to hang onto. I also enjoy Matt Fraction’s plot structure of having one particular character be interviewed every issue, running their narration parallel with the other events. I feel like I’m learning important, in-depth things about the cast, one at a time, and it allows him to do more subtle things than many books are able to. Barry Kitson’s art is attractive but can be stiff, so the face-on interview panels turn that into a strength.

Pepper Potts is running this government-sponsored corporate superhero team on behalf of Tony Stark, which makes this the best thing to come out of Civil War. This issue focuses on Milo Fields, a paralyzed veteran whose robot fighting suit makes him Supernaut. Overall, he contributes to a very rich world with plenty to involve the reader — plus action, suspense, conflict, humor, and plenty of cool people to fantasize about. Very Good

In order to justify adding an additional eight pages to their comics to support an increased ad count over the holidays, Marvel has been running interview and behind-the-scenes text pages. In this issue, one of them is called “What do you do with your comic books?” I found it amusing that out of the nine writers and artists who answer it, five give them away to friends, kids, or charity. The remaining four box them up and promise themselves someday they’ll organize them. (The word “stockpile” is also used.) That’s what happens when you get too many comics, kids — they quit being entertainment and start being a task you’ll never get to.

Doctor 13, paranormal investigator and professional skeptic, finds himself thrown together with the following goofy characters: Captain Fear, a ghost pirate who speaks in an outrageously stereotypical accent; Andrew Bennett, better known as the emotionally tortured I… Vampire; Genius Jones, a boy who can answer any question if given a dime; a Nazi ape from the Primate Patrol; Anthro, the first boy on Earth; the ghost of JEB Stewart from the Haunted Tank; and Infectious Lass, from the far future’s Legion of Super-Heroes.

Doctor 13: Architecture & Mortality
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They’re characters that demonstrate the fun and creativity found in comics, dwelling around the edges of the straightforward universe that stuffy fanboys desire. These characters (and those like them) make unbalanced fans and insecure creators uncomfortable, because they can be laughed at. Those without enough self-possession take laughing at characters in comics as laughing at comics, and when they equate themselves with their hobby, they feel laughed at too.

The story begins with warnings against the Architects, found in a prehistoric cave and the gruesome site of a plane crash. As the doctor investigates, accompanied by his daughter Traci, he begins collecting these oddballs. It’s amusing watching him react to all of them by denying their existence. His belief, that there’s nothing mystical in the world, can be just as dangerous as unquestioning acceptance, making him the one least able to cope with the eventual confrontation.

The Architects don’t believe these characters need to exist, you see. And they’re willing to enter the story to make sure they don’t. Unfortunately, their alter egos are already out of date, since they’re drawn behind the masks of the characters they (at the time) were reinventing, coincidentally four of DC’s biggest heroes: Superman (Geoff Johns), Batman (Grant Morrison), Wonder Woman (Greg Rucka), and the Flash (Mark Waid).

Given how quickly things change, only two of the associations are still relevant. But that’s one of the themes of the story: the only constant is change, and trying to make a fictional world exactly the way you want it is a fool’s game, because there are too many other people and their creations involved. And no matter what, once printed, the comics still exist.

Aside from all that, Traci’s a breakout character. Even without her own wacky concept, she stands out for her passion and love of life. For instance, when she’s untied after being kidnapped, she rips up her gown to make a headband to keep her hair out of her eyes. She’s smart and she keeps it together, and it’s a pleasant change to see a competent female hero who’s not undercut by being treated as eye candy. Given a chance to query Genius, she asks “why are we here?” His response:

Because the architects don’t believe we need to exist. …
[They’re] the ones who decide who’s who and who isn’t. They are the official guides to the universe. When it was decided that one fashioned by the architects that preceded them didn’t make cents…
…they knocked the old one down and built a new one. This is the fourth time it’s happened–- in this universe.
There’s another universe that these architects are at war with. One that reinvents itself every summer–- so “things will never be the same again,” it claims.

Those familiar with certain kinds of superhero comics will recognize the phrases as indicative of big events and editorial-driven crossovers. This review talks more about that aspect.

I can’t say enough about Chiang’s art. It’s masterful in capturing action and amazement. The lines are clean and the characters distinctive. His realism in movement and expression give it all plausibility (thus undercutting Doctor 13 in another way). He’s able to capture likenesses when necessary and provide the requested artistic allusions.

Overall, this is a triumph from Azzarello and Chiang, an involving story that takes the refreshingly big-picture view that “this too shall pass”. There was a lengthy interview with the creators when the book was released.

