written by Kyle Higgins
pencils by Eddy Barrows
inks by Paulo Siqueira & Eber Ferreira

A stand-alone issue set in New Orleans, as a spurned lover decides that a demon is the best way to bring her fiance back to her. Not a bad story (if a bit unconnected to Nightwing, specifically — it could have appeared in a half-dozen books — and possibly a bit stereotypical), nice sense of place, very atmospheric art — but what made me want to mention it was how tired I quickly became of hearing Nightwing talk to himself.

Well, he’s actually talking to us, so we know what’s going on. That’s a good thing, since there’s plenty of “why would he feel the need to tell himself this thing that he already knows?” narration, and I don’t think we’re supposed to think the title character is insane. All this rattling on is a shame, because it feels clunky. I don’t want this much hand-holding and plot-patching.

Also a shame: the artist drew a t-shirt under the Nightwing costume when he starts unzipping it, as shown here. What, that sliver of man-chest would be too much for the readers?

My recommendation for this series: more circus life, since it sets Dick apart from all the other Bat-folk, less moody self-narration riding vehicles at night, because that’s generic and poorly done. This issue would have been stronger if that space had been used for more backstory for the tortured couple, to make them more than just plot points.

Green Lantern #5

written by Geoff Johns
pencils by Doug Mahnke
inks by Mark Irwin, Keith Champagne, Christian Alamy & Tom Nguyen

So much for that. The characterization, doing something new with the cast, that I so appreciated in this series when it relaunched is gone. Instead, we’re back to the same mythology, various groups working out grudges against each other. I no longer care who did want to whom, especially in comics I didn’t read that seem to predate the line’s relaunch.

Hal Jordan’s basically hanging around watching stuff, which makes him seem pointless, when he’s not playing voice of the author and telling us what we’re supposed to think about various cast members.

Cosmic comic books traditionally haven’t done very well, and I know the counter-argument is that readers want to follow good characters anywhere, but these aren’t very good characters. In their uniforms, many of them are interchangeable, and I’d rather see Hal back on earth coping with his life there. It looks like we’re setting up to get back to that in issue #6, or maybe #7, but I’m not all that involved any more, because all that comes to mind when I think of this title is disappointment.

Wonder Woman #5

written by Brian Azzarello
art by Tony Akins

The art is not by Cliff Chiang this issue, and he’s why I read the book, so I didn’t pay a lot of attention to this issue. It’s various characters talking about and to gods. It also doesn’t have enough Wonder Woman in it. I don’t want to be reintroduced to the entire pantheon of gods — I already got enough of that in Hercules a couple of years ago. I’d like to see the title character do more.

Legion of Super-Heroes #5

by Paul Levitz & Walter Simonson
inks by Dan Green & Sean Parsons

Wow, Walt Simonson drawing the Legion! That’s a great reason to check back in. It’s a different, edgy version of the characters, but the “day in the life” format is a neat way to learn these cast members again, since they’re not exactly the ones I knew. Yet they’re wonderfully expressive and active, thanks to Simonson’s work.

So many characters! But this is the first issue in a while that’s given me a sense of wonder about the 30th century. (Is that still when they are?) And it’s a pleasure to see them all doing so many different things (instead of the women standing around posing).

It strikes me as very weird that the main effect of the DC new 52 has been to swap me from buying superhero books because of story to buying them because of the art. It seems that EIC Bob Harras’s attempt to bring back the 90s, with creators best known from that time period, has sent me back to that mindset in a different way.

Here’s an interview with Walt about working on the book.

Tiny Titans #48

by Art Baltazar & Franco

Ah, my favorite. This issue is all about secret identities, and later, secret oranges. (Which took me a while to get, duh.) A bunch of redhead girls are hanging out, then everyone gets into 70s gear. I have no idea why any of this happens, but it’s wonderfully entertaining and creatively silly.

It gets even weirder, later, when the secret oranges of the justice league — fruit with cute little cowls and tiaras and capes — battle the League of Just Us Cows. Then the Orange Lantern brings the Core … but I won’t spoil that joke. The panel made me laugh for a good minute, though. (Especially after contrasting it with reading Green Lantern, above.)

This book is the ice cream sundae dessert of the comic book week.

I really love how writer Mark Waid incorporates Matt’s blindness in every possible way. It’s no longer something that he puts on as part of his secret identity or a visual shorthand of sunglasses and a cane — instead, there are a number of key facts revealed through his greater acuity. On the first story page, for example, Matt is aware that their bus driver is lying to him because he can hear his pulse rate increasing.

Waid’s also particularly creative in finding environments that actually challenge Matt’s super-senses; in this case, it’s a snowstorm, which acts the same way radar chaff does in confusing the signals he’s receiving. Artist Paolo Rivera is also at the top of his game, with striking and distinctive images — Matt’s suit, shredded during the accident, revealing bits of his Daredevil costume — and layouts, as when he captures the chaos of a vehicle crash through various inset panels.

Waid’s dialogue is stunning, clever and revealing. I particularly liked the flashback quips about Iron Man — but I always like Marvel characters being light-hearted about Iron Man, because that’s the personality I like for that character. More importantly, this comic shows Daredevil being heroic in a truly unexpected fashion. Instead of Man vs. Villain, as we see so often in superhero comics, this is Man vs. Nature. The relentless cold is a much more implacable foe than even the Kingpin, and while I enjoyed the last couple of issues and their big bad supervillain conflicts, this one was even scarier.

I was totally involved in the story, feeling like I got more than my money’s worth, only halfway through the book. There were lots more surprises to come, some shocking — the revelation about the gasoline — and some wonderfully reassuring — nope, no spoilers here. It’s even quietly seasonal, with a reminder of the season of hope.

I’m especially put off by the “look at my crotch!” red panel in Lightning Lass’ costume, since that color appears nowhere else in her outfit. Along similar lines, I don’t really need to see in such detail how much higher Dream Girl’s costume is cut than the natural join of her hips to her legs. (What is her costume made of, anyway, since it seems to do an oddly specific job of lifting and separating, to quote the old bra commercials?) With Shadow Lass, it’s the odd position of her elbows. Instead of opening her arms to welcome back a team member, as the text suggests, she’s pinned her arms to her sides, the better to push forward her breasts.

There are a number of reasons why I’m not following the new Legion of Super-Heroes series. This style of art is one of them.

The way I read it, writer Lobdell is having the first character in that panel comment on how Booth didn’t draw what Lobdell scripted. I wonder how that came about, and why editor Bobbie Chase allowed it. My best guess: there wasn’t time for the panel to be redrawn, or it was decided that it was easier to change the text than the image, or it was left because it wasn’t important to the story (which it isn’t — I wouldn’t have noticed the discrepancy if the dialogue hadn’t called attention to it).

You don’t often see these kinds of quibbles make it to print, with one member of an art team commenting on the work of another. Maybe Lobdell and Booth have a great, long-term friendship where they enjoy jabbing each other, I don’t know. If not, I have to wonder how this will affect that working relationship.

Storytellers: Fabien Nicieza and Pete Woods (Don’t blame me, that’s how they’re credited)

Last month, this was one of my five recommended DCU titles, and now I’m already regretting that choice, since this issue is basically a string of fight scenes, and I found myself losing interest quickly.

I am conflicted, however, about criticizing the book on that basis. This is a superhero comic, after all, and what sets them apart is that the cast (or at least a significant part) have powers and abilities far beyond the normal man. The best way to demonstrate these superpowers is through action scenes, and the most immediate version of those are battles. So I am well aware that I am criticizing this book for being part of its genre.

However, we have also reached a point where these monthly comics are only 20 pages. That means creators are cutting content, and what ends up going are the small, quiet, character moments that make these heroes truly memorable and understandable. I don’t need to see Dawnstar flying — even if she’s monologuing about the story so far and the names of her teammates and how remote she feels why she does so — since I get that that’s her power because she has wings. And yet, even with all that background catchup, I end this issue not knowing who Alastor, the bad guy, is or why I should care, other than that he’s going to kill people.

Superboy #4

Writer: Scott Lobdell
Penciler: R.B. Silva
Inker: Rob Lean

Hey, the redhead turns out to be Caitlin Fairchild, and someone’s concerned about maintaining her visual branding, because there is no other reason for a woman to be wearing a bra that is two-tone purple and green. I’m also wondering about why her underwear has a belt on it, because that seems stupid. I don’t think I’m supposed to be distracted by these elements — although clearly I the reader am supposed to admire her physique, especially her cleavage — but that’s what sticks with me in the opening scene, which, yes, is a fist fight.

Much of this issue is forgettable chatter about various factions setting up for Superboy to be part of the Teen Titans and establishing that once again, Superboy doesn’t know who his parents (really genetic donors) are. I did find it refreshing that Superboy hates Christmas because the world is at war and people are starving. That’s a rather unusual position for a title-character superhero to take. (I also appreciate reading a holiday-themed issue at the holidays, because that makes me happy.) It’s really an expression of his adolescent identity crisis, which is overused in superhero comics, but at least the way we see it here (visuals! yay!) is creative and different. Especially setting the Rockefeller Center Christmas tree on fire. Dang, that’s an image you don’t see often.

The villains are the usual crazy creepy mass-murdering couple, a trope I’ve seen too often since Spike and Drusilla (and I’m sure someone came before them). In taking them down, Superboy has a previously unseen take on how fun it is to find people he can cut loose against. It’s not classically heroic, but it acknowledges the “without you they wouldn’t need me” superhero/supervillain symbiosis that drives modern comic storytelling. Maybe I should drop Legion Lost and add this. After the upcoming crossover.

Writer: Jonathan Hickman
Penciler: Juan Bobilo
Inker: Marcelo Sosa

Be careful what you wish for. I wanted to see a comic just with the kids hanging out at the Future Foundation, including Valeria and Franklin Richards. Now, I got it, and it’s horrible, badly drawn and incoherently written. The kids are interchangeable, and I have no idea what they’re aiming for or how they got to a castle with multiple Dooms.

I know, no one believes “every issue is someone’s first” any more, but how do you increase sales if there are no starting points? And with all the publicity for the return of the Fantastic Four, I would have hoped that this would have been a little more possible to get into.

As it is, we have a gang of youngsters and a gargoyle in a snowy wasteland quibbling with each other, with little use of names and less explanation of what they do; more than one old-looking Reed Richards; and two Doctor Dooms. I have no idea why any of this matters. More importantly, even without the information I’m seeking, I am given no reason to care about why anyone’s doing anything. Additionally, the kids are freakish looking. Features squash around their faces, as though they were made of stress-ball plastic. What a waste.

Generation Hope #13

Writer: James Asmus
Artist: Ibraim Roberson

Well, as I feared, now that the creative team has changed over from when I enjoyed this title, this is no longer a book for me. This is the first panel on the first page:

It’s such a classic superhero team pose, fierce and musclebound, no one standing like a normal person, everyone facing front. It’s very good for what it is, but I don’t want to read yet another comic like that — I’ve read too many of them already. I’ve liked Kieron Gillen’s Generation Hope because it did something different with the concept, and he had such unique visions for these distinctive characters. (I also don’t recall Hope’s costume being quite so “follow the arrows to my crotch!” before.)

Now, the characters speak in exposition (necessary for new readers attracted by the “Regenesis” banner), and everyone looks posed, even in the middle of action, although the people are attractive and the shading is lovely. The only thing I found fresh about this story was Kenji’s crush on Martha Johansson (aka No-Girl, ick), the brain in the bubble, ’cause that makes a certain amount of demented sense but I never would have imagined it previously. And while Teon, one of my favorite team members to read, gets a couple of bits, his unique character doesn’t have the subtlety he did before.

I agree with Greg McElhatton — this should have been retitled and relaunched as another comic.

Avenging Spider-Man #1

Writer: Zeb Wells
Artist: Joe Madureira

AKA, the return of Marvel Team-Up, but there’s nothing wrong with a book where Spider-Man and some other hero get together, fight something, and then go their separate ways. Especially when writer Wells is including a good deal of humor, and it’s working for me.

I found it funny when Spider-Man’s constant interior running monologue is all about not having the time for the many things he has in his life, including membership on two superhero teams. I could relate. Then, to get him teamed up with Red Hulk, all the Avengers play “not me” when he needs a ride home. I like that kind of humanizing banter. Which means I really liked seeing J. Jonah Jameson, attacked by beasties at a public appearance, yelling about not having any ammunition. It’s exactly how I pictured him, trying to step up and help in a ridiculously exaggerated way.

Talking about Madureira’s art is somewhat pointless, since I hear he’s already off the book, but it’s dynamic and action-packed, exactly what you want for a fight book. Draws an amazing Hulk, all bulky muscle.

$3.99 for 20 pages of content is ridiculous, though, even with a free digital copy.

One of the big challenges with these titles is that they only have 20 pages available, which makes it rare to find satisfying comics that are enjoyable on their own, instead of as part of a bigger continuing story. A big fight scene, while perhaps visually exciting, can leave this reader feeling like I’ve wasted my money. Other books are made up of bits, not coming together into a cohesive whole. But enough on what others are doing wrong. Here are the ones I think are getting stuff right.

Legion Lost #3

by Fabian Nicieza & Pete Woods

While the main Legion of Super-Heroes title feels disjointed to me, trying to cover too many characters in not enough space, this one has a simple premise that allows greater focus. (Plus, it’s in keeping with the history of the concept.) A small team — Timber Wolf, Wildfire, Tyroc, Dawnstar, Tellus — has been trapped in our time, where they’re trying to stop another alien from infecting humans with some kind of space plague.

I actually care about this threat (unlike in some of the other 52), I can follow it from issue to issue, and it’s visually interesting. The characters are well-chosen for a blend of powers and personalities, some of which have been under-served in the past, so I’m glad to spend more time getting to know them better.

I’ve always liked team books better than solo superhero stories, because they allow for more different characterizations. I would have liked this better with more than one girl hero (although that may be addressed next issue), but while all these team members have reason to be angsty and upset, they’re still acting as heroes, trying to make things better for others in spite of their own trauma.

Birds of Prey #3

written by Duane Swierczynski; art by Jesus Saiz

Speaking of team books, I’m glad this one is shaking out into something I might like. I’m still not sure about new character Starling, who seems too much a plot device. She always wins her fights, she’s always thought two steps ahead, and she doesn’t need anything from anyone. I hope her character gets fleshed out with some weaknesses and three-dimensionality soon.

I miss Oracle, but I’m glad to see Black Canary and Katana. This issue, they recruit Poison Ivy, leading to a debate on which methods are acceptable for their goals. (Which I’m a little fuzzy on right now.) The emphasis has been on action over depth so far, but a Katana who talks to her dead husband’s soul stuck in her sword intrigues me. And I do want to support an all-woman team.

Batwoman #3

by J.H. Williams III; co-written by W. Haden Blackman

Another book that’s showing interaction among women broken in various ways. Kate Kane has a dynamite design, immediately drawing the eye wherever she appears, and her backstory is equally involving, with a sister she thought dead but who may have become a demented villain. I like the way her dad supports her, I like seeing cousin Bette as her apprentice/sidekick, and I’m tickled by her burgeoning relationship with officer Maggie Sawyer. I never thought I’d see Cameron Chase again, but here she is, too, still working for the DEO investigating supers.

What sets this book apart from all others, though, is the stunning art by Williams. Most of the book is composed in two-page spreads, which opens up the story and also benefits the comic in another way: it’s much better suited to read in print than online. This is a book to buy, not browse digitally.

Wonder Woman #3

written by Brian Azzarello; art by Cliff Chiang

I’m a bit surprised at what’s driving some of my picks, since two of my selections are art-focused (at least in terms of why I choose to keep reading them). Normally, the story is the most important factor for me, but I love Chiang’s work, and I’m very glad it’s on display in a monthly title.

I disagree with the choices made — to position this book as a horror title, to reveal a father for Diana — but at least someone seems to have a vision for the character that isn’t retro and has a direction that makes sense based on her history. I’m assuming that Azzarello will continue following up on how this makes Queen Hippolyta a liar to her people, but I’m disappointed on how this rips apart one of the few mother/daughter relationships seen in superhero comics. (So many of them are about the father, as though only that one parent shaped a child.) I guess he felt he needed a reason to make Wonder Woman into a superhero connected more to our world than hers.

