Grumpy Old Fan Archives - Page 2 of 7 - Robot 6 @ Comic Book Resources
Note: Due to my travel schedule, the Futures Index is taking a break this week. There will be a double dose next week to get us back on track.
Something I didn’t mention in last week’s post about The Multiversity #1 is the persistent notion that corporate-controlled characters have, for lack of a better phrase, “lives of their own.” In other words, we know how Superman, et al., are “supposed” to act, based on common, recurring elements, which are ostensibly independent of any particular creative team. Because The Multiversity offers a prime opportunity to play around with those elements and the expectations they engender, this week I wanted to go a little more in that direction.
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We begin with Batman, and specifically a scene from the now-classic Batman: The Brave and the Bold cartoon. “Legends of the Dark Mite,” written by Bat-guru Paul Dini, features a brief-but-incisive dig not just at fans, but at the corporate culture which has nurtured the Caped Crusader over these past 75 years. See, Bat-Mite wants to see his hero fight a supervillain, but Batman just wants the little guy to vamoose, and suggests the imp summon Calendar Man. Yadda yadda yadda, Calendar King has killer Easter Bunnies.
Let’s get this out of the way: The first issue of The Multiversity is one of the craziest main-line superhero comics I’ve read in a long time. It’s self-referential. It attempts to engage the reader directly. It leaps around various parallel worlds in great flurries of color, off-kilter captions, and shouty dialogue. It’s apparently also a pretty-direct sequel to Final Crisis, writer Grant Morrison’s 2008-09 big-event miniseries, which — not that it matters much — took place under a different set of cosmological rules.
A few weeks ago I wrote about the interaction between those rules and the need to reference a potentially “invalid” story. Some readers may be frustrated (not unreasonably) by such interactions, and so far The Multiversity isn’t making things easier.
Again, though, consistency across continuity reboots is beside the point. Indeed, with a giant one-eyed bat-thing intoning “WE WANT 2 MAKE YU LIKE US,” consistency itself appears to be one of The Multiversity’s main villains. Change the emphasis slightly and the plot becomes more insidious. “We want to make you like us” — i.e., happy to exist in a state of “anti-death,” an everlasting “moment of ruin.” The imagery isn’t very subtle, and commentators have already compared the Gentry’s members to DC and other big comics publishers. For that matter, Morrison and artist Cameron Stewart made the globular, monocular corporate mascot Mickey Eye the symbol for all that was wrong in the superhero world of Seaguy. (Coincidentally, that hero also had a funny-animal sidekick.)
My review could end up being in the form of a cop-out, but saying that readers get out of Multiversity what they put into it might actually be the point of the series. As a superhero comic, The Multiversity #1 is perfectly decent. Penciler Ivan Reis, inker Joe Prado, colorist Nei Ruffino and letterer Todd Klein present it in an attractive package. (The fact that Reis is the current Justice League penciler probably has its own metatextual significance, given the subject matter.) However, just as the Multiverse is a framework for various parallel realities, so The Multiversity #1 provides a framework for engaging with those realities — and that’s a little harder to quantify.
SPOILERS FOLLOW, assuming plot still matters for this sort of thing.
Following DC Comics’ solicitations over the past few months has been fairly intriguing. The company’s West Coast move in early 2015 looms over all its actions, and makes it hard to gauge whether a new series or new creative team is a long-term commitment or a brief burst of experimentation. Moreover, that makes it tempting to say that anything you don’t like — or, for that matter, anything you do like — might be gone by April.
Oh, well. A little paranoia can’t hurt, but we’re not here to talk about that. Open a window to the November solicits and read along!
November brings new creative teams for Wonder Woman (the Finches and Richard Friend), Superman/Wonder Woman (Peter Tomasi and Doug Mahnke) and Supergirl (Mike Johnson, Kate Perkins and Emanuela Lupacchino). I’m still in wait-and-see mode on the Finches. However, after several years of reading Tomasi and Mahnke’s work, I feel like I know what’s coming from them. S/WW should look great, as Mahnke is no stranger to either Superman or Wonder Woman, having drawn JLA and various issues of the New 52 Justice League. I suppose I’m cautiously optimistic about Tomasi, because this is the sort of book that plays to his strengths. He’s good at reconciling and unifying different perspectives on characters, and that’s pretty much what S/WW has always had to overcome. Ironically, it’ll probably be less of a concern in the absence of Azzarello and Chiang, but I suspect Tomasi will keep those elements around.
Last week I wrote about Earth 2 in the context of its Supermen. The most recent issue, Earth 2 #26, brought some closure to the Apokolips-invasion plot and subplots, and this week’s Worlds’ Finest #26 does much the same for its displaced heroines. The September issues of both series will jump forward five years to tie into Futures End, and October brings the Earth 2: World’s End weekly miniseries.