I think everyone’s figured out by now that Green Arrow isn’t really dead, and Black Canary is remarkably clear-headed for someone who just a few months ago thought she’d killed her new husband and long-time love on their wedding night. But that’s the problem with comparing superhero comics to real life. What would be institutionalizable fixations in our world — no, he’s not really dead, an alien or clone is impersonating him — make perfect sense in DC world, so it’s kind of hard to relate.

Anyway, BC is undergoing a trial by combat to prove she’s worthy of becoming the Amazons’ new fight trainer … which I also find unbelievable. I don’t care how good she is. A group of immortal warriors who’ve been around for millennia can take care of their own combat training, I think. But it got her and little miss idiocy onto the island. (All Speedy or Red Arrow or girl whose name is never given in the comic (although Conner is named five times) does is sit around narrating the plot interspersed with classless comments that almost give away what little the gang has in terms of a plot.)

Let’s look at the pictures some more. Chiang draws a stunning, regal Athena and a fiercely strong Canary. More, please.

After ripping off Butch Cassidy (it’s still a ripoff even if you quote it directly), there’s a chamber pot pee joke (No! Really! In the 21st century!) and the revelation that Green Arrow’s imitator blew the doppelganger plan because he was impotent. … … I haven’t seen THAT motivation in superhero comics before. Although with all that spandex holding everything so close to the body it doesn’t even show as a bulge, it makes sense.

I am very impressed that, called upon to illustrate the stunning Canary dialogue “He couldn’t get his engines going… even with me?” while our heroine is wearing a bra, panties, and garter belt, Chiang keeps her looking like a person. He’s more concerned with expressing the figure’s emotion than showing off her goodies. After too many years of Birds of Prey art that took the opposite approach, I say bravo. And he draws holes in her fishnets! (Not the ones that are supposed to be there, actual costume damage. Those things rip at the slightest opportunity.)

The dumbest part of the whole book, though… I know, it’s been pretty dumb up until now, and I didn’t even mention how many times old-enough-to-be-a-grandad Arrow simply outruns a whole gang of Amazons on his tail… is the ending, which I am about to spoil.

Not three pages after the touching “I knew you weren’t really dead” reunion of the title characters, Connor is shot and presumed dead. By a cloud. This would have made for a more compelling cliffhanger (except for the cloud part) if the whole rest of the book wasn’t about rescuing someone thought to have been dead. It’s a bad writer’s way of undercutting his own story by going for the cheap-and-easy “shocking” last page.

Given the previous debates over Connor (”it’s possible for him to be gay, and that would be refreshing and sensible” vs. one of his writer’s demented hypocrisy on the subject, where he’d rather have the character make out with his father’s rapist than admit the possibility), it’s disconcerting to see him chosen as sacrificial victim this go-round. Even if he’s not attracted to men, it was neat seeing a character not defined by his sexuality to the point where it was an open question.

Anyway, I trust I’ve made my feelings known.

(This review originally appeared at the Savage Critics.)

Will Eisner’s Spirit Book One
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The book itself stands apart from the usual collection. The hardcover binding consists of images instead of plain color boards, and the dust jacket has the Spirit letters cut out to show the art beneath. It’s a beautiful job of design, just like the material it contains.

Or rather, re-design. Cooke reinvents the decades-old characters for modern readers, keeping all the excitement while ditching some of Eisner’s more embarrassing, dated elements. Obviously, these changes are most noticeable when it comes to Ebony, the young black cab-driving sidekick, but the women also benefit. They’re still femme fatales, but with additional backstory, they’re more three-dimensional and less stereotypical, with motivations that don’t solely revolve around the title character.

Everyone’s gorgeous, or at least gorgeously drawn. There’s exoticism and glamour and danger and tortured histories and a handsome, rugged man in the middle of it all. Individual panels are marvelous in their construction and subtleties. P’Gell is just as seductive and slinky as she needs to be to snare a foreign prince, while Silk Satin is a CIA agent with endurance and determination to spare.

The cover promises “Action - Mystery - Adventure”, and that’s what you’ll get here in spades. Whether it’s rescuing a kidnapped television anchor or crashing an embassy party, the Spirit does everything with style and verve, capped off with Cooke’s wonderful expressions and gestures. It’s pure comics: imagination and skill put down in words and lines.

This is high escapism in the classic mold, and Cooke was the best possible choice for caretaker of the Eisner legacy. His work is true to the concept and the roots of its appeal while he brings creativity to his work with the characters.

Sadly, the last issue of this series with these creators will be #12. Here’s an interview with the author. (A complimentary copy for this review was provided by the publisher.)

Ignore the lead story. I’m talking here about the six-page backup “Right to Left, Back to Front” by Gail Simone and Irene Flores. That’s the phrase the heroine uses to describe herself, about how she feels every day. She’s got a normal family, no traumatic events in her background, but she knows she’ll never be “popular, funny, beautiful.” In other words, she’s a teenager like many of us were.