I’m pleased to see the Amazons used as supporting characters (although that might be changing), and the gods appearing modernized, so we’re not reading the same thing we’ve seen before. And gracious, it’s lovely, with simple, direct designs and excellent storytelling. I just don’t have the words to do justice to Chiang’s skill.

Green Lantern #3

written by Geoff Johns; pencils by Doug Mahnke; inks by Christian Alamy, Keith Champagne, Mark Irwin, and Tom Nguyen

I’ve already talked about how surprised I am that I’m following this title, but by putting the relationship (and the attendent power struggles) between Hal Jordan and Sinestro front and center, I’ve got a hook that I never before had when reading about magical space cops.

Sinestro needs help, because his Corps have turned against him. So he’s willing to give the disgraced Hal Jordan (I love that phrase, because I’m very ambivalent about him, historically) back a ring in return for his help. This actually makes Sinestro somewhat sympathetic (although he’s made his own problems), which ties in nicely with the movie portrayal.

Johns is doing an excellent job with cliffhangers as well, making this a great read month to month. Each last page leaves me wondering what he’s going to do next.

written by Geoff Johns
pencils by Doug Mahnke
inks by Christian Alamy and Keith Champagne

Imagine my surprise, now that we’re into the second month of the new DC, to find that one of my most-anticipated books is one I wouldn’t ever touch before.

I’m finding the premise intriguing. Hal Jordan no longer has a ring, but Sinestro offers him one if Hal will be loyal only to Sinestro. I have no idea where Sinestro got the power, but he’s an evil bastard with it. What fun, to have a villain to hate who seems well-matched to the protagonist.

Hal needs this kind of storyline to redeem himself, to choose to be a Lantern. This showdown is demonstrating exactly what it means to be a hero and why he’s deserving of the title. There’s meat to this plot, big questions, not just big fights.

I’m eager to find out what happens next, and this is just about the only new DC title I can say that about.

DC Retroactive: Wonder Woman – The 90s

written by Bill Messner-Loebs
pencils by Lee Moder
inks by Dan Green

Everyone knows how difficult Wonder Woman is to write. Everyone knows her, but for stories either based in fetish or politics or from a period where she didn’t even wear her costume or have powers.

I’d pretty much given up, but then I found the best Wonder Woman story I’ve read in years in this one-off project. It’s inspirational, suspenseful, and funny. But I should have known, once I saw the writer, that Messner-Loebs would know just how to handle the heroine in a modern fashion.

Wonder Woman inspires a girls’ club after they have to struggle to understand each other. At first, she doesn’t know what to do, since all the girls care about is who you know and how you rank and shopping. Soon, she’s teaching them about their own power, taking them on hikes and getting them moving. They learn about the joy of accomplishment and how to find that one more bit of energy you didn’t know you had.

As Messner-Loebs demonstrates a variety of interests as acceptable, Moder’s art is similarly diverse. His Diana is slender and attractive, but the girls are all shapes and sizes, and they look young. It’s impressive to see some of the expressions he gives Diana, especially in the hilarious panel where Diana tries to play dolls with the girls. As she holds the dolls, she says

I, Ken, am home from the masculine world of work. Wife, feed me while I ogle your bulbous femininity. Display for me your subservience, for I am the man!

One girl then whispers to another, “Diana is sooo terrible at playing house.”

It’s not just about rahr, girl power, though — there’s adventure and learning and a daring rescue. This is the inspiring hero I want to see more of. I wish there were a lot more Wonder Woman stories like this one.

All-Star Western #1

Upfront: Basically continues from the previous Jonah Hex series, by the same writers. Much loved in many circles, but not a big seller. That the movie tanked so bad probably didn’t help.

It’s still Jonah Hex, but he’s obviously been tinkered with by guys with charts and graphics and demographics. Suddenly, Hex is in the Gotham City of the 1880s — which the last time I checked was in the East (but All-Star Eastern isn’t a very good comic book title). Apparently, the powers that be thought that they could jazz up interest in Hex by tying him as closely as possible to Batman, but of course, the two characters are completely separated by time (over 100 years). So unless Jonah discovers a flux capacitor-driven DeLorean in an old barn, the two characters ain’t meeting up any time soon. (Although wouldn’t you love to hear Hex trying to say “gigawatts”?)

At least for now, Hex is teamed up with Dr. Amadeus Arkham, who long-time DC readers know is the founder of Arkham Asylum. This hasn’t happened yet in the Hex storyline, so for the time being, Hex will just have to be involved with some other members of “old Gotham” (such as Mayor Cobblepot) as occasionally referred to in various Bat-books.

The good news is that it’s still the same grumpy, ornery Jonah Hex. And there’s also the traditional dead prostitute (although that’s not such a good thing). Despite everything else, this is still Justin Gray and Jimmy Palmiotti’s Jonah Hex, hopefully given a chance to extend their acclaimed run of storytelling a little farther and stave off cancellation for a while longer.

I believe this is the first Jonah Hex work for artist Moritat (aka Justin Norman), but he’s a good fit, especially with his backgrounds and architecture occasionally resembling very stylized woodcuts. This effect is greatly enhanced by the also very stylized coloring of Gabriel Bautista who, combined with Moritat, serves the world of Jonah Hex particularly well.

Hopefully, this Batman-related stuff is just a new-series stunt, and soon Jonah will be back to his wandering ways. At first I was confused about why DC was reverting the title back to the original anthology-style All-Star Western, especially when Jonah is the only feature in the first issue, but I am reliably informed that El Diablo will debut in issue #2 — particularly fitting since the character debuted in #2 of the previous incarnation.

Aquaman #1

Upfront: Aquaman’s a tough sell in the the current post modern world of cynics thinking him the lamest superhero ever. Has had a long, long history at DC, with very few exceptional bright spots overall.

Going in, I expected that this new Aquaman was going to be more “grim & gritty”, and I was right. What I didn’t expect was much humor as well. Writer Geoff Johns obviously knew up front that the character has a long-standing “lame factor” from years of being made fun of by comedians and cynical fans. Johns stepped up to confront this right off the bat in a sequence designed to win over even the most jaded, cynical, comics world-weary fan (and critic) alike.

How does he do this? He has Aquaman walk into a seafood restaurant and order lunch — fish and chips. Of course, the wait staff and other customers are horrified by this — “How can he eat his friends?” — which leads into a sequence bursting with meta and humor as everyone in the restaurant calls him on it. The subtext is crystal clear — don’t believe everything that you think you know is true — and also deals with bad fan behavior (in a good and appropriate way, although I suspect that insecure fans will probably be offended by it).

The scene also goes a long way in resetting Aquaman’s personality, or maybe more properly defining it. He’s not the happy-go-lucky Silver Age family man. He’s not the overly regal asshole he once was. He’s not angry and pissed off all the time. (In other words, he’s not Namor.) If anything, he’s world-weary and at a crossroads in his life — and wanting to make positive changes. I think what this book is going to be about is if the world lets him do it. (Right now, it doesn’t look so good.)

Mera’s on hand for a brief but important scene, which is important to at least this reader. Mera’s such a cool character who’s kinda been lost for a long while. It’s good to see Johns putting in effort to reclaim her as well.

Ivan Reis and Joe Prado provide their usual excellent artwork, encompassing superherioic action, atmospherically moody scenes setting up future plotlines, and the excellent facial expressions needed to carry out the lunch scene to perfection.

The New DC is supposed to be about fresh starts, and there is no DC character more in need of one. I like this more thoughtful Aquaman. Sounds like a good reason to stick around for me.

Batman The Dark Knight #1

Upfront: I’m way behind on my reading, so I’ve yet to read David Finch’s previous Bat-tales. I was originally going to read them before reading this, but a couple of people told me it would be more appropriate to read this “cold”. The New 52 is all about new readers, after all.

I admit I was rolling my eyes only a couple of pages in over the clunky bad narration. (Who writes this stuff?) Until I got to page 5 and realized it was actually a cheesy Bruce Wayne fundraising speech. Well played, Mr. Jenkins. Just two pages later, I LOLed over the obviously evil cop (did you see the way he was drawn?) also trashing the writing. Set and match. Add more witty banter/double entendre, plus a new femme fatale and throw in a withering exchange between Alfred and Bruce, and it leads me to wonder — who gets a raise for adding writer Paul Jenkins to the mix?

While I’m enjoying all this clever stuff, other readers are wondering when the action starts, so that happens now — with a major riot at Arkham Asylum. Although wasn’t there just another riot in Arkham in a previous New 52 Bat-title earlier this month? Yes, just last week in Batman #1. And Arkham was also in Detective Comics #1. Arkham’s a cool place, but some editorial coordination to keep it from overuse should really be in place.

Anyway, back to this book. Because the artist (David Finch) is coordinating the fight scenes, the battle stops to take a break to include what Finch wants to draw at any given moment, so we get a big panel of the more unusual-looking (and scary) villains, then a panel which is just a big blood spatter (really), and then a full page of Batman posing instead of saving lives. Finch then apparently wanted to draw a pretty girl, so we have a panel of a bunny girl (and her nice derriere, which is prominently displayed).

I have no idea who this character is, and I had no luck looking her up. I’d guess that her name was White Rabbit, except Marvel already has a character by that name. Does anybody know who she is and why she’s running through Arkham? Neither the creators or the characters bother to identify her, which makes me think that Finch just invented her on the spot, because there weren’t enough hot babes in the book. Then we get to the last panel, featuring a Hulked-out version of one of the classic Bat-foes — for no apparent reason other than it looks cool.

This book’s pretty schizophrenic, isn’t it? And probably not by design.

There’s no doubt that Finch is a great comic book artist, but when a comic is just a random series of images that the artist wants to draw, it’s no longer a comic book story — it’s a portfolio. What he’s drawing is certainly interesting, but it’s not doing the story any favors. A good comic book requires a combination of both good art and a good story — hopefully about the same thing.

Let’s hope the addition of a writer of Paul Jenkins’ stature to the creative team will be a good influence on David Finch’s future storytelling prospects.

Blackhawks #1

Upfront: Another grand old DC concept, without much purpose in the modern world. Obviously, this will have to be different to succeed.

It is different. So different, in fact, that I’m not really sure why it needs to be called Blackhawks. There are some stunts involving aircraft, but they are minimal to the plot.

Also, I think it’s an international cast, with a joke about the characters having odd nicknames that don’t match their actual birthrights. “The Irishman” is from the Ukraine, but the joke doesn’t really work in print where you can’t hear the characters talking with accents. That makes me think this is yet another movie screenplay (written by Mike Costa) disguised as a comic book — since it’s obviously written that way.

There’s also some subplot about one of the women being infected with nanocites and being transformed that’s supposed to be a cliffhanger, but the last page is drawn so poorly (by Graham Nolan and Ken Lashley) that you can’t really tell anything is happening to her. (It looks like she has a bad headache.)

I’m glad that this doesn’t seem to have anything to do with the original Blackhawks. I wouldn’t go see this as a movie. Even if it was free.

The Flash #1

Upfront: The Barry Allen Flash is riding high since his revival and his starring role in Flashpoint and with the perfect artist for an updated look. But can the artist write?

This book has two hyphenates as creators: writer-artist Francis Manapul and writer-colorist Brian Buccellato. And it’s not bad. I think this title has more changes in the status quo than some other New 52 titles — this seems to be a younger, unmarried Barry Allen, who’s dating his co-worker (and fellow scientist) Patty Spivot. Iris Allen is still around, but for now, she’s strictly a reporter, aggressive at her job. There’s no Rogue’s Gallery (at least for now). But most everything else seems to be the same (job, co-workers) as the previous incarnation of the character.

So the emphasis will be on establishing new foes and situations for the Flash — something that hasn’t always gone well. There are now two generations of old fans to try and please — Barry Allen fans who seemingly like everything old and quaint about the series (Rogues, happily married to Iris) and younger fans who grew up with the Wally West version (who is now seemingly gone). But the New 52 is all about developing new fans, so it will be interesting to see if this will be enough to attract large numbers of new readers without completely alienating all the old ones.

I liked what I read here, but it’s a quiet start, with nothing instantly grabbing me, demanding my return next issue. I’ve read almost 40 years’ worth of the Flash, so I’m not going to drop it overnight, but the creators really have to step up their game story-wise to get me hooked enough to stick around long-term. Just because they’re skilled artists and/or colorists doesn’t mean they have fully developed their writing craft, and it remains to be seen if they’re capable of turning their ideas into exciting scripts. This is a good start, but they’ve got a ways to go.

You need a story that really means something important to your lead character. To say that all of Barry’s cases are personal to him means nothing if we don’t actually see why. Show — not tell — guys! If you want readers to stick around you’ve got to go from zero to Mach One faster than the Flash himself.

The Fury of Firestorm: The Nuclear Men #1

Upfront: One of DC’s most interesting concepts and an important modern day hero. But almost every — frequently misguided — revival of the the character has lessened his impact. Can this character be saved?

I’ve always though that Firestorm was one of the greatest kid-concept heroes ever created. The combining of two diverse characters together to create a super-powered hero who was better than the sum of his parts was an amazing idea. The added situation of the two characters philosophically not getting along and having to working together — putting aside their differences for the greater good — was always a positive message. That his costume was brightly colored and explosive-looking was huge. And the original characters (a high school jock and a middle-aged scientist) were something that a broad range of readers might identify with.

The concept is not unlike the Japanese “giant robot” (or mecha) heroes first developed in the 1950s and 60s, where the heroic robot is usually controlled by a human operator, often riding inside the robot. Firestorm was usually depicted as being a super-developed version of the teenager (Ronnie Raymond), and while the scientist (Martin Stein) was never physically inside Firestorm, he was usually artistically depicted as an apparition appearing to talk and aid (control) Raymond from inside his own consciousness.

As the series aged, creators tinkered with the mix, and different characters would get teamed together, including man/woman pairings (specifically boyfriend/girlfriend). Most recently, issues of race were explored, with a black teenager (Jason Rusch) taking the prominent role with the original (white) Ronnie Raymond, now older, taking the supporting (internal) role.

This new version of Firestorm continues with both Raymond and Rouch recast as high school contemporaries but “natural” school-aged opponents. Raymond is a stereotypical football quarterback, and Rouch is a stereotypical nerd school newspaper reporter who challenges Raymond for getting ahead in his athletic career while black athletes are being held back. They immediately clash, but later we discover that both have hidden depth to their characters.

Sadly, the new book is not really for kids any more, based on the opening scene where a family is slaughtered by terrorists, and later on, the torture of others. One of the terrorists is Cliff Charmichael, a rival of Raymond in the old series who ended up as a super-villain. He was so remarkably screwed up over time, it was actually a relief when he was finally killed off (and then later retconned). Wonder what his fate is here?

Anyway, I brought up giant robots earlier because of the other major twist in this new Firestorm. Instead of Raush and Raymond combining into one super-powered character, now each boy is turned into their own separate Firestorm — one in a primarily red costume (Raymond) and the other in yellow (Rouch). But wait, it gets better. Now the two separate Firestorms can combine into an even bigger, more powerful character named (get this) Fury! Who looks like his arms and legs may be radioactive — but we won’t find out until next issue!

Yay! More action figures to buy!!!

Also, Loren, one of the female terrorists (coincidentally Cliff’s girlfriend), gets caught up in the reaction that creates Firestorm. It appears from the artwork that she may be the new Killer Frost. No rhyme or reason as to why, but what economy of writing!

Here’s a new book with brand-new concepts that are hugely kid-friendly that also wallows in mindless violence. Mixed messages, DC? I could see where this might be fun for the videogamer crowd, because it really feels like a video game, except there’s too much talking up front. I’m probably not sticking around for long. This just feels like “been there, done that” — only shinier and louder.

Green Lantern: New Guardians #1

Upfront: Again, love the GL concept, but concerned that overkill is weakening the franchise. Had dropped Tony Bedard’s previous GL book (Green Lantern Corps) about a year ago because I wasn’t enjoying it.