Therefore, as these were the last couple of issues before everything will no doubt start to change, I want to talk this week about Earth-2’s unique place in the New 52’s multiverse, and what it might say about DC’s approach to legacy characters.
On Tuesday, Comic Book Resources interviewed Superman writer Geoff Johns, penciler John Romita Jr. and inker Klaus Janson, who (as the headline put it) want to “inject optimism” into the series. As part of that interview, Johns contended that the Man of Steel’s desire to connect with his fellow Earthlings makes him “more relevant now than ever.”
Considering a couple of ongoing storylines, this current focus on positivity sounds like a voice crying in the wilderness. Today we’ll look at the end of Earth 2’s “The Kryptonian” — which features two alternate Supermen — as well as the latest installments of “Doomed” in the regular Super-books.
Naturally, SPOILERS FOLLOW for Earth 2 #26, Superman/Wonder Woman Annual #1, Action Comics Annual #3 and Action Comics #34.
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In 2008-09, Grant Morrison wrote (and J.G. Jones and others drew) DC Comics’ big-event miniseries Final Crisis. While it wasn’t the last cosmic-minded crossover, in many ways it was the crest of a wave that had been building since 2004’s Identity Crisis. The fallout from Identity Crisis sparked a new “Crisis Cycle,” leading into 2005-06’s Infinite Crisis, 2006-07’s 52, 2007-08’s Countdown, and various smaller-scale tie-ins.
With Morrison at the helm, though, Final Crisis turned out to be pretty esoteric. Apparently this pleased almost no one, being a) too steeped in DC lore for the casual reader, and b) not sufficiently tied into the regular comics, and thereby not rewarding the every-Wednesday folks who’d been following all the buildup.
Nevertheless, two FC plot points had immediate effects on the superhero line that, for all intents and purposes, have carried over into the New 52: It brought back Barry Allen and “killed” Batman. I was reminded of the latter two weeks ago, when a one-panel flashback in Robin Rises: Omega indicated pretty strongly that Darkseid’s Omega Effect (coincidence?) sent the New 52’s Caped Crusader bouncing through the time stream, just like his continuity-complicated predecessor. Accordingly, like so many DC stories of yore, Final Crisis still seems to have happened, even if in a significantly altered form.
Before we get too much further, rest assured this post isn’t dedicated to figuring out how a Final Crisis-shaped peg fits into a one-panel Robin Rising hole. Instead, I want to talk about how another FC plot point is helping to alter my perceptions of continuity.
Wednesday was Batman Day, the official date for celebrating the character’s 75th anniversary. It’s fine to have a Batman Day, I guess — I’ve been getting emails from online bookstores saying “Celebrate Batman Day with our sales!” so it’s coming across in practice like President’s Day — but Batman is so ubiquitous in pop culture that you might as well have a McDonald’s Day or a Coca-Cola Day. (In a perfect world there would be a Rockford Files Day.)
Anyway, appropriately enough, each of the two regular Bat-books DC published this week looked at one end of Batman’s timeline. Batman Vol. 2 #33 wrapped up “Zero Year,” the latest (and perhaps the most epic) version of the character’s origins; and Batman and Robin Vol. 2 #33 presented “Robin Rises, Part One,” the latest chapter in Damian Wayne’s posthumous saga. While the former ended impressively, the latter is off to a slow start.
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Some months the solicitations don’t inspire much in the way of analysis. The superhero serials just sort of chug along, and maybe there’ll be an unusual creative team or an idiosyncratic collection to enliven things. Not so with DC’s October solicitations, which include a number of new series, storylines, and creative changes.
This next bit will sound conspiratorial, but I don’t think it’s an unreasonable supposition. I believe — or at least I would not be surprised to learn — that all these debuts and changes are starting in October because that will give them at least six issues to resolve themselves before the big springtime move to the West Coast. For example, six issues is pretty much the minimum for a collection, so if any of the new series just drop immediately into the sales cellar (I’m looking at you, Klarion; say hi to GI Zombie), DC can still have enough for a trade paperback. That’s not to say a reboot is inevitable next spring — notwithstanding one panel in Robin Rising that should jump-start such talk — but I could see a good bit of the superhero line taking a potential victory lap over the fall and winter. (Apparently I am not alone in thinking this.)
(Note: Post title is taken brazenly from a Mystery Science Theater 3000 riff on the serial The Phantom Creeps.)