Since this is set in Tranquility, she’s got energy growths coming out of her back, but that’s not terribly unusual for her town. (In fact, I’m really stretching the definition of “superhero story” here.) Her life truly changes when she finally discovers a comic that speaks to her: a magical girl manga. From her monologue:

I’d never read a manga before. I’d tried regular comics… goofy nonsense about flying musclemen and trampy women without personalities. But this! This was transformative.

It inspires her to read and reach out and learn. Japanese, kanji, karate, and sumie (a style of painting). She’s no longer afraid of the world or other people because her love of her hobby envelops her. What’s wonderful about this story is the way it captures the way the right book can change someone’s world and shape their personality for the better.

And at the end, she wants to become a manga artist. The story begets creativity in others.

When Peter David’s wisecracks suit the characters and fit the situations, they’re gorgeous. Here, they’re more like generic, seen before or bolted on regardless of character voice. She-Hulk doesn’t solve her own problems (like the miniature Titania in her ear canal); instead, she hits things until everything’s resolved. Bravo for a strong female hero, but it would be nice if she a) showed some brains as well and b) didn’t disavow being a superhero constantly. And since when does she have a Wolverine-like instant healing power? Super-tough, sure, but the rest of it didn’t feel right.

Lots of fighting, too, which isn’t what I read superhero books for. (I know, I’m not the target audience.) The stuff with Jen feels like filler, there just to meet page count. Even the stuff that should be cool, like a giant shark exploding out of a broken tank towards the stunned She-Hulk and Absorbing Man, isn’t, due to lackluster presentation.

I sound really harsh about this, but it’s coming out of my disappointment. There are few enough Marvel comics I enjoy, and this one used to be one of them. It hasn’t been for years, though, and this new direction has little to do with it. It’s another example of Marvel retreating to their core competency in the face of fear of change. It’s not bad enough to be Awful, so Eh with a drop.

Iron Man Annual — This is the kind of thing that should be done with Tony Stark — treating him like James Bond, Superhero. He heads off to Madripoor to depose its current ruler, Madame Hydra.

Lots of good roles for women, too, as Stark’s undercover support staff. Too bad they all look like blow-up dolls. I guess that’s in keeping with the milieu, but a little diversity would make me think the artist was capable of more than aping Jim Lee. I don’t think men realize that a woman who was the absolute ruler of a country would bother dressing as though she was getting paid by the evening.

Not as fun as it could be because of the old-school Image look, but amusing. Christos Gage writes, and he’s quickly gaining a spot on my list of writers to watch. Okay shading towards Good, held back by the art.

(This review originally appeared at the Savage Critics.)

(This is why publishers should better manage their overall schedules to smooth out weeks, which would be better for readers and retailers, but that seems to be beyond them.)

Captain Marvel #1 — I don’t want to read about a steroid freak with a mullet. Especially one back from the dead, and one known best for his method of death. Too many superheroes already, and too much event escalation. Ignoring death only makes that worse.

X-Factor #25 — I used to enjoy this series a great deal, and then it became crossover central. Now I don’t read it any more. But others do, apparently. Good for them — I hope they enjoy it as much as I used to.

Nightwing #138 — Why is he throttling Vampirella in a black costume on the cover? (flip flip) Oh, apparently she’s called Dragonfly, and inside, her costume actually has sides. So, artistic exaggeration. Or lack of inspiration.

Batman and the Outsiders #1 — I used to like this book, back in the 80s, but I’m leery of Chuck Dixon these days, so pass.

Salvation Run #1 — Why would I want to read a comic about a whole bunch of villains on another planet? The setting makes it much too easy for the writer to pull things out of his pants to take the story in whatever direction he wants. And a bunch of bad people fighting with each other… I get that every night during election season.

No, seriously, why does this book exist? And why would someone want it?

Green Arrow/Black Canary #2 — I am SUCH a Cliff Chiang fangirl. He can do no wrong, and the regal Hippolyta on the first page of this Themyscira-set issue just confirms it. And the naked Green Arrow trying to escape from his captors is a definite eye-catcher.

Black Canary and … what’s the former-hooker sidekick’s name? She’s written with Judd Winick’s typical subtlety, barely setting foot on the island before she’s shouting about her previous profession and her HIV status, insulting her hosts, and causing Black Canary to fight with those who invited her. So I think I’ll spend more time on the pictures. The story is obvious when it’s not offensive, but it’s sure pretty.

Wonder Woman #14 — Is this Gail Simone’s first issue? The DC website says it was last issue, but the way they juggle contents these days, I think it got shifted to this one. Diana winds up adopting some gorilla warriors as houseguests and waxing rhapsodically about cake. I’m most excited by the reintroduction of Lt. Colonel Candy, who’s set against Wonder Woman.