I was extremely confused initially, as the opening sequences of this comic re-tell Kyle Rayner’s origin as a Green Lantern (removed from the previous Hal Jordan/larger DCU context in which it was originally told — and now not including some essential details). It isn’t until several pages in that a scene-change caption indicates “The Present Day,” implying that the previous was a flashback sequence. This was a cheap storytelling cheat — especially in a book that most readers will go into thinking they are reading a present-day sequence intended to introduce the New 52 aspect of a fresh start for the DCU and its characters. So writer Tony Bedard managed to tick me off right away by not clearly indicating we were actually reading flashback history without a “years before” or “previously” or even “a long time ago, in a galaxy far, far away…” caption. Not a good start.

Things went downhill rapidly for me when next we are witness to a number of Rainbow Lanterns being slaughtered by what seems to be a malfunction of their rings shutting down prematurely. You would think that such a spectacularly advanced technology as the GL rings would have some sort of safeguard or warning that the rings were going to go powerless (or AWOL), so that the wearers wouldn’t be killed instantly. Or is this just something else the increasingly evil Guardians didn’t bother to tell anybody?

This is all to set up a gag where Kyle Rayner is suddenly and simultaneously chosen to be a member of each multi-colored branch of the Green Lantern Corps — just before he’s attacked by either the survivors or defenders of the previous ring holders. And then the story ends. (I use the term “story” loosely.)

The next issue box promises “A Brutal Times Square Beatdown”. No thanks.

Tyler Kirkham’s art had my eyes crying out for some white space for a rest — but there was none. Every panel was crammed with mostly senseless detail. And Kyle’s hair looked like a dirty mop.

I was really hoping that this book could get into the differing philosophies of the various Rainbow Lanterns — for me, the most interesting thing about all these new Green Lanterns. But once again, all these guys really want to do is fight each other. It’s like watching preteen boys play with their action figures — again. “KAZAP!!! You’re dead!” “No I’m not, you are — KRAK-AK-AK-AK!” My recent root canal surgery was less painful than this.

I, Vampire #1

Upfront: The runt of the litter. The book that very few were talking about, based on an old anthology character that even fewer remember. But vampires are currently hot in pop culture right now.

I’ve never been much of a vampire fan at all. Just don’t care for the genre. So I breezed thought this comic (written by Joshua Hale Fialkov with art by Andrea Sorrentino) in about five minutes flat, with nothing at all sticking to me. But since I’m not at all in tune with the subject matter, I thought that our resident (former) vampire expert — Johanna — might enjoy taking a crack at it. So here’s her review:

I think you have it right on, KC. There was nothing here to care about, and nothing hooked me, either. I think there might be an advantage to not being a vampire fan, because then you wouldn’t have seen this “one of them fights the rest” plotline so many times before. Artistically, it reminds me of the bad old days of Vertigo, when everything was colored in various shades of brown. Very moody, but the mood is “depression”. Definitely not for me, or much of anyone else, either.

Justice League Dark #1

Upfront: Curious to see how a bunch of traditionally loner characters can form an effective team. Also, got very quickly bored with Shadowpact, but that’s not a fair comparison.

DC’s supernatural characters have often been portrayed as moody loners who work on their own and only come together when there is a menace so big that it needs to be handled by a bunch of them, frequently in tandem with more traditional superheroes. As individual characters, their publishing careers have often been sporadic and erratic (notable exception: Hellblazer). So the idea of them teaming up on a regular basis — and as a part of the Justice League — seems on the face of it to be a very iffy and non-sustainable long-term proposition.

The strength of Justice League Dark #1 might put the lie to that premise, even with that awful name. This particular grouping of supernatural characters (which DC is calling “Dark” because that’s a sexy buzz word for younger, less-jaded readers) initially comes together when one of their own — the much-troubled June Moone (aka the Enchantress) — finds herself in even more trouble. This version of the Enchantress harkens back to the original conception of the character from way back in its fleeting Strange Adventures days, where the sweet innocent Moone becomes possessed by the evil Enchantress persona in a female Dr. Jekyll/Mr. Hyde situation. This seems to me a much better way to portray the character, instead of her recent heroic membership in Shadowpact — offering up the interesting idea that this character could simultaneously be a member of the JLD team while also being one of their villainous protagonists.

The other “members” appear to be Madame Xanadu, a much more twisted Shade the Changing Man, Zatanna, John Constantine, and Deadman. Members of the new Justice League — Superman, Wonder Woman, Cyborg, and Batman — appear as well, most likely to enable the JL somehow “sanctioning” this rag-tag team at some point in the storyline’s future.

Writer Peter Milligan is an old hand with offbeat concepts (Skin, Shade the Changing Man, Enigma, X-Statix) and has delivered an intriguing first issue. Artist Mikel Janin is relatively new to American comics, but his moody work should be very appropriate for this project, once the traditional superheroes exit the story.

It’s a weird one. Good thing it was meant to be that way.

The Savage Hawkman #1

Upfront: The character’s been in limbo, or only used as a supporting character (mostly in JSA), for what seems like forever. Never a major fave, but deserves better.

Not sure that this is going to break the character out big. It’s not that much different from previous Hawkman interpretations (except that there’s no mention of a Hawkgirl/woman anywhere, a big minus in my book). The new mysteries regarding his return and his now seemingly organic Hawk-suit aren’t enough to truly engage me in the story. (Sigh.) When all else fails, make your character more savage; that’s lowest-common-denominator storytelling.

Writer Tony Daniel and artist Philip Tan are old pros, producing solid work. Tan’s art is amazing as usual, but I find the new Hawkman outfit too fussy. I get distracted by the details, and the colors — although traditional for the character — are too bright and shiny for what’s supposed to be a more savage, brutal version of the character.

This is not a bad comic, but it’s not a very exciting one either. I don’t care enough about this version of the character or the story to come back.

Superman #1

Upfront: Eagerly awaiting this since enjoying Action Comics #1 three weeks ago.

Well, at least it will be a great collection!

As I was working on these reviews, word leaked all over the internet that writer/breakdown artist George Pérez will be leaving the series after issue #6. The new creative team is reportedly Keith Giffen (writer) and Dan Jurgens (penciller).

They’ll be great as well, but I was really looking forward to seeing an extended run for Pérez after the overall goodness of this first issue of Superman, one of the most satisfying first issues of the New 52.

When you see Pérez on anything, you know that he’s going to cram as much detail into his artwork as possible — it’s one of his artistic trademarks. Superman #1 is no different, but what is surprising is that the story is exactly the same way. He’s managed to cram about three issues of current storytelling into this single issue. How does he do it? Lots of itty bitty panels with lots of word balloons in them. More to the point, it’s his belief in giving readers something new in every issue. He offers up numerous new characters and you feel like you know them by issue’s end.

Granted, there’s a lot to set up here, from the re-establishment of the Daily Planet, its employees, and its position not only in Metropolis but in the bigger-picture internet media age. Plus, even though characters like Lois Lane, Jimmy Olsen, and Perry White have been around for decades in the public consciousness, he takes the time to not only re-establish them as classic characters, he develops new conflicts for all of them, many involving brand new cast members. One not-so-new character is Morgan Edge, although he’s been completely redesigned for his role as the new President and C.E.O. of the Daily Planet. Longtime readers also know his presence may foreshadow something much bigger and badder down the road for all the cast.

As opposed to Action Comics #1 (which was set approximately 5 DC years ago in relationship to this story), Superman #1 also gives us our first extended look at the current-day “new” Superman — unfortunately undermined slightly by guest appearances in other DC books this month. Pérez puts him through the paces against some terrorists and a new and mysterious fire-based character who may be connected to Krypton. That battle was practically nothing compared to Clark Kent getting his teeth kicked in by Lois after whatever (as yet unknown) disagreement they had in the past. She’s obviously moved on, and Clark has not.

Everything about this issue was first-rate. Granted, it’s a little wordy, but very little of the dialog is wasted. Gérez’s artwork — finished by the always amazing Jesus Merino — is outstanding, as usual. He’s one guy that can actually make Jim Lee’s Superman costume redesign work. I also appreciate that he realizes that he doesn’t need to stop the story dead in its tracks for full-page fight scenes (mostly so the artist can re-sell the pages to collectors). Pérez’s stunning art breakdowns serve the story — not the other way around, as in most other padded comics.

It’s been a long time since I’ve really enjoyed a Superman comic. And I got two in one month. Keep it up, DC.

Teen Titans #1

Upfront: Always one of my favorite DC concepts. I haven’t been pleased with much of the last several years worth of stories, which have seemed to drift aimlessly and shift directions frequently.

Hrm.

Another in a frustrating majority of DC books this month with not enough strong story content to make a good choice to continue. I like that this new Teen Titans is seemingly getting back to including the more obvious and popular characters (or should I be rude and just call them trademarks?), but some of them have been re-made so radically that I wonder if I even like them any more. It’s a tough choice between reading about old friends who have seemingly turned totally obnoxious overnight and reading about writers’ pet “original” characters to the neglect of better characters, as the last several incarnations of the Titans have been. Seems like your classic lose-lose situation. Let’s take a closer look.

This new Kid Flash is more impulsive (and dangerous) than usual. Tim (Red Robin) Drake seems more isolated and intense than Bruce/Batman ever was. I barely recognize Cassie (Wonder Girl) Sandsmark, but then I wonder if that’s so bad after all, since the old one never really evolved beyond being “the good girl”. That’s all we get in this first issue, other than a fleeting look at Superboy (and the mysterious redhead) from his own book. According to the cover, there are at least three characters we haven’t even seen yet. I fear that at least one one of them may be the newest writer’s “pet” character.

So far, I’m not impressed. It seems that writer Scott Lobdell’s intent is to make these “new” Titans the most obnoxious yet. Brett Booth’s art is such a mish-mosh of current contemporary influences that his style seems to differ from panel to panel. Lots of flash with little substance. Because I’m weak for the franchise, I’ll probably check in for another couple of issues, but already I can tell my brain is regretting it.

Voodoo #1

Upfront: Know very little about this character, mostly due to lack of desire. Curious to see Ron Marz back at DC after a long absence.

I really don’t care to find out any more about this character at all. It’s competently written by Ron Marz, as I expected that it would be. This first “shock” ending wasn’t really that much of a shock to me, although the surprise second one was intriguing. But not enough for me to want to continue with this book.

I’m just not interested in seeing a superhero who’s also a stripper. Big deal. I’m an adult, and if I wanted to go see a stripper (I don’t), I’d go see a real one. So now DC has thoughtfully created a comic for those who can’t, for whatever reason. Artist Sami Basri has provided an lot of eye candy here, which should make this comic a nightstand favorite for younger readers and those who don’t regularly engage with real women.

DC Comics. Where diversity is just a lap dance away.

Weekly Wrap-up Scorecard

And I’m done! 52 reviews. Thank you all for your kind and thoughtful comments!

Top Notch: Superman

Back for More: All-Star Western, Aquaman, Justice League Dark

On the Fence: Batman: The Dark Knight, The Flash, Teen Titans

Not My Thing, But You Might Like It: I, Vampire, The Savage Hawkman

I’m Probably Done: Blackhawks, Fury Of Firestorm: The Nuclear Men, Green Lantern: New Guardians, Voodoo

I never had much affinity for Daredevil, mainly because it seems like his life’s been miserable for the past decade or so. I had tried to read the very earliest issues (from the 60s, recommended on the basis of it being more soap opera-ish), but those didn’t work for me either. But as soon as I tried this series, beginning with the new #1, I was loving it.

Daredevil’s now got a sense of humor, interesting conflicts, plenty of action, and an understandable premise. Matt Murdock is thought to be Daredevil, so he and Foggy Nelson can’t try cases any more (because Murdock’s rumored secret identity gets in the way), so they set up a firm to help people learn to represent themselves. That’s being heroic in more than the typical comic book way — although there’s plenty of action in that vein, too. For instance, this issue opens with Daredevil having to retrieve evidence from the lion cage at the zoo.

It’s the details that make the book for me. The quick hits section of potential clients, for example, sets up backstories in just one panel each, but the one I loved was the way Matt’s civilian togs keep getting stolen when he goes out heroing, so he messengers new suits to where he needs them. That idea solves a superhero problem in an upscale, urban way that suits this character in particular. It’s not a solution that would apply to every Avenger interchangeably, for comparison, unlike how some people write superheroes.

I don’t think Marcos Martin is the usual artist, but here, he’s done some distinctive layouts, and he handles both the superhero and everyday people sections very well. The scene where Matt tries to help Foggy get healthier, first by trashing his junk food and then showing him how to work out, is a visually interesting way to have the two converse as well as an excuse for a couple of funny zingers.

Kudos to Mark Waid for so quickly making Daredevil one of the superhero comics I most look forward to!

Following up the first half of the week…

Batman #1

Upfront: Writer Scott Snyder is just coming off a fan-favorite run of Detective Comics. Penciller Greg Capullo has been drawing acclaim for his work at Image Comics — mostly on Spawn-related titles. And Bruce Wayne is Batman. Perhaps you heard about that.

I knew I was going to love this new Batman run when I saw “the building that looked like Batman” in just panel two of this story, setting the entire tone for this new look at Batman and his Gotham City (a character in itself). I loved the fake-out of the Joker teaming with Batman to bring down marauding Arkham Asylum crazies out for blood. I loved the scene with the three sane Robins in tuxes (although wondered about the empty Robin suit under glass in the Batcave — is Bruce not aware that Jason is back in this new DCU?). And loved Bruce Wayne taking an active role in Bat-stories again. I even loved seeing Vicki Vale (although whenever I see her now I always hear TV’s Chuck muttering “Vicki Vale… Vicki Vale” under his breath, just before he meets Sarah Walker in the pilot).

Great comic. Great writing. Great artwork. Great two-page spread of the new Batcave (or is it Bat-bunker these days?). Great detective work. Great cliffhanger mystery. Great great great.

This was like reading a classic Batman tale from the 1980s, updated to modern sensibilities. An excellent tone for the series that has had much craziness and instability over the past few years (although some wonderful individual stories).

More please.

Green Lantern Corps #1

Upfront: I’m currently suffering from GL overkill. Have always liked the GL concepts (especially the aliens), but really wonder if the franchise actually needs four titles. But the franchise is “hot,” so…

Okay, we start with more gore and body parts. I’m not such a prude that I just hate gore for existing. In the right hands, it can be a very effective and evocative tool. What I dislike about its use in the New DC is that it emphasizes the “sheep” mentality of current comic book creators — they see it being used elsewhere, so they gotta do it, too, whether it’s appropriate to the storyline or not. It’s such a hack-based, cheap-thrill, shortcut-for-actual-storytelling thing to do. I wonder if DC is so desperate to amp up their villains that there are weekly memos to Editorial stating, “We need 35% more decapitations this week! Get on it!”

I don’t mean to dump this on writer Peter Tomasi — who I think is a better writer than to need this crutch — yet I see him going to the gore well over and over again. It made me drop the previous incarnation of the book, although I came back for the disappointing “War of the Green Lanterns” crossover. I disliked that much of that crossover focused on the four human Lanterns, but enough interesting things happened to them there that I was looking forward to finding out how they were going to deal with the choices they made in the new series.

Green Lantern Corps #1 started promisingly, with lots of background on John Stewart and Guy Gardner (the obvious focal points), but by the end — when they’re off on a major mission dealing with the seeming genocide of the planet Nerro — I realized that what I was hoping for was probably going to be pushed off for yet another major war/battle scenario.

Based on the fact that there was absolutely no space saved to deal with any of the other members of the Corps in this issue — they only show up on the next-to-last page — I am guessing that at least a few of them are going to end up as cannon fodder. That seems to be the current role of many of the non-humanoid GLs. I did catch the tiny detail that the Corps has now doubled in size to 7200. My first reaction: even more faceless alien GLs to kill off in the goriest way possible.

Artist Fernando Pasarin excels at the aliens and detailed backgrounds, but I wish he’d work a little bit harder on the panel-to-panel consistency of faces and a little less on the detail of what a severed finger looks like.

I’ll probably stick around for a bit because I like the GLC, but if the story doesn’t grab me quick, I’m gone. Also, I saw a number of GLs on the cover that I’d love to read more about — I’d love for someone to step up and redeem Arisia as a character after what has been done to her over the years — yet none of them are in this issue. Sometimes poster covers suck.

Nightwing #1

Upfront: Glad he’s back. Dick as Batman just felt wrong — mostly for the character — so I was eagerly awaiting this title.

I wasn’t disappointed, but a little surprised, that the opening issue by Kyle Higgins and Eddy Barrows was so low-key. But then, a getting-back-to-your-roots story was much needed to reset the character after a couple of years in the Bat-suit. I just didn’t expect that he’d go all the way back to his circus roots. (Quick nit-pick: How likely is it that there would be enough open space in downtown Gotham City to pitch a full-sized circus tent? Wouldn’t they just set up in Gotham’s version of Madison Square Garden?)

The book does an excellent job of transitioning Dick Grayson back to his former self as kind of anti-Batman (the Batman role never really suited him personality-wise), got him back in his regular element (bouncing and flipping across Gotham), and back in a welcome nod to an old M.O. — initially getting kind-of clobbered by a new bad guy and having to battle back from being behind. This showed a great understanding of what makes Dick Grayson/Nightwing such an interesting character.

It’s not a book designed to attract a huge amount of attention going in (like Justice League or Action), but the fact that Nightwing #1 is a good solid action comic lands it high in comparison to many of the other New 52 books.

Red Hood and the Outlaws #1

Upfront: Hate the Red Hood character. Not much love for Speedy either, especially in recent years. And I don’t know who Starfire is any more.

Wow. I’m not even sure why this is a comic book at all. It’s so obvious that it’s Scott Lobdell’s screenplay for some gawdawful mash-up of uber-popular current film clichés (mindless action, slacker buddy comedy, exploitation of women, stylization of violence, etc.). In fact, it even reads like it’s shot in super slo-mo. (That is not a compliment.)

It’s so cold-blooded in its approach, it seems specifically designed by committee and targeted specifically to the media’s only focus group that matters anymore: white males aged 18 to 35 (although I would argue that DC actually wants that group younger, say 16-25). It’s soulless. And I’m not surprised that adolescent boys (or the adolescent-minded) are loving this title. It’s designed for them. At least there are 51 other DC titles that may be of more interest to the rest of us.

There’s already been lots of digital “ink” spilled over the portrayal of Starfire here. (Yes, I broke my rule of checking out other comments before writing mine on this title. And quickly regretted it.) I really enjoyed the thoughtful commentary of Laura Hudson over at Comics Alliance although many of the now-over-1,800 comments made me sad. Or angry. Or stupefied.

I think that something’s gone horribly wrong when a book like this is only rated T (for teen). Granted, there are no actual bad words or actual shagging (although much implied), but the fact that this comic can get into the hands of impressionable 14-16-year-old boys, who might think that this is how men are supposed to think about women, is worse than the comic itself. Not that anybody who worked on the comic would realize that.

Also: points off for the logo that implies that this book is part of the Bat-Family group of titles. Red Hood and the Outlaws is not fit for any family.

I really enjoyed the artwork of Kenneth Rocafort, although I don’t always understand his super-stylistic approach (especially hair that looks like wire). Too bad I won’t be seeing more of it — at least until he’s drawing another title.

Supergirl #1

Upfront: I was really enjoying the Sterling Gates/Jamal Igle run on this book, until DC decided that they were too “quiet” for the character and replaced them. (Also enjoyed the recent Kelly Sue DeConnick-scripted tale.) The modern Supergirl series has been a unsatisfying jumble of half-baked ideas and co-opting of the character for larger storylines. So I was thinking that a re-launch might be a good thing for the title.

Boy, was I wrong. Well, maybe the book could have used a fresh start, but this seems a strange way to go. Although, to be fair, there is not a lot to go on here, as it’s another unsatisfying DC #1 that doesn’t even come close to letting us know what’s going on — or even offering up enough tantalizing mystery to force us to come back.

Supergirl has had a lot of not-so-great costumes over the years, and this issue introduces another one for that particular Hall of Shame, with a too-often repeated S-shield motif — one of which cries out “Hey! Look at my crotch!” — and the most ridiculous boots ever (cut-outs for the knees?). Laughed out loud at the “Mother would kill me” for wearing this outfit line in the story — but not because it looks like fetish wear on a teenager. She’d be mad that she was wearing this military-style costume before she actually graduated. So, what kind of kinky military does this new Krypton have anyway?

The rest of the issue is all fight scenes with giant robots “falling from the sky” so that Supergirl can discover her new powers and cut lose without hurting anybody — except she discovers that the robots actually have on-board human operators. Before she can deal with that, costumed Superman shows up. To Be Continued.

New Kryptonian math: 20 pages of badly drawn robot fight scenes – (no) story = No sale. And not worth the complicated credits: Two writers (Michael Green and Mike Johnson), a penciller/inker (Mahmud Asrar), and an additional inker (Dan Green).

Better luck with the next Supergirl. #42 in the series.

Wonder Woman #1

Upfront: DC’s most frustrating character gets yet another makeover. Frustrating in the sense that there have been so many interpretations of the character over many long years, and none of them ever seem to stick or last long. Even more frustrating, when the book is actually perceived as being good, often sales do not match the perception.

This is a very good comic. It’s produced by two modern masters of the field: writer Brian Azzarello and artist Cliff Chiang.

Azzarello is best known for his work on 100 Bullets, Hellblazer, Loveless, and various Batman and Superman storylines (Joker, For Tomorrow). Cliff Chiang has illustrated Human Target, The Creeper, The Spectre, and Green Arrow/Black Canary. The two collaborated on a eight-part Dr. Thirteen back-up in Tales of the Unexpected, collected under the title of Architecture & Mortality — a much-heralded deconstruction (or is it?) of the DC Universe (and possibly of comics itself). In the wake of the New 52, perhaps it’s time to pull that out again for re-reading — in a whole new context.

So it is with some anticipation that they come to Wonder Woman. And for many they won’t disappoint.

The big bad is a mysterious hedonistic type who drugs and uses party girls as quasi-oracles before burning them to a crisp in the process. What I thought was a typo on page 1 (“I’m the sun of a king”) I now think is a clue: The god of the Sun is Apollo, who just happens to be the son of Zeus, and the twin brother of Artemis — two long-time supporting characters in the Wonder Woman mythos. And the Oracle of Delphi was originally inspired by Apollo. So that’s my guess, although on first reading I thought the character might be the son of Darkseid for some reason. He’s certainly cruel enough.

This interpretation of Wonder Woman may be unique in that it appears to have much of its basis in horror. Besides people being burned up, there are animal mutilations (and creepy aftermaths) and much violence and blood. Which is actually not that far removed from the backgrounds of the characters being actual gods and goddesses, since those original myths are quite bloody and brutal. In a more ordered comic book world, Wonder Woman might be better served as a traditional comics barbarian or sword & sorcery character than as a superhero, although she’s rarely been portrayed that way before. It’s an interesting — and gutsy — approach for the creators to take. And it might be a hard sell for traditional superhero fans who only think of Diana and company in that light.

I probably fall in that category. For now, it’s in my “Not My Thing, But You May Like It” category. Unlike other books that I’ve put under that heading, I’m continuing with this one, based on the strength of the creators and their outstanding track record. That several framed Cliff Chiang prints can be located around our house may also have something to do with it. Man, that guy can draw!

I’m kinda creeped out by this book right now — which will probably make this even more appealing for many of you — but I am hoping the gore will be served up in small doses. These creators don’t need it as a crutch to tell great stories. I’m sticking around to find out.

Weekly Wrap-up Scorecard

Top Notch: Batman

Back for More: Nightwing

On the Fence: Green Lantern Corps

Not My Thing, But You Might Like It: Wonder Woman (but still buying it)

I’m Probably Done: Red Hood and the Outlaws, Supergirl

Birds of Prey #1

Upfront: One of my favorite “modern” DC concepts, going way back to its Gorf/Chuck Dixon origins. Have mostly enjoyed every issue of of all the various BoP series.

If you’re a Birds of Prey fan, run like the wind away from this. It’s Birds of Prey in name only.

Although it promises four characters on the cover, only two appear inside — Black Canary and a character named Starling, who’s supposed to be mysterious, but already I don’t care who she is. (Should I really care about somebody who spouts dialogue like “Who does a bitch have to cut to get some service around here?”) I guess the re-designed Poison Ivy and Katana will be showing up later — will anyone still be here to read that?

The Birds are now criminals — I think — Duane Swierczynski’s script is a mess. A quickie appearance of a non-handicapped Barbara Gordon indicates that Black Canary is wanted for murder (apparently wrongly accused), and Babs offers up Katana as a possible future Bird. There are also some meaningless fights with faceless guys. At this point, my brain gave up reading for meaning (there is none) and sped to the end where we see a reporter explode — just before my brain did.

Jesus Saiz’s art is remarkably inconsistent throughout. Black Canary usually looks like the mature woman we know her to be, but in other panels, she looks like a scared teenager.

Very sad. Birds of Prey used to be such an amazing concept. This is hash. Undercooked hash.

Blue Beetle #1

Upfront: Although I’m a Ted Cord fan, he’s gone. Jamie has grown on me, and I’d really like for this version of the character to succeed.

Normally, I’d use Jamie’s full name above, but since it isn’t mentioned anywhere in this first issue, I’m not really sure what it is. (Since this is reintroducing the character, one shouldn’t assume that he has the same name as the previous version.) It’s a very bad editing mistake not to properly identify your lead character in a first issue — especially when minor characters are properly identified.

Such is the slap-dash feeling of much of this issue, which features a re-telling (with different details, so it’s not so connected to Infinite Crisis) of the origin of this new Blue Beetle. Because Jamie as Beetle only appears on the last page of the issue, the issue feels very unsatisfying.

We do get a lot of background on Jamie, however, meeting his friends, rivals, and parents. But this is a comic that cries out for a dedicated text page, as Tony Bedard has written his dialogue in Spanglish (a mixture of English and Spanish phrases). While this is completely appropriate for the characters, English-only readers may have a tough time with some of the untranslated Spanish (or at least be momentarily — and repeatedly — “taken out of the story” while trying to figure out what is being said). An accompanying list of common Spanish phrases would certainly be helpful.

Ig Guara’s artwork is very expressive for the human characters in this issue, slightly less so on the aliens in the opening scene, and still-to-be-determined on the Blue Beetle action — although he does a cool “alien” Beetle.

I’m on the fence on this one. I really want this character to succeed, but I felt that this issue was just a single when a home run was really needed. That could still happen later, but I’m starting to tire of the New DC’s penchant for delayed gratification. Too many of these first issues aren’t offering enough. That’s especially bad, since DC inadvertently provided a natural “stopping point” for readers with the New 52 along with the “fresh start” they were hoping for.

Captain Atom #1

Upfront: Very much enjoyed the Cary Bates-written Captain Atom series — which is now about 20 years old. It seems that the character has been floundering ever since, save for his on-again, off-again membership in the Justice League.

More floundering. I don’t see anything here in this series by J.T. Krul and Freddie Williams II to change my mind. The cliffhanger ending of the character seemingly dying makes me think that he’s somehow going to be re-created in the next issue — but this issue was so pedestrian and lackluster that I’m not excited enough to come back for more. Some nice artwork by Williams, but there’s no there there in this book.

Catwoman #1

Upfront: Have enjoyed most of the previous Catwoman series and have been impressed with the growth of the character over the last several years.

This, however, is a giant step backwards for the character. I’m sure you’ve all heard about the last scene in the book. I kinda think that reading it was the comic book equivalent of accidentally walking into the room where your parents are doing it. Ew. Way to completely cheapen the really powerful relationship that had been developed between Bruce and Selina in the last several years.

Further, the old Selina wouldn’t have put her lingerie and other objects before the safety of her cats (opening scene), which makes me think that writer Judd Winick hasn’t a clue to what was interesting about Selina in the past. He seems more interested in developing a new, not-confident, scared-to-the-point-of-unwarrented-violence, and bimboesque Salina for the New DCU. There was a certain inner strength to Selina being able to overcome her past and becoming a character who was Batman’s equal in many ways. Now, that’s gone.

But then again, there was that Jim Balent run of Catwoman several years back, where her breasts were bigger than her head. Apparently, that’s what the New DC wants Catwoman to be, so we’re back to that. Ew. Not me. I’m out. Guillem March’s art is well-done (although weirdly colored), but I’m not particularly interested in what he is drawing here.

Sadly, more bimbos to come. Like last week’s recurring inadvertent mayhem on airplanes scenes (ideal for for potential screenplays!), this week’s DC “theme” appears to be women as sex objects.

DC Universe Presents #1

Upfront: Always had a soft spot for Deadman, since the early Strange Adventures days. One of the first projects I “edited” (as an assistant) was the Mike Baron/Kelley Jones version of the character.

I liked this. I thought it was a lot like the early Deadman tales from Strange Adventures, which revolved around the problems of unrelated strangers, before most creators took him into doing strictly supernatural stories. Writer Paul Jenkins excels at stories about “ordinary” people — I loved his series of Peter Parker and Uncle Ben stories for Marvel — and this is the perfect place to show off that talent.

Here, Deadman attempts to help a wounded Gulf War vet, only to find that he has no idea how to help. So he uses his power of taking over other people’s bodies to contact an old friend from the circus who might be able to assist. He ends up just freaking her out, which lead to a powerful two-page “flashback” sequence of just how difficult Deadman’s life-after-death has been — which in turn leads Deadman to an extreme solution of how to help the troubled soldier. It’s a cliffhanger, but one that makes me want to come back for the next issue.

I’m not always a fan of Bernard Chang’s often moody artwork, but it’s entirely appropriate — and highly effective — here.

Total aside: I was excited about the return of the classic DC Comics Presents title — but then I started to think about it some more. It seems like a fair number of the New 52 books may end up as six-issue miniseries. So why set up a anthology title with only one feature rather than just publishing a Deadman mini? Then I remembered that, from time-to-time back when I was editing for DC, occasionally there would be requests for us to try to do something with an old DC trademark that was was going to expire unless used shortly — and could we help out? So that’s why you’d see things like “Mystery In Space” or “Strange Adventures” used as story titles or parts of cover copy (sometimes actually using the old logos). There’s your “behind-the-scenes” bit for today. Not certain if this is the case with DC Comics Presents… but it got me thinkin’.

Legion of Super-Heroes #1

Upfront: As before, one of my favorite DC concepts/series. Edited it myself for a while.

I’ve now officially lost count on how many “fresh starts” (don’t say “reboot”) the Legion has had over a long publishing history. It seems like quite a few in just the last few years. I hope this one sticks for a while, just for the stability.

I didn’t expect this to be a done-in-one issue, as writer Paul Levitz’s specialty is multi-part epics, yet Paul does a great job in filling us in on what has happened “between issues” — quite a bit, as it turns out. The Legion was another relaunch series that had been described as not changing too much from its previous incarnation, and that’s true, as this issue updates the previous series, the Legion Academy series in Adventure Comics, as well as last week’s Legion Lost debut. Paul’s an old hand at juggling huge amounts of essential information, and here, it’s seamlessly woven into the beginnings of a new action adventure.

Actually, more has changed than I was expecting. There’s been a big flux in the membership between issues, including the Academy members being brought in, with Dragonwing being given a featured role. Other characters’ statuses have changed between issues — but not Mon-El, who is still Legion Leader. Only bad thing: Because of Flashpoint, there is no more time travel between the Legion and the past — so no more Superman appearances (for now). This is one of those arbitrary “because I said so” things that make no sense on the face of it, so I suspect that it’s not Levitz who made that ruling.

I’m not initially crazy about the art by Francis Portela, which seems much too detailed (backgrounds) for a book with a cast of hundreds, but hopefully, he’ll calm down a little in an issue or two. One thing I’m not entirely sure about in the series so far is the relative age of the characters. I’ve always looked at the Legion with the “teenagers in the future” perception that was the original concept. But over Levitz’s long original runs of the strip, he gradually aged the characters into young adulthood. That’s what I suspect here, especially since Portella draws most of them as well-developed and older.

Legion of Super-Heroes: good before, still good now. It will be interesting to see how this new Legion will do in attracting new readers (the ultimate goal of the New 52), as Levitz has not dumbed the concept down for beginners at all. As always, being a hardcore Legion fan is not for the weak.

Weekly Wrap-up Scorecard

Top Notch: None

Back for More: DC Comics Presents, Legion of Super-Heroes

On the Fence: Blue Beetle

Not My Thing, But You Might Like It: None

I’m Probably Done: Birds of Prey, Captain Atom, Catwoman

The rest — first thing on Monday. Sorry for the slight delay. I’m dealing with minor — but time-consuming — fallout from my recent (not serious) car accident and (not related) extensive dental work this week. Ow.

If you’re familiar with the history of Will Eisner’s character, you probably know that one of the many graphic innovations associated with the Spirit is the way that word is incorporated into the images on his title pages. Here are two examples I found on the net (although that second one is clearly a modern piece):

Well, in this issue, David Hine and John Paul Leon pay homage to that idea by doing something similar on EVERY page. Yes, most of the issue is made up of “splash pages”, with one image per. And yet, the gimmick doesn’t overwhelm the story, about someone impersonating the Spirit in order to murder criminals.

If you can find a copy of this issue, you should really flip through it and see how creatively this concept was used, from the logo in pipe smoke to signs on cityscapes to spilled blood. There’s one page that evokes the classic brickwork effect, and another that goes symbolic, with giant letters in their own right. Here are a couple of my favorites, along with this issue’s cover:

There’s even a bigger theme involved, about what makes a hero and how he sets his own principles. It’s quite the nifty comic to view, if you get a chance to check it out.

Batman and Robin #1

Upfront (what you should know about my preconceptions about the comic): Not much changing here, no?

Other than Bruce becoming Batman full-time again, I don’t think there’s much radically changing in the Bat-books, so there’s not much to talk about. I’m intrigued by writer Peter Tomasi making some tiny (but potentially huge, psychologically) changes to Batman’s way of thinking in regards to the death of his parents that should have future ramifications. I’m even more interested in the confrontation between Bruce and Damian in the closing pages over repercussions to Damian’s (killing?) actions in the issue. Damian’s gotten away with a lot of crap while Bruce was missing. (Dick, Tim, and others just basically put up with him/kept him alive in Batman’s absence.) Now, it looks like the hammer of Daddy Bat may be coming down hard. I look forward to seeing Bruce in this long-delayed-by-circumstance new role.

Oh, and for those keeping score, there’s apparently a dead Batman on page 3. Hmm.

Patrick Gleason and Mick Gray turn in their usually fine art/story job, and the issue overall sets us up for big doings down the road.

Batwoman #1

Upfront: I stopped reading the previous run of Batwoman — not because I didn’t like it, I thought it was amazing. I just got tired of all the delays, and I thought it would read better if I waited until it got back on track. Except I set it aside and forgot about it until just recently, so I’ve got a little catching up to do. But that’s what happens when a publishing schedule goes awry. Many readers forget to buy it after a while — or go buy something else.

Wow. Only 11 months between #0 and this new #1 issue. To be fair, it was deliberately held to re-launch with the other New 52 books for maximum impact, as well as giving writer/artist J.H. Williams III (W. Haden Blackman is co-writer) plenty of time to get up a full head of steam on this eagerly awaited first issue. I sincerely hope that Williams can overcome his past output problems, because this series is too good to be yet another tragic can’t-make-the-schedule story. (Maybe DC should be prepared to bend a little to help — not every series they publish has to be monthly. 8x or 6x a year may not be ideal, but at least it’s a schedule.)

In case you’ve forgotten, this picks up right from the #0 issue, where Batman was investigating (and confirming) his theory that the mysterious new Batwoman is indeed society gal Kate Kane. This new #1 sets up a new mystery, showcases a fortuitous meeting between Kate and Detective Maggie Sawyer, shows Kate finally training her cousin Bette “Flamebird” Kane, and begins a very satisfying subplot involving a mysterious DC organization featuring members who are part of creator Williams’ past. We also get a recap on Kate’s estranged relationship with her Dad, as well as a last-panel appearance by Batman, who’s got something on his mind. When added to the absolutely gorgeous artwork by Williams, you have one of the most satisfying reads of the New DC so far.

Unfortunately, the artwork — Williams specializes in intricately designed two-page spreads — is reportedly driving digital comics readers crazy. (And making comic shop owners secretly cheer!)

I hesitate to rank this in my top tier right now because of past delays. But if the creators can hit a regular schedule AND keep up this quality level, it will, without a doubt, jump right up there within a few issues.

Deathstroke #1

Upfront: I always thought that Deathstroke was one of DC’s great villains in creator Marv Wolfman’s hands — but not in his own comic book. He becomes less of a unique character when he is overused. But then again, next to barbarians, the whole “men with guns” genre is my least favorite of all pop culture.

Okay, did anyone not realize that Deathstroke was going to end up killing the obnoxious, bratty mercenary kids (The Alpha Dawgs. OMG!) that he got partnered up with two seconds after they were introduced? I weep for the recycled garbage and pulp that gave its life to become the paper that this story (itself recycled garbage, written by Kyle Higgins) was printed on.

Wasn’t the whole idea of the New 52, collapsing the timeline down to five years, supposed to make the characters younger and tougher? So why was this issue all about how old and weary Deathstroke is?

Artwork by Joe Bennett and Art Thibert was passable. Both have done much better work elsewhere. Wow, they wasted a Simon Bisley cover for this?

As the kids say: Epic Fail. Done. Three bucks down the drain. Next.

Note: Two minutes after finishing this review, I accidentally dropped my copy of Deathstroke #1 on the floor and inadvertently ran over it with my desk chair, completely destroying it. So at least this copy of the comic will be further recycled, perhaps into another, better comic. Gotta love Karma and the Circle of Life…

Demon Knights #1

Upfront: Uhh…

Well, I certainly wasn’t expecting that, an entire DC series set in medieval Europe. I was expecting a little bit of that because Jack Kirby’s version of the Demon is one of the seven stars of the book, and the Demon actually hails from that era. (Not all of those seven are introduced in the first issue — although some are said to be new characters, so who really knows. We do get an excellent origin recap for the Demon.) But I had no idea that we’d actually be putting down stakes there.

We’re not alone, however. Unbeknown to us previously, other DC characters are also residents here, many of whom are magic and one of which is in an interesting romantic triangle with both Jason Blood AND the Demon. Another is a female version of a long-time character that we previously thought of as male. (And we have previously met this female before.) I’m being deliberately coy about the identities of these characters because their revelations in the issue are very surprising — and because I think that Demon Knights may not have been one of people’s obvious first choices for the week. They should reconsider that.

There are still a lot of mysteries to be revealed in subsequent issues, but this book is on solid, if somewhat obscure, foundations. Writer Paul Cornell loves writing about England (Captain Britain and MI-13, Doctor Who) — being a Brit himself obviously helps. Diogenes Neves is a Brazilian artist (New Mutants, Green Arrow) with a great eye for interesting “camera” angles. His work looks great inked by Ocair Albert (Brightest Day, Green Lantern).

If Demon Knights keeps up this level of quality and fun, it could be the sleeper hit of the New 52.

Frankenstein: Agent of S.H.A.D.E. #1

Upfront: I asked Johanna to review this one, as I thought that she’d read more DC Frankenstein stories than I have (which is none). Here are her thoughts:

After enjoying Jeff Lemire’s take on the character in the Flashpoint miniseries (the only one of that event I enjoyed), I was anticipating this series, but for me, the opening wasn’t promising, since it evoked a Vertigo horror story more than the twisted team of the Creatures of the Unknown. That action group, or rather an updated Creature Commandos, shows up, but they’re apparently not the same characters we were reading about just a month ago. I know this is supposed to be a fresh start, but in that case, why is it the same setup as before? The characters are too close to their previous versions to stand alone, but too different to satisfy anyone wanting a followup. It’s all confusing.

I think that’s part of the intent, actually, that the book is going for a Morrison-like “mad science” collection of craziness. I was reminded of the recently lamented Xombi in the weird ideas shoved into the first few pages of the trip to S.H.A.D.E. headquarters, but with captions explaining everything to us (supposedly as spoken computer interfaces), it seemed to be trying too hard at the same time it’s treating us like we’re stupid.

The actual conflict sends Frankenstein and some other monsters against an even less-defined group of creatures, so I have nothing invested in it. Alberto Ponticelli’s art has a nicely European feel to it, with multifaceted ink lines giving everything a slightly uncertain look, but when it comes to story content, this is flat and disappointing. I have no reason to want to see any more of these characters or care about what happens to them.

—

Well, that’s more than I had to say. I think there were a lot of high hopes for this one. Maybe they can recover some of that soon.

Green Lantern #1

Upfront: I was really enjoying the Geoff Johns/Doug Manke GL… until this year, where it seemed to jump the rails. No Hal Jordan for months, and the big GLC crossover boiled down to just the four human Lanterns. What’s up with that?

Nice course correction, gentlemen. DC told us that Green Lantern was one of the series that wasn’t going to be affected much in the New 52, and they didn’t lie. This issue starts immediately after the conclusion of “War of the Green Lanterns” with Sinestro a new GL (wha?). Hal Jordan has been stripped of his ring and unceremoniously dumped back on Earth, where he’s trying to sort out his life. Since we haven’t seen Hal since… a long time, his return is long overdue. Johns shows us that Hal can still be a hero without the ring (albeit a misguided one), and that Carol Ferris still cares for Hal (bailing him out of jail), plus we discover that Carol retains memories of her recent Star Sapphire involvement.

Which leads to — maybe — the only change in the book for the New DCU, the apparent jettisoning of Hal’s previous girlfriend, “Cowgirl”. She’s not mentioned at all, while Carol and Hal appear to grow closer, until Hal pulls a brainless move. Of course, if Carol and Hal are again an item (as in the movie), Cowgirl is now excess baggage to the story. The only reason that Hal seemed attracted to her was that she was an “action girl” — a risky test pilot like Hal himself. That role is no longer needed since Carol herself now has an “action girl” role as Star Sapphire. (Besides, if I was dating someone who just disappeared without notice for three months, I’d be gone too.)

It looks like we might be on Earth for a bit, as Johns accelerates the inevitable showdown between Hal and Sinestro (who has Hal’s ring). So, Green Lantern is good stuff — not quite “awesome” yet (too soon to tell), but “back on track after a slump” is not too bad either.

Grifter #1

Upfront: Never read a Grifter comic book, but I know a little of what the character is all about.

This comic didn’t impress me at all. It seemed like the first 20 minutes of a movie that I’ve already seen and had already forgotten about. So my first reaction is that this is yet another comic book masquerading as a proposal for a movie.

Writer Nathan Edmonson has set up a bunch of mysterious goings-on here, but somehow, I doubt that I’ll care enough to pick up subsequent issues to find out about them. Maybe I’ll just wait for the movie — after the DVD is dumped in a cut-out bin.

I liked Cafu’s art on T.H.U.N.D.E.R. Agents, and his covers are great, but here it looks unfocused. Perhaps that’s due to the uninspiring coloring (Andrew Dalhouse) and wispy inking (Jason Gorder). There are a few stand-out panels here and there, but a few panels does not a story make.

I dunno. I hate asking the question, but would anybody be bothering with the Wildstorm characters any more if founder Jim Lee wasn’t now a V.P. at DC? They seem to have more lives than a cat.

Legion Lost #1

Upfront: Once upon a time, I edited the Legion, one of my favorite concepts in comics. Became notorious in Legion fan-circles for “rebooting” the LSH in Zero Hour. (But you can’t blame me for the Five-Year Gap, which ZH was intended to fix). I was long gone before the original Legion Lost series.

Because of the above, I’ll probably nit-pick more than I should. My apologies to the creators. I generally enjoyed this set-up issue, which reuses the name and general concept of the original, but not much else. Writer Fabian Nicieza (whom I once watched write a script for New Warriors on a plane coming back from San Diego. Man, could that guy type!) says he’s emphasizing the word Lost over the word Legion.

It’s still the Legion, however. And it’s interesting that the seven characters involved (Timber Wolf, Wildfire, Dawnstar, Tyroc, Tellos, Yera (aka Chameleon Girl), and Gates) are all “later” members of the team, introduced long after the founders. (I guess Paul Leviz called “dibs” on all the original team for the Legion of Super-Heroes.) It’s still an interesting line-up, featuring many fan favorites. Nitpick #1: Don’t care much for the new Wildfire costume. The design is okay, but he looks weird all red. Needs a bit more traditional orange.

“Lost” means the characters are lost in time, specifically in the 21st Century, somewhere in the new New DCU. Nitpick #2: I have no idea where this fits in the overall Legion timeline, and it makes my brain vibrate (and rattle) just to think about it. I bet it’s a long time before anybody gets around to explaining it (if ever). For that matter, I wonder if the New DCU still has three different versions of the Legion wandering around (as per the end of Legion of Three Worlds).

Can. Worms. Back away slowly…

This is a fun first issue. Lots of good action. Excellent Legion team interplay/friction. A new (I think) villain in Alastor — who apparently has a secret himself. Pete Woods is a great action illustrator and also does the kids proud as the latest LSH artist. The only thing that wasn’t so cool was that two of the above cast apparently die in this first issue. Although I don’t believe it for a minute — teasing death is a grand Legion tradition.

My final nitpick: Fabian, if you want a bigger audience than just LSH fans, you have to go out of your way to clearly I.D. the characters — codename, real name, power(s). There a reason why we’ve always done those funky I.D. boxes (or a retro splash page w/headshots) — it’s not for the LSH fans (who already know this stuff by heart) — but the newbies really need it.

Legion Lost: It’s good. I’m in. Duh.

Mister Terrific #1

Upfront: Always really enjoyed the character, but felt that he got lost in the army of characters that JSA turned into. Brilliant makeover of one of the most boring Golden Age super-heroes ever.

This first issue by Eric Wallace, Gianluca Gugliotta, and Wayne Faucher does everything it needs to do. It sets up a new status quo for Michael Holt/Mister Terrific that is not that much different than his old place in the DCU — except it’s obvious that there’s no Justice Society of America there any longer. To nail that idea, Karen Starr appears here as Michael’s friend and potential (but not really) love interest. In the old DCU, Karen was, in fact, Power Girl — but that’s not even mentioned here.

There’s also an excellent origin recap — also not very different from the original, except to add that his wife was pregnant when she was killed in an auto accident — something that Holt did not know, and this becomes very important to this issue. There are some great action sequences as well as a memorable scene between Starr and a woman at a reception. I think she’s Holt’s co-worker, but this isn’t made clear — which is a problem.

So why was I not happier with this issue? It’s just not very exciting. Wallace loves his super-science, and that tends to bog things down. (I had the same problem when Wallace was writing The Atom.) Half the book is made up of pages of talking heads, and while a lot of that was essential, it slowed reading down to a crawl. It’s possible that Wallace can recover with some clever action sequences in future issues, but that “first impression” rule applies. Nowadays, it’s more true than ever — if you don’t hook ‘em with the first issue, they might not be back. For a book like this, which is NOT starring a major, established DC hero, it could be a premature curtain call.

I like the character enough to check out the next issue or two, but if things don’t pick up in a big hurry, there might not be a book for me to come back to. Which would be sad because Mister Terrific has the potential to be an amazing solo character. It’s just not being shown here.

One last thing: Worst logo ever. It doesn’t “read” well, and the not-so-hidden face in the logo is creepy. And it’s just not exciting.

Red Lanterns #1

Upfront: Of course, the amoral, sadistic, and violent Red Lanterns would be the break-out stars…

And of course, Ed Benes would love to draw something like this because what red-blooded artist doesn’t want to draw a book full of monsters and aliens? And they do look very cool indeed!

Old pro writer Peter Milligan wisely brings in a subplot (with, of course, greater future portent) featuring a British family whose grandfather is killed by a street thug. Having at least a few humans makes it a lot easier for human readers to relate to what’s going on here — at least, I was immediately drawn to that storyline rather than the Red Lanterns beating each other up.

But as Johanna pointed out to me (not having read any of the last two years’ worth of GL books), as well-illustrated as this issue is, it’s not very new-reader-friendly. She had no clue what was going on. Very few of the characters are identified by name, and when names are mentioned, there is no actual association between the name and the character. The leader of the Red Lanterns, Atrocitus, gets the bulk of attention here, as well as an origin of sorts, but the rest of the characters remain battling ciphers for those not already in the know.

I think this will be a very popular book for many existing Green Lantern fans, as well as those folk who love alien and monster stories. Not so much for me… but it looks like I’ll still get a chance to see every issue. It seems that even though she had a tough first issue read, Johanna wants to keep getting the book. “I like the kitty,” she tells me. An evil, sadistic, vile kitty named Dex-starr. But a kitty, nonetheless.

Girls. Sheesh…

[JDC Note: Nah, I don't want to get the book. I just liked the idea of a vengeful cat with superpowers. Wish there'd been more of him in the comic.]

Resurrection Man #1

Upfront: Three members of this comics’ creative team — writers Dan Abnett and Andy Lanning and editor Eddie Berganza — worked on the original 1997 28-issue series. The new guy: artist Fernando Dagnino.

This first issue doesn’t give up all its secrets, and it doesn’t really all come together until late in the issue, when a possible unreliable narrator recaps much of what we’ve seen. Hell, we’re not even sure what this guy’s real name is — or if he’s even the same Resurrection Man from the previous series. Although that seems likely, assuming his previous long-lived — so to speak — history. But double-hell — this IS the New DCU, and maybe ALL the rules have been rewritten.

Damn you D’n’A. Now I HAVE to come back to find out. You both are SO evil!!!

Oh, wait. An interview in the back of the book (in all the comics this week) gives away part of the game. This IS the original Mitch Shelley, Resurrection Man. What a crappy way to reveal this — it shoulda been IN the story.

I’m a little torn about this first issue. Technically, it’s a done-in-one, but since it’s lacking so much essential information — like a mention of his real name (sloppy), no origin recap, and only a sketchy, ill-defined attempt at showing how his “power” works, it’s not exactly new-reader-friendly. It is, however, compelling enough to make me check back for an issue or two — at least to discover if some of the other (also undefined) characters in this issue might be re-imagined versions of characters that appeared in the original. (And is that Madame Xanadu on the last page? Who knows?)

Fernando Dagnino’s art shows promise but doesn’t immediately grab me. And the editor in me caught the apparent abstract obscenity on page 3. Naughty boys.

I’ll be back — but you guys better pull it together sooner than later. Some new folks may not be so patient.

Suicide Squad #1

Upfront: The original John Ostrander-created series was one of my favorites. I loved the use of seldom-seen DC characters, the “unexpected death factor” of each of the missions, and the power of the non-super-powered Amanda Waller, the ruthless “leader” of the team.

This new Suicide Squad (by writer Adam Glass and artists Federico Dallocchio, Ranson Getty, and Scott Hanna) has its heart in the right place and is faithful to much of the original series, but it misses the point in a couple of areas. The new team consists of Deadshot (a must), El Diablo (from the 2008 miniseries), King Shark (Superboy, Aquaman, Secret Six), Savant (who doesn’t look like the old Birds of Prey character, so he may be new), Black Spider (former Batman foe), new character Voltaic, and redesigned Harley Quinn, who’s probably destined to be featured as the the new regular cover girl with her new even-more-crazy look, as well as much less clothing. Hubba-hubba. Yuk. (Interestingly, one version of the Black Spider — there apparently have been three — was involved in torturing the Birds of Prey Savant, while another was a former partner of Deadshot in Identity Crisis.)

One of these characters dies in #2. Can you guess who? That’s a rephrasing of the end-of-issue teaser, indicating some of the morbid fascination of this series. Most of these characters get a mini-origin, or at least a recap to how they ended up on the Squad, and the new Squad’s origins are touched upon as well.

Sounds pretty good, right? So what’s wrong? Small stuff, to be sure. Amanda Waller isn’t even mentioned until the last three pages and doesn’t appear until the last. She’s been seriously been made over, probably to match the character’s appearance in the Green Lantern film (portrayed by Angela Bassett). No foul to the creators, who probably didn’t make the call, but boo to the Warner/DC PTB who are completely missing the inherent strength of the character by remaking “The Wall” into a supermodel type. The previous Amanda Waller was a substantial woman, and her size and shape gave her presence that made her believable as someone who could keep these supervillain killers in line.

Also, I know that the Suicide Squad book is inherently violent by nature, but I didn’t care much for the torture-porn level of brutality in this issue. Ultra-violence is a big part of the New DC, so I guess I’ve either got to suck it up or stop reading. Am I old-fashioned for thinking that extreme violence is anathema to good storytelling? In the wrong hands, it’s smoke and mirrors for bad writing.

I’m really glad Suicide Squad is back. Just wish I liked it better.

Superboy #1

Upfront: The story of the Connor Kent Superboy story has been long, winding, and often confusing at times. The most recent Superboy series was well-done, giving the character some roots and some closure (from being dead and all), but I still had problems connecting to him.

The new Superboy series — by Scott Lobdell, R.B. Silva, and Rob Lean — takes the tack of starting over from scratch. The opening page shows a teenage boy in a vat of mysterious chemicals. So — Reboot Central.

Surprisingly, it gets more interesting. This cloning experiment (as in the original, it’s the first fusion of Kryptonian and human DNA) has been deemed a failure, and as the project is being shut down, the clone’s natural defenses kick in, killing many of the scientists — including the team leader, apparently the only one who knew the sources of the original clone DNA. A female lab tech survives who is, I guess, supposed to be mysterious — all we know is that she’s a Doctor. She’s referred to as “Red”, but we’re unclear if that’s actually her name or a nickname due to her red hair (she looks like a youngish Lana Lang, except for big glasses and a different career) or some kind of code-name scheme, given the mentions of “Dr. White” and “Dr. Umber”. We also suspect that she might have more than a scientific interest in the clone.

When we next see the clone, he is in a high school setting, apparently a whiz at math. He also attracts the attention of a pretty classmate, a girl with long silver hair and a very direct personality named Rose Wilson. Long-time DC readers know Rose to be Deathstoke’s daughter, Ravager — and recent Teen Titans readers are going “hmmmmm…” due to the recent romance of the Superboy and Ravager of the “old” DCU. But this girl is not the same Rose — she has two good eyes. All is not as it seems, as our new so-far-unidentified clone-boy fails to respond to a call for help from a lady in a burning house. What the what?

The next thing we learn is that what we just saw was a mind-experiment being run on the same lab-bound clone boy, by the doctor called “Red” — who confirms that the Kryptonian part of the clone indeed came from Superman. So why didn’t he react like Superman? We also learn that “Red” has a sister named Rose (also with two eyes) who yells at “Red” for making a “Mary Sue” V.R. version of her for the experiment. Confused yet?

To make things even more strange, the place that’s doing all the clone-experimentation is run by a group called N.O.W.H.E.R.E. In old-school DC, that was a Grant Morrison-created group who worked out of the Pentagon and bedeviled the Doom Patrol, Danny the Street, and Flex Mentallo. Surely that couldn’t be the same N.O.W.H.E.R.E., could it? Anyway, a renegade N.O.W.H.E.R.E. guy is apparently feeding information about the organization to Lois Lane.

Oh, and the last page of the story previews a very strange-looking Teen Titans (also written by Lobdell). I’ve recapped a lot of the plot here to mimic my experience reading it. The new revelations that kept appearing surprised me, in a good way. Lobdell packed a lot more into this issue than I expected, and after some of the other, lightweight DC launches, I found it refreshing. Plus, the more creators use the DCU as a whole, the more I enjoy the book. Especially now that we’re starting from scratch, with fewer titles, it’s nice to have a glimpse into the bigger world out there.

Bottom line, I have no idea what the hell is going on here — but I’ll be back to find out. I don’t know what Lobdell’s “on”, but somebody needs to be nearby in case of emergency. And the art by Silva and Lean is very slick and very readable! The coloring — by The Hories — is excellent. Not a done-in-one, but Superboy #1 practically forces you to come back for #2. I’ll be there.

Weekly Wrap-up Scorecard

Top Notch: None (but a couple “in waiting”)

Back for More: Batman and Robin, Batwoman, Demon Knights, Green Lantern, Legion Lost, Superboy

On the Fence: Mister Terrific, Resurrection Man, Suicide Squad

Not My Thing, But You Might Like It: Red Lanterns

I’m Probably Done: Deathstroke, Frankenstein: Agent of S.H.A.D.E., Grifter

Writer: Brian Michael Bendis
Artist: Mike Deodato

Graeme McMillan has already talked about how clumsily this issue begins, with Bendis telling readers how his team choices are right, yes they are! As Graeme puts it, “The subtitle is ‘No, I’m not overreacting to some internet criticism by devoting two pages of my comic to it, what are you talking about?’”

This talking-heads stuff was a lot more interesting when it was a bonus, included as an “oral history” in the back, after a story where heroes actually did stuff. But in this case, it’s just taking up space… and there’s not that much of it, since this is one of the worst values in superhero comics. 21 story pages for #3.99, with the rest of the issue filled with 9/11 pinup reprints. (I know, it was a horrible time, but the pandering Marvel did back then towards “real heroes” wasn’t so inspiring at the time, let alone worthy of wallowing in ten years later.)

When I flipped past the head shots of the characters praising each other, I thought for a minute this was some kind of misprint, since it’s all about Daredevil. Don’t get me wrong, I’m enjoying his new series, but after reading this bunch of muddled two-page spreads, I was confused by what I was supposed to get from them. We find at the end that he was joining the team. Too bad the comic didn’t, you know, show him interacting much with his new team members, instead relying on images of Daredevil wielding a machine gun against robots (?!?). I hope this change, no matter who decided it, won’t affect the comic I do enjoy reading, Daredevil.

I know New Avengers is going to sell no matter what anyone says — which is probably why Marvel feels justified gouging on the cover price — but this is pointless. It’s not entertaining; it feels like homework to be gotten through to pass the test on who the team is now.

X-Factor #224.1

Writer: Peter David
Penciler: Valentine de Landro
Inker: Pat Davidson

I liked this introductory issue. It reminded me of who all the team members were and how they interacted, and they all looked like themselves. Too bad the series lately hasn’t had the same charm of the key premise, a super-powered detective agency that helps people with nowhere else to turn. (Instead, there’s been some mystical hoo-hah about feral gods trying to steal Wolfsbane’s baby.)

I was also a bit disappointed that this wasn’t a stand-alone, instead hinting up a big threat to come that presumably will be the next villain in the continuing series. The questions this issue raises aren’t answered here, leaving it unsatisfactory. I would have rather seen this material used as a backup in a supersized double issue, with a main story showing the team in action and this explanation by Madrox filling us in on who everyone was as a supplement, without the eventual murder of his listener. But I suppose that’s me disagreeing with the entire “point one” premise.

Best part of the issue: one of Madrox’s doubles being an annoying-yet-talented chef. It’s those kinds of small moments and clever ideas that I enjoy most about X-Factor.

Action Comics #1

Upfront (what you should know about my preconceptions about the comic): A long time ago, for a short period of time, I used to edit this comic book. Also, I’m not a member of the Morrison “cult” following.

Book of the Week! I loved this comic. For me it was like reading a Superman story in the “real” 1938 Action Comics. It tapped into the original Siegel & Shuster concept of Superman fighting for social justice and “for what was right!” These were basic concepts that are so obvious that they eventually became passé for the character, ultimately being phased out in favor of mad scientists, rampaging giant monsters, and other mindless engines of destruction (aka typical DC villains). At some point, somebody (perhaps even the fans) decided that fighting for what was right was too corny a concept for such an iconic character and made Superman seem too “wimpy”.

Obviously, writer Grant Morrison thinks otherwise, and artist Rags Morales finds the character’s true power in this interpretation. I’m extremely curious how we’ll get from this to the costumed hero (in the ridiculous super-suit) that’s going to appear in Superman #1 later this month. (BTW, I’m not opposed to Superman’s outfit being redesigned — I’d just like to see one that doesn’t evoke disco and which is already dated before it even officially appears.)

We get our first taste of some of Superman’s regular supporting characters, including Lois Lane, Jimmy Olsen, Lex Luthor, and General Sam Lane — but not really enough of Lois and Jimmy quite yet. The other two obviously aren’t too fond of this Super-character for reasons of their own.

We also get a pretty good look at the return of Clark Kent in his wimpy (although modern-day wimp) alter ego, which for now, at least, appears to be more “hiding out” than actual alter ego. So far, I’m not sure I’m on board 100% with this, but I’m willing to give it a further look.

The surprise last page also offers up another couple of radical tidbits about Superman’s status quo in the New DCU. As the major DC character most in need of a makeover/reboot/rethinking, I think that Superman in Action Comics will be one to watch this year. I just hope for everybody’s sake they finally get it all right this time. I’m not sure I can sit through the whole “Krypton Saga” again.

Animal Man #1

Upfront: Usually love most of the obscure-o DC characters, but never really warmed up to Buddy. However — ironically — read (and loved) the Morrison run.

I knew I was going to be in trouble when DC decided to designate a number of their New 52 titles as “The Dark”. I absolutely hate what passes for “dark” in corporate comic-speak these days, because for every Alan Moore Swamp Thing (which I never considered “dark” anyway, due to its underlying positive messages of love and “green”), there seemed to be 20 comics series devoted to demon worship, decapitations, deviant sexual practices, dead people rising, and other unpleasantness — and almost always accompanied by buckets of blood. Just not a horror guy, I guess. Liked ‘em a lot when I was younger; now I’m full and don’t really need any more, thank you.

I’m just not very interested in this little corner of the DCU any more, although I understand why the New DCU is excited about promoting it, having successfully wrenched DC’s “dark” characters back from Vertigo — a largely unnecessary battle that seemed more about ego and control than telling good stories. They’re putting a horror spin on what used to be a superhero, and while they have every right to do that, it’s not what I’m looking to read.

So, Animal Man #1… I think a lot of people will like it. In fact, I’ve already been told by several people that they really like it. Since I respect their opinion, and I know that they really like this kind of storytelling, I have to conclude that this must be pretty good stuff. Just not for me.

I can say this: I really enjoyed Jeff Lemire’s work on the recent Superboy series and was sorry to see it go. And I’m looking forward to reading his take on Frankenstein, Agent of S.H.A.D.E., which I suspect will be more superhero than horror, based on the Flashpoint mini. I can also see that artist Travel Forman has much more than the basic “chops” of comic book artistry, but his art style used here is really not my taste.

Batgirl #1

Upfront: I’m a fan of Stephanie Brown as Batgirl. I think that Barbara Gordon as Oracle is one of DC’s most brilliant concepts. I generally love Gail Simone’s writing. Man, have I got a headache.

Bottom line: Too soon to tell. And I really can’t talk too much about the issue without giving too much of it away. It’s doesn’t help that this issue answers some questions, ignores others, and provides some seemingly mystical handwaving to avoid some “reality” issues (for now). I do have to say that if we (corporately) have to have a new Batgirl, I’m glad that Gail Simone is doing it. Point of fact, there’s really nothing in this issue that says that we can’t possibly have other Batgirls again in the future — or didn’t have other Batgirls in the past when Barbara was “unavailable”. The “five-year compression rule” for the timeline makes for some interesting storytelling opportunities in the ultimate “new” Batgirl timeline — if one thinks outside the box — which pretty much defines Simone’s career to date. The rule also has potential pitfalls if not handled correctly. Sorry to be so cryptic. But there’s a very big “something” that we don’t know for sure yet.

I know that everybody wants instant answers, but I’m not sure there ARE instant answers here — at least for right now. The big question is how long fans will wait. Or if DC even cares at all about “old” fans’ wants/needs anymore.

I loved the elevator gag so much, I’m willing to stick around for awhile. And Ardian Syaf’s artwork is very interesting so far. You’ve seen it before in Brightest Day and Green Lantern Corps.

Batwing #1

Upfront: Not a huge fan of the Batman: Incorporated thing, but secretly love the fact that current fans seem to not realize that it’s such an updated Silver Age concept.

I had to look up to see if Batwing had already appeared. He had — in B:I #5, which I had read and apparently forgotten. Never a good sign. Sadly, this work by Judd Winick and Ben Oliver is pretty forgettable as well. I pretty much checked out when I read “All I need is for people to die!” on page 4, and the double-“shock” ending really turned me off. It’s sad that so many modern comics creators think that brutality and gratuitous violence is an acceptable substitute for taking the time to build memorable characters.

I’m done with this book already.

Detective Comics #1

Upfront: Historically speaking, I’ve always felt that ‘tec has nearly always been more interesting than the Batman title. But Batman usually sells much better.

Having been impressed with the previous run of Detective, I was initially pretty excited about this — until I remembered that the Batman and Detective writers had switched books. Tony Daniel is now writing Detective instead of Batman. I always felt a little sorry for Daniel, having to write “around” Grant Morrison’s Bat-stories, and not ever getting the chance to build up a head of steam on the title, knowing Morrison could throw a wrench (spanner?) into the works at any moment. So I felt that Daniel does a good job here, doing what needed to be done — reestablishing the new Bat-status quo in… uh… whatever this is called (the New 52-verse? Ugg!!!).

Apparently, we’re back to the Year One (and movie) concept of the Gotham police force being generally stupid, brutal, and corrupt — except, of course, for Commissioner Gordon and his close allies. So Gordon and Batman are again tight and eye-to-eye, which is as it should be. Playboy Bruce Wayne is apparently also back in the saddle — another good move — although we need to be occasionally shown this (rather than having it just come up in dialogue between Batman and Alfred) to really sell the idea.

Daniel’s art is effective, although I was taken aback by seeing how tank-like Batman already is, just five years into his mission in this current continuity. I know that my age puts me out-of-sync with current fan (and possibly creator and publisher) desires, but I always read Miller’s Dark Knight Returns as a horrifying potential future for the character (and retroactively, one of DC’s first Elseworlds stories, although never officially labeled as such), not something that was set in stone. Times have obviously changed, however, and since Daniel’s opening two-page spread so closely evokes Miller’s ultimate Batman, it’s very hard for this long-time comics fan not to be a little saddened by the thought that Batman could go from Kane/Finger/Robinson to proto-Miller in just five short years of now super-compressed continuity.

Also, the ending of this issue probably would have been a lot more effective if I hadn’t just re-watched John Woo’s Face/Off a week ago. What a bizarre coincidence. It’s always good to see the Joker, however, and I’m curious to see how this story plays out. I’ll be sticking around for a while — at least ‘til Detective #1,000. (Oh, you know DC will revert, at least for one issue. How can they not?)

Green Arrow #1

Upfront: Love Green Arrow, but hated the previous series so much I actually stopped buying it.

Wow. It’s never a good sign when you completely forget what the story was about in a comic you just read three days ago. Flipping through it again, I began to realize why I had dismissed it so quickly. I had no real idea who this Green Arrow was as a character. (Mostly because writer J.T. Krul decides to emphasize action and developing the lame villains over telling us who this Green Arrow is. Oh, wait… Part of that’s a secret!) It’s also going to be problematic for old readers to relate to this corporatized Arrow, after reading for years about the lone wolf rebel that the older version of the character was. Granted, the old Ollie was severely flawed, his macho posturing and womanizing ways a relic of another (bad) era, but he was a hell of a lot more interesting than this guy, who now has a handler (wha?) and somebody else designing his equipment for him — just like a real rich guy would.

On the other hand, this new Green Arrow book is one of the best drawn comics of the New 52. It’s the work of two long-time industry veterans — Dan Jurgens (pencils) and George Pérez (inks) — who together really bring out the best of both of their strengths, with dynamic layouts and storytelling polished to a brilliant shine.

Yet, this just adds to the confusion. New readers might be thrilled by this new, slick interpretation of Green Arrow, but wouldn’t they rather have artists closer to their generation? And really — a corporate hero in this day and age? Don’t we all hate Wall Street and the rich right now? It is, after all, partially their fault that most of us can’t afford all the comics we’d like to have. (smiley)

I’m at a loss here. I love the art. Hate the writing. Love the old guy. Hate this one. Comics shouldn’t be this hard.

Hawk and Dove #1

Upfront: Really enjoy the male/female concept of this classic team. Don’t think very highly of Rob Liefeld’s artwork.

My first instinct as a former editor is to grab the original art, stat Hawk’s head up about 20-25%, and have it pasted over the original. That corrections aren’t even done this way anymore — it’s all on computer — is testament to how long I’ve been out of the field. Regardless, I still had a laughing fit when I finally saw the full-sized cover artwork on the racks — the big, powerful Hawk with the little itty-bitty pin-head! Inside, his head fluctuates in size/proportion from panel to panel. Yet these days, editors apparently don’t (or aren’t allowed to) “correct” these sort of things. (sigh)

I really want to like this book. I very much enjoyed writer Sterling Gates’ work on Supergirl and the World’s Finest mini a couple of years back for DC, and I think he’s done an awesome job of pulling all the various threads of Hawk and Dove’s all-over-the-place history into a coherent — and satisfying — whole in this first issue. (He keeps Don Hall in the mix, including a reference to his heroic death. Crisis, anyone?)

While I can admit that Rob Liefeld is still great with his pin-up action shots, his ongoing inability to tell a story with his art (or even to seemingly understand where to leave more space for when exposition is needed) leaves this issue a big mess artistically. He’s still obviously only interested in drawing action or pin-up shots. And that has really hurt this first issue overall.

While I want to read more about the adventures of this Hawk and Dove, I’m not really crazy about putting money in Liefeld’s pocket, rewarding him for poor work. Chances are, he’ll flame out by issue #6 and start missing deadlines, so maybe he’ll be replaced. Sadly, his history precedes him. Why DC would hand him an important relaunch project in the first place truly baffles me. Especially when more capable and talented (and reliable) artists were turned away for the New 52 project.

Justice League International #1

Upfront: Always a fan of DC’s super-teams that spotlight the characters that don’t always get the spotlight. Dan Jurgens also loves the underdogs and generally knows exactly what to do with ‘em.

Compared to last week’s Justice League #1, this is much more satisfying as a traditional first issue. Frankly, it’s kind of amazing how many characters and concepts are presented here, although a few are underutilized (pretty standard for group books with more than seven members). After the first few pages, we realize that Jurgens possibly wanted an even bigger team, but decided to save something for future issues.

Having Booster Gold in charge makes me nervous (and for good reason, as we come to find out in one of the issue’s interesting twists), but the new team is truly International in make-up, featuring former members of previous JLA, Global Guardians, Suicide Squad, Checkmate, and even Green Lantern Corps line-ups. It’s not a team that’s going to come together easily, as demonstrated by the interactions of Booster, Batman, and Guy Gardner — one of whom walks out before issue’s end. There’s a certain amount of insubordination among some members, as well as a feeling that Batman in this new DCU isn’t as universally respected as he was in previous incarnations. (Former Global Guardian Godiva pointedly tells Bats to “sod off!” at one point. She’ll be somebody to watch!)

I’m glad to see that there’s still a place for good old straightforward super-team action in the New DCU, and Dan Jurgens is always the right guy to count on for that. Artists Aaron Lopresti and Matt Ryan are obviously handily capable of keeping up with him! I’m looking forward to more!

Men of War #1

Upfront: Really liked the war genre as a kid, but mostly because I related to Kanigher and Kubert’s subtle anti-war stance (“Make War No More”). But when I needed money for school, my old war books were the first to be sold off (although I have regretted it ever since).

In which we are introduced to a new Sgt. Rock (the grandson of the original). It seems very odd to see a war book in this day and age — but it really shouldn’t as, sadly, it seems that there will never be a shortage of wars. Men of War appears to be in the same tradition of the classic DC war anthologies, with a few important differences.

First of all, the old DC war books were almost always telling stories of past wars (although the reader could interpret the stories as reflection on then-current wars, like Vietnam). This was an important difference, at least for me. I always felt that I was reading about history — and could chalk up the brutal violence of war to another, historical, era — rather than it being a part of current life. Yeah, I was obviously fooling myself, but I was also a born pacifist. Which is why I was reading about it, rather than “doing” it. (I am old enough to have been issued a Draft Card in my late teens — but the draft ended before I could be called. I carried it around in my wallet for years, until it finally turned to dust.)

Second, this new series adds the concept of superheroes to the mix, although not in an overt, obvious way (at least for now). This is nothing new — my youth was filled with goofy, non-canon Batman/Sgt. Rock team-ups in Brave and Bold, as well as The Invaders at Marvel, but for the most part, war stories and superhero stores don’t have a lot of obvious common ground. I’m not sure what to think about this — the superheroics are kept subtle in the lead story, and there are no superheroes at all in the the back-up — but I’ll probably stick around for a while to find out.

As for this first issue, specifically, the creators — Ivan Brandon, Tom Derenick, Jonathan Vankin, and Phil Winslade — tell compelling, human stories, with the back-up being slightly superior.

OMAC #1

Upfront: OMAC is my least favorite Kirby Koncept, ever. Giffen is one of my favorite creators. Never read anything by Dan DiDio that I’ve ever enjoyed. I dropped his Outsiders after three issues.

Well, this definitely doesn’t suck. Keith Giffen’s art is gorgeous, combining traces of his early Kirby worship with thirty-some years of rock-solid storytelling. And DiDio doesn’t embarrass himself at all. Frankly, I don’t have a clue to what’s going on in here — but then again, I never really understood what Kirby was going on about with the character back in the day either. So, I am incredibly unqualified to judge this book, although I would imagine that if you’ve always loved Kirby’s OMAC, you’ll love this as well. It seems authentic and faithful to the original — and how often do you get to say that about comics these days?!

Not for me, but I bet others will love it.

Static Shock #1

Upfront: One of DC’s best underused characters/concepts.

I was very interested to see how this would work out. In a better world, the departed Dwayne McDuffie would be writing this…

I’ve always been a fan of artist Scott McDaniel. His big, chunky work has been an anomaly in an ever-growing world of thin-line artists and inkers, but it really serves him well in denoting the power behind the characters he draws. His Static is maybe a little too stocky for a teen character, but I can live with that if it helps to elevate Static into more of a DC star by emphasizing his action-oriented power. So the art on this new book is in a very good place.

I’m a little concerned that the writing (by both McDaniel and John Rozum) may hold it back a little. The emphasis on science may be slowing down the action a mite. Which is difficult for me to say, having been raised on Schwartz, Fox, and Broome “super-science”. Granted, there is a lot of science to get established in this series — and Virgil IS a self-avowed science geek — but there were a couple of passages here that wandered pretty close to textbook territory. Not good when you’re trying to establish your “cult” character more fully in the mainstream. Let’s be generous and chalk this up to first-issue exposition gone wild.

I’m probably in the minority here, but I think re-establishing the Milestone characters as a solid part of the DCU — rather than isolated in the “Dakota-verse” (whatever that was) — is a move in the right direction, hopefully giving Static the big break-out his character has always deserved. It’s good to see that other Milestone concepts — such as Hardware — are also going to be a part of the New DCU. The New 52 is much better place to debut them rather than quietly slipping them into established DC books as supporting characters, which didn’t exactly work out when DC tried it a couple of years back.

My one BIG misgiving: that final panel. Wasn’t there enough slicing and dicing and mutilating of characters in the old DCU? Seeing the now-cliched concept dragged into the New DCU is not forward-thinking. I hope that, due to the nature of Static’s powers, this might be something altogether different than what I’m expecting/dreading. I hope enough that I’ll be back next issue to find out. But it really does make me wonder if a lot of current DC creators were a bunch of sad little Sids next door, spending their childhoods ripping the arms and legs off their favorite action figures.

Stormwatch #1

Upfront: Have never read an issue of Stormwatch.

You would think, then, that I might be the ideal audience for this start-from-scratch #1 issue, wouldn’t you?

You’d be absolutely wrong.

I had no earthly idea what was going on in this issue, no real sense of who or what any of the characters were all about — save for recognizing what looks like the Martian Manhunter — nor did I really care. I did get the sense that there was a backstory important to at least some of these characters — but apparently not important enough for the creators to fill me in.

Unfortunately, since I got the impression that most of the characters were condescending assholes, I don’t think I need to come back. I certainly don’t feel welcome to come back. Further, this issue ties into a story that’s yet to be published. Always a great idea if you want to confuse new readers immediately. (Sarcasm alert!)

This was especially disappointing, since I was enjoying writer Paul Cornell’s work in Action Comics and some of his earlier work for Marvel. Maybe I’ll have better luck with his Demon Knights.

Swamp Thing #1

Upfront: Used to be among my favorite characters/concepts since its early Wein/Wrightson origins. Stopped reading the character when Rick Veitch’s “Swamp Thing meets Jesus” story got deep-sixed by DC.

This — by Scott Snyder and Yanick Paquette — is quite good. Bordering on amazing!

It seems designed for fallen readers like me, with its touchstones to Alec Holland and ties to the rest of the DCU. Curiously, we see the “new” (and current) Superman here before we even see him in his own book, plus we discover that he has previously died (hinting that the original Doomsday storyline has survived into this new, streamlined DCU). The creators tease a connection between Holland and Swamp Thing — evoking the original series — and set up a creepy mystery (although not too creepy — yet) which is out of the early Moore playbook, which certainly presses all the right buttons for this fallen Swamp Thing fan. Also, much of Paquette’s art evokes a bit of Bissette and Totleben (the latter is also cheekily name-checked in the story) while retaining a style of his own.

While not a done-in-one first issue, there’s certainly enough good stuff here to ensure I’ll be back for #2. A clever bit of misdirection in the final pages assures that. I hesitate to say too much about this issue, not wanting to give away too many of the good bits. I’m glad I saved this one for last.

Weekly Wrap-up Scorecard

Top Notch: Action Comics, Swamp Thing

Back for More: Batgirl, Detective Comics, Justice League International, Static Shock, Justice League (from last week)

On the Fence: Green Arrow, Men of War

Not My Thing, But You Might Like It: Animal Man, OMAC

I’m Probably Done: Batwing, Hawk and Dove, Stormwatch

Oh, dear. Where to start? Especially when this particular book (and the whole New 52) has become, for so many people, something bigger than comics itself. Even DC realizes that this… whatever it is (Initiative? Event? Reboot? Circus Freak Show?) has become so over-hyped that there was some effort recently trying to walk everything back a little. In the recent ICv2 interview, Dan DiDio actually admitted that they have no clue where they’ll be in six months. Here, walking backwards may be prudent. Because you know what happens when you try to cook something in a pot that is too hot? Everything sticks to the sides, and the pot (and meal) is ruined.

So, let’s just start with the comic book, shall we?

I’m not sure that a comic with only two lead characters (okay, there was a last-page cameo of a third, and an origin set up for another) can actually be called a Justice League book. While Batman and Green Lantern are immensely popular, two people am not a League. Obviously, this story is going to be a multi-part origin, and it may ultimately read great after it’s collected, but I have to look at only what I am given here — and I am (for now) unsatisfied.

Jim Lee’s art is very pretty, of course. But his intricate costume designs contribute to the reasons that most artists can’t produce monthly comic books anymore. Too many fiddly bits! Maybe Jim Lee can hit his deadlines, but past history attests that he’s probably not going to be on this series past issue #12 anyway, and the next artist (rightfully) will simplify the costume details after his bosses yell at him to “draw faster!” (One of the yellers may be Lee himself. Is that any way to run a railroad?)

I’d love to say more about Geoff Johns’ story. Except there isn’t a story here. It’s just an outline. And not even a complete outline. It’s just a fragment. As a fragment, it’s not bad. But it’s not enough.

This issue fails my (possibly admittedly outdated) first issue done-in-one test. It also audaciously flies in the face of DC’s recent announcement that they were backing off the decompressed storytelling thing (at least, when it comes to “writing for the trade” collection). So, is the very first lesson of the New 52 Initiative not to believe anything DC says? That’s not good…

One Well-Done Bit

One thing I did like was the brief appearance of Victor Stone to set up his origin as Cyborg. DC’s been trying for years to force Cyborg into the ranks of the JLA, but fans have never warmed up to the idea, since for many long-time readers, the character is so closely identified with the New Teen Titans — historically, one of DC’s most popular and beloved series. By retelling Vic’s origins and tying them into the new JL series, DC stands a much better chance of getting fans to think that the character “belongs” with the JLA — especially the new readers that DC’s trying to court with this particular publishing relaunch.

(I keep thinking of this title as the latest incarnation of the Justice League of America, but in fact, it’s just Justice League now, for our globally multinational world. Unfortunately, JL isn’t as distinctive an acronym as JLA.)

It should be noted that this entire story is set “Five Years Ago”, indicating that what we are reading is very early in the new, revised, “everything happened within five years” DC timeline. As someone who was once active in helping to maintain that timeline, I will be very interested to see how DC will deal with the “problem” characters of the old timeline, i.e. the characters who obviously aged during the stories, like the Teen Titans and other youthful characters/sidekicks, as opposed to the characters who didn’t age (or didn’t age much — like Superman, Batman, and many of the other key adult characters).

Five-Year-Old Flagship

Unfortunately, part of the problem with launching this JL “flashback” story the same week as its supposed “setup” issue is that if you got excited by the prospect of the new DC Universe hinted at in Flashpoint #5, you were most likely disappointed by not immediately seeing a corresponding current-day story in Justice League #1. (I was.) To see more of the current-day DCU, we’ll have to wait another week. I’m even more depressed that we’ll have to wait another several months (it appears) before we see a current-time JL story. It seems odd to me that we will see current stories of the secondary JL teams (International and Dark) long before we see a current adventure of the real deal.

Beyond the Comic

The biggest revolution in comics over the past several years is due to the industry breeding smarter fans. And that may not be in the company’s best interests. A lot of smart fans are going to look at JL #1 for what it appears to be — a template for a movie, or an animated feature, or a video game, or a motion comic, or anything other than just a comic book. They’ll also realize that what they’ve been given here is just a slice of a complete story. So, smart fans — who will (and maybe already have, except the publishers refuse to acknowledge this) eventually tire of buying everything multiple times — may just use the New DC as an excuse to finally stop reading. Oh, wait, they won’t stop reading — if you know what I mean, nudge nudge — but they may stop buying, instead waiting for the inevitable collection. Or movie. Or video game. If publishers were smart, they would use moderately priced digital copies as loss leaders toward the eventual sale of a nice, permanent collection. But then they run the risk of alienating their network of Direct Sales comic book retailers, something else which may also be inevitable.

To take this to unfortunate meta levels, JL #1 has landed as the poster boy test case for everything that has been collapsing around the comics medium for the last several years — the massive erosion of comics sales; digital issues, both legal and illegal; horrible storytelling/packaging decisions (such as decompressed storytelling); price vs. format; increased corporate influence in comics; the old boys’ network. Got an ax to grind? Now’s the time to do it, it appears. Perhaps that’s unfair, but DC wanted the spotlight, and now they’ve got it.

You know that old adage about there not being any bad publicity? I think that the New 52 has become an unfortunate laboratory for testing that. And remember my pot allusion up top? Maybe it’s finally time for publishers (not just DC) to either [you know] or get off it. They have to decide if they’re periodical, graphic novel, or digital publishers, or come up with a workable plan to combine all three — without angering their fans and retailers. While they still have an audience who cares.

Other, non-superhero publishers have already done this. Top Shelf serializes some of its comics on its website; so does First Second. SLG Publishing was the first to sell digital download copies. It’s understandable that a bigger company wouldn’t be a first mover, but they should pay more attention to some of what their smaller, more nimble compatriots are doing.

Bottom of the Ninth? Or Game One of a Double-Header?

So bottom line, the comic itself: Fun, but not enough story for 24 pages (and $3.99). So not the grand slam DC was hoping for. (Um, if you want a grand slam, you need to put people on base first.) This was more like a bunt. A flashy, pretty bunt, but a bunt nonetheless. It might ultimately turn into a grand slam, but are fans willing to wait a few more months to find out?

Welcome to the New DC. I think its going to be a while before everybody realizes exactly what that means. Including the New DC. More next week.

12. The blase’ death of Triplicate Girl. In one of Braniac 5′s stupider moves, he creates Computo, a controlling robot computer. While battling it in Adventure Comics #340 (1966), in a story written by Jerry Siegel, Triplicate Girl (with the power to split herself into three) is thought to have been killed.

Computo kills Triplicate Girl

But never fear, only one of her three bodies died! It’s ok, no worries, she’ll just change her name and everything’s fine, tra la. Look how happy she is. Ah, the comic 60s, when no one felt anything bad.

Duo Damsel debuts

Supergirl debuts in Action Comics #252

11. Supergirl as Superman’s secret. Imagine this: you are the only survivor of a remote, advanced civilization. You think you’re the only person like you left in the galaxy. Surprise! A girl cousin shows up. You’re no longer alone, so how do you treat her? You dump her in an orphanage and tell her to hide from the world because she’s going to be your “secret weapon” until she can prove her abilities. Three years later, in Action Comics #285 (1962), she’s finally allowed to be known to exist.

10. Superboy becomes a man — with the help of a girl brainwashed by robot. In DC Super-Stars #12 (1976, written by Cary Bates) appears “Don’t Call Me Superboy“, one of several stories intended to show why and when Superboy decided to become Superman. This one is decidedly the creepiest, though, as a Kryptonian Robot Teacher returns to test his manhood. One of the methods involves dating Misty, the most popular girl in school. She’s also super-smart, and she figures out Clark Kent’s secret identity. The two are talking, then kissing, in her otherwise-empty house… then cut to the next morning, where Ma Kent is talking about how Clark’s bed is still made, indicating he never came home. The implications are clear, and that’s understandable enough for teens in love.

Superboy in love ... and not coming home

It only turns nasty later, when the Teacher reveals that Misty was selected and brainwashed to be Superboy’s perfect girl. She’s had no free will the entire time, making Superboy a date rapist, since he made out with someone incapable of consenting. She’s returned to her life with her memory erased, her role as a lesson prop done.

9. Was Black Canary raped? When Mike Grell ushered Green Arrow into the modern grim’n'gritty age with The Longbow Hunters, part of the story involved the hero rescuing his girlfriend Black Canary, who had been captured and tortured at knife point. The writer reportedly said she wasn’t raped, but since one of the side effects was her inability to have children, readers will be forgiven for understandably being confused at just what Grell was implying. A classic example of torturing the girlfriend to motivate the hero.

Green Arrow rescues Dinah in the Longbow Hunters

8. The Scarlet Witch destroys the world in revenge for her children disappearing. This example should probably be higher, actually, but with all its details, it’s frequently too confusing to figure out how bad it really is. Apparently, while married to the robot Vision, she magically created two sons for them, but Thomas and William were later erased from existence. She freaks out and starts killing her Avenger teammates out of grief, and when the X-Men try to kill her in return, she first makes mutants rule the world in the House of M event, and then casts the “No more mutants” spell that depowers 90% of them. In between, she goes catatonic every so often, when various characters (such as Wolverine) aren’t sneaking off to find and sleep with her. The current Avengers: Children’s Crusade miniseries is now picking the same scab, with two characters who might be her kids after all out to rescue her from marrying Dr. Doom.

The last appearance of Equinox

7. Don’t be a Batgirl. Either you’ll be shot and paralyzed as a plot device (Barbara Gordon, The Killing Joke) to annoy your adopted father, or you’ll be denied a voice, raised mute and illiterate to be a better assassin (Cassandra Cain, No Man’s Land), or you’ll be treated as a joke and a beard for Robin so no one will think he and Batman are gay partners (Bette Kane, Bat-Girl, 1961), or you’ll wind up a teen mother tortured to death (but not really) as a lesson to others (Stephanie Brown, aka the Spoiler). Then a clueless editor will insist girls aren’t as worthy of being memorialized as boys are.

6. Power Girl‘s magic baby. During Zero Hour, she had an “immaculate conception” that turned out to be mystically created by her grandfather Arion (ick!), resulting in a rapid-aging magic baby who never even got a name, until he later temporarily returned as Equinox, only to vanish in Justice League America #108 (1996). Everyone, fans and creators, have unspokenly agreed to never think about it again — it’s that pointless and unnecessary a plot twist.

Contains "How to Prevent a Flash"

5. The lesson of Ms. Flash. In this one-shot story from the 1977 Five-Star Super-Hero Spectacular (again written by Cary Bates), we meet Patty Spivot, Barry Allen’s lab assistant. She gets powers the same way he did, by standing in front of a shelf of chemicals struck by lightning, but deadly side effects made her a destructive force. By the end of the story, we’ve learned that this was all Barry’s imagination, and he pushes her out of the way to prevent her gaining super-speed. Even as a kid, I got the message that girls couldn’t be trusted with guy powers (since Barry’s accident had already been repeated to create Kid Flash), because they’d just screw them up.

Arisia Rrab's bad taste

4. Green Lantern Arisia Rrab. When told she’s too young to date Hal Jordan, she subconsciously uses her ring powers to age herself into a hottie with really bad taste in costume (Green Lantern Corps #201, 1986). After some protest, Hal then shrugs and begins romancing her, regardless of the fact that she’s still mentally a teenager. She’s also being mind-controlled as a weapon to destroy him. She later winds up depowered, regressed to her mental age, amnesiac, and killed by Major Force, but not before Geoff Johns retcons her planet’s orbit as a way of making her old enough that Hal’s not committing underage date rape (Green Lantern #13, 2006).

3. Where to start with Identity Crisis (2004)? With the evil, jealous ex-wife who turns out to have taken a flamethrower into someone’s head and left footprints on her brain? How about the murder victim, Sue Dibny, one of the few active partner wives in the Justice League, tossed away as a plot device? Or the rape by Dr. Light inserted into her background just to make things seem more “adult” (and whose consequences were ignored)? (I’m still astounded we didn’t have parents’ groups up in arms over a rape story featuring the Super Friends of the Justice League, especially the way it was shown in the comics. Just another sign that no one reads the funny books any more, I guess.)

Sue Dibny raped by Dr. Light

Then there’s the way Zatanna is ordered to mind-wipe bad guys whenever it’s convenient. I think, though, the worst part is the motive for all this: The Atom’s ex-wife Jean Loring just wants him back, and she thought this insane plan (courtesy of writer Brad Meltzer) would do it. It’s basically just an example of “bitch crazy” plotting, where no other explanation is needed. Those jealous women, amiright?

Avengers #200

2. The rape of Ms. Marvel. In The Avengers #200 (1980), Ms. Marvel is, as Wikipedia has it, “kidnapped by a character named Marcus — the apparent son of Avengers foe Immortus — and taken to an alternate dimension, where she was brainwashed, seduced, and impregnated. The character gives birth on Earth to a child that rapidly ages into another version of Marcus, who takes Ms. Marvel back to the alternate dimension with no opposition from the Avengers.” With four credited writers/plotters — Jim Shooter, George Pérez, Bob Layton, and David Michelinie, it’s hard to know who to blame for this mess, or to understand why at least one of the four didn’t realize that impregnating a woman against her wishes is called rape. The next year, the storyline was revisited in Avengers Annual #10, in which Ms. Marvel tells off her comrades for letting her go when she was obviously mind-controlled. That followup is also the first appearance of Rogue.

Sample Lois Lane frustration cover

1. The character of “Superman’s Girl Friend” Lois Lane throughout the 50s and 60s. Although we’re told that Superman loves her, this love is exercised by Superman getting his super-friends to mislead, trick, and lie to her to “teach her a lesson”. Featuring the worst kind of paternalism and woman-hating, these stories were about showing Lois how she should stay in her place and not try to find out anything Superman doesn’t want her to know, like his obvious secret identity. Even better are the lettercolumns, in which every so often the editor would run missives in which fans say they want to see Superman spank Lois. I’m not sure if that was a fetish among burgeoning teen boys or some kind of revenge fantasy among those who’d had a hairbrush taken to their hindquarters, but it’s odd, either way.

Click for more examples

Writer: Nick Spencer / Jonathan Hickman
Artist: Luke Ross / Billy Tan

Like many many people, I was attracted by all the controversy over Ultimate Fallout #4. I wanted to see how Marvel was portraying their new diverse Spider-Man, the half-black, half-Hispanic Miles Morales. So I flipped through this issue, the next in the series, only to find … he’s not in the book at all.

Instead, we get two chapters, one with Quicksilver, another with Nick Fury, and lots and lots of talk. What a missed opportunity. No chance to show people who this new character is, or to demonstrate their commitment to the change. No opportunity to interest new readers, brought in by the news coverage. Not even any action or stunning visuals of superhero adventure. It’s very representative of Marvel’s line these days, but how disappointing that is.

Secret Avengers #15

Writer: Nick Spencer
Art: Scot Eaton and Jaime Mendoza

This is another of those “let’s try to make something everyone finds stupid about superheroes more realistic” stories that only winds up pointing how silly it all is. I compare them to picking a scab — it would heal better if you just forgot about it and left it alone. The classic Scab Story example, to me, was during the 1999 Batman “No Man’s Land” storyline, the one where they shut Gotham City off from the rest of the world. The result was some good storytelling, but fans kept asking (with some justification) where all the other heroes were, and why someone didn’t just fly in and help. So there were a couple of stories done to answer that question — Batman #566, with Superman, and JLA #32 — but they weren’t compelling or satisfying. Instead, they just made the problem more obvious, by dwelling on it. The question couldn’t be answered in a convincing, sensible way (because it was pure editorial fiat), so it should have been accepted as an assumption and ignored, not focused on.

Anyway, much of this issue involves the Black Widow crashing the offices of a webzine that’s running a piece on how Captain America isn’t really dead. So there’s a lot of debate over how much of a revolving door superhero death is — which doesn’t do anyone any good. Solid points — like how unrelateable that makes heroes to everyday folk — are glossed over and handwaved away, while Black Widow’s loss (of Bucky, someone she loved) seems artificial and overplayed. The web journalists are shown to be shallow, despicable opportunists who’ll run anything, even a lie, for hits — and that reaction from a comic writer is never attractive. It’s all posturing, from everyone involved.

Ultimately, Spencer wants us to feel sorry for the overstuffed redhead in the skin-tight catsuit for being a superhero, and that’s something that doesn’t fly for me. I want superheroes to act like people, not people asked to accept the ridiculous constraints the corporate superhero universe has become. We have been consistently trained to understand that superhero deaths mean nothing but a cheap attempt to bump sales — and then bump again when they return. That’s not our fault. The blame lies with the companies and their corporate stooges who have shown us this over and over.

There’s only one point of Spencer’s I can agree with, and that’s near the end, where the hard-boiled editor-in-chief points out that superheroes aren’t human any more. I agree with her, and that’s a shame. The ending, where the EIC does the “right” thing, also doesn’t make any sense for anyone who understands the web. It would only cause more discussion of the topic, now that there’s grounds for a conspiracy theory.

New Mutants #28

Writers: Dan Abnett & Andy Lanning
Art: Michael Ryan and Norman Lee

Hey, I finally feel like I understand these characters. And it only took two years’ worth of issues for someone to think “maybe people who weren’t reading the series back in 1985 would like to know who they are.”

Mostly, I really like Gus Grim, the Native American therapist who has no patience and doesn’t pull any punches. I would read a comic where he just traveled around the Marvel universe telling superheroes what their problems were. I thought for sure he was some old character brought back to cameo, but no, turns out he’s new with this issue. And he’s wonderful, a straight-ahead sharpshooter of psychiatry.

Dani Moonstar has brought him to Utopia to help her team, most of whom don’t want to talk to him or know the truth. As she introduces him to the various members, we learn who they are and what neuroses they have. The art’s nicely balanced between the emotion needed for this kind of story and the over-the-top excess of these larger-than-life characters.

I’d now like to read more about them, but since the following issue is a Fear Itself tie-in, I probably won’t get the chance. I hope we see Gus again sometime soon.