When DC announced Grayson in April, I wrote about the dangers of separating Dickie G. first from his mentor, and then from his friends in the Titans. Because Grayson is predicated on removing Dick from the superhero realm entirely, I’ve been ambivalent (at best) about this book. Even after reading the first issue — which was a good introduction to the series, and which stood on its own nicely — I still have some concerns. Most of these come from a desire (perhaps unwarranted) to judge a series in a larger context. Therefore, today we’ll talk both about the debut issue of Grayson (written by Tim Seeley and Tom King, drawn by Mikel Janín, and colored by Jeromy Cox), and whether that sort of big-picture evaluation is fair to it.
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First let’s get some of the obligatory historical perspective out of the way. Dick Grayson has been around for almost 75 years, longer than just about all of DC’s A-listers, including The Flash, Hawkman, Wonder Woman and Green Lantern. Moreover, Dick/Robin has been adapted for various non-comics venues for almost as long, starting with radio and movie serials in the 1940s and continuing right through to today’s Teen Titans Go! Many of these more recent adaptations either alluded to, or showed directly, Dick’s transition to the Nightwing identity; and collectively they speak to the general public’s awareness of the character and his particular dramatic functions.
After three years, Brian Azzarello and Cliff Chiang are wrapping up their Wonder Woman run. Starting with November’s Issue 36, the new creative team will be writer Meredith Finch and her husband, artist David Finch.
While it would be silly to pass judgment completely on the Finches four months before their debut, I have to say my initial reaction wasn’t entirely positive. Consider the creative teams on the four main books of Diana’s Trinitarian brothers. Although detoured by the “Doomed” crossover, Action Comics’ team of writer Greg Pak and artist Aaron Kuder has been well-received. Superman just kicked off the Geoff Johns/John Romita Jr. era. Detective Comics picked up Francis Manapul and Brian Buccellato after their stylish success on The Flash; and Batman features the unstoppable Scott Snyder and Greg Capullo. For that matter, Azzarello/Chiang was one of several distinct creative teams that debuted as part of the initial New 52 relaunch and set itself apart instantly from any DC house style. Besides Snyder/Capullo on Batman and Manapul/Buccellato on Flash, there were Jeff Lemire and Travel Foreman on Animal Man, J.H. Williams and W. Haden Blackman on Batwoman, Joshua Hale Fialkov and Andrea Sorrentino on I Vampire, Dan DiDio and Keith Giffen on OMAC, and Snyder and Yanick Paquette on Swamp Thing. Accordingly, Azzarello and Chiang have seemed right at home helming Wonder Woman.
By contrast, as a writing/drawing team the Finches are an unknown quantity. Meredith Finch has written a few one-shots; and since coming to DC from Marvel, David Finch’s projects have been plagued by delays.
Now, these may all turn out to be moot points. The Finches may have the perfect take on Wonder Woman. They are certainly very enthusiastic, even if he has been a bit tone-deaf. We won’t know for sure how their Wonder Woman will read until this fall — but I can still offer some historical perspective, and maybe a little advice.
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For their first issue of Superman, writer Geoff Johns, penciler John Romita Jr. and inker Klaus Janson (with colorist Laura Martin and letterer Sal Cipriani) have served up an intriguing blend of action and introspection. There are the requisite nods to semi-obscure (Titano!) and really obscure (J. Wilbur Wolfingham?) Superman minutiae, and one subplot seems destined to undo a New 52 development. However, while Issue 32 of Superman Vol. 3 is concerned with managing the Man of Steel’s status quo, a good bit of it revolves around the new character(s) that will apparently drive this story arc.
Accordingly, the issue doesn’t feel quite so much like the start of a bold new era (although it could well be); instead, the new creative team uses the issue to ease into its story, such that the action serves the character work. Considering that almost half of the issue involves fight scenes, that seems like an odd observation, but it’s kind of an odd issue overall.
The question then becomes whether those characters — Superman included — are compelling enough to follow month in and month out. Last month, Johns told Comic Book Resources that readers should “[j]ust give us one issue and that’s all. I think we’ll earn your trust and your time and your investment in one issue because I really believe in this first issue and I really believe in what we’re doing.”
Whether Superman #32 meets that standard is therefore somewhat unclear. It lays out the characters and their concerns pretty broadly, and (somewhat like Johns’ and Ivan Reis’ Aquaman) it depends to a certain extent on answering reader frustrations. Still, on balance, it works. This is a very good issue of the New 52 Superman, with all that implies.
Read on for more, and as always …
What’s more, “all the same” isn’t much of an exaggeration. The 41 New 52 titles that are getting Futures End one-off tie-ins bear the same prices, release dates and copy as they did in the July solicits. The September listings do add cover art and credits, which are important details; but they don’t change the gist or tone of the previewed plots. More on this later.
Otherwise, these solicits