This one’s an okay read, but the art is typical “let me pause during battle to make sure you can see my butt and breast at the same time” pinup stuff. I would expect nothing else from the Dodsons. Simone and Chiang… I can dream, but until then, I have two books that make me say “but… if only…” instead of one I can adore.

Welcome to Tranquility #12 — Did you know this was the final issue? I blame the zombies. I liked the “town of old superheroes” concept until that point. I found this installment incoherent, trying to wrap too much together and too many characters to keep track of. But I hadn’t been paying attention for previous issues, either. Again, zombies. Don’t care.

I seem to remember, back in the Usenet days, being excited to get Wednesday’s haul and go through each and every one of them. Now, I just feel old and tired. Which makes me wonder which of us has changed more: me, or the comics?

(This review originally appeared at the Savage Critics.)

This issue, Booster and his traveling partner Rip Hunter have run their time sphere into the Cosmic Treadmill… while Barry and Kid Flash Wally were on it. (Why haven’t I read about a timestream collision before? It’s goofy but twisted fun.) Barry and Wally are tight-ass old-fashioned heroes, while Skeets, Booster’s flying robot globe, snarks at him. For instance, after Booster figures out that they’re headed for a trap, he says, “I hate being right.” “At least it doesn’t happen often, sir,” replies Skeets, in Marcy-like fashion.

Turns out that Rex Hunter, some bitter kid-grown-up from the Time Masters series, and Supernova, gimmick from one of the recent interchangeable events, have teamed up to change history by eliminating heroes. As Barry says, “We’ve heard enough, Wally. These men are time travelers with insidious motives.”

I like that there are references to other comics everywhere in this book, but they don’t matter. It’s cool if you read, or even heard of, Time Masters, but if you haven’t, ok, you’re told that this is a former teammate now gone bad. If you do have more knowledge of superhero trivia, then you’ll find the line “Booster Gold? Way to aim high. Was Danny Chase unavailable?” hilarious.

No one in this comic is respect-worthy, so when they do refer to other events, it’s easy to ignore. And that’s all right, that they’re losers, because they’re still trying to do the right thing, in a much more mottled way than the simplified primary characters they interact with. But they don’t wallow in how difficult life is or how tough it is to live on the edge. There’s a lightness here that keeps the pieces working together.

Their missions are basic and easily understandable, not to mention sympathetic. Booster wants to save Blue Beetle from dying. To do that, they have to prevent another attack on a superhero. I don’t want to spoil it, but it’s a highly contentious event that I’m impressed they’re willing to tackle.

I’m inclined to attribute all the bits I like to co-writer Jeff Katz, because I don’t care much for Geoff Johns’ work these days. Either way, it wouldn’t work as well as it does without the experienced art of Dan Jurgens and Norm Rapmund. This is the kind of superhero adventure I can really get into: creative, adventurous, moral, exciting, amusing.

The weirdest thing is, this isn’t even the best issue of the series so far. In issue #2, Booster faces off with Sinestro, which leads to Skeets ramming himself into the Lantern’s head while shouting “No man escapes me!” He’s yellow, you see, and Sinestro thinks he resembles a Manhunter. In issue #3, Booster gets drunk with Jonah Hex in some convoluted plan to keep Superman from being killed. Which is why they ran into the Treadmill this issue — Booster was driving the time sphere drunk.

The Immortal Iron Fist #10 — I don’t mind reading it, but if it disappeared, I wouldn’t miss it, and I never feel like I have anything to say about it. Probably because it’s a boy comic, all about the glory of fighting well, grasshopper. Writers Matt Fraction and Ed Brubaker add just enough characterization to give me something beyond that, but not enough to make this worth me getting involved in.

The Order #4 — Oh, this is good. Very Good. I like these characters. There are lots of them, so I’m going to have to reread the four issues to see which ones we know so far and which we haven’t met yet. But I want to, instead of feeling like I’ve been assigned homework.

And I like the reality-show-inspired confessional structure, in which one of the team members explains themselves and their background, intercut with action sequences. It suits Barry Kitson’s can-be-static style, in that they’re supposed to be low-key, but he still varies the head shots up a lot. Matt Fraction’s character backgrounds are complex, but portrayed with humor and feeling. He’s up-to-date, with his celebrity heroes facing the typical pitfalls of tabloid culture: attention for the wrong things, addictions, toxic fame. It feels current. What a neat change.

Oh, and Abhay was right about Vinyl Underground — #2 is all incoherent exposition, no movement, no appeal.

(This review originally appeared at the Savage Critics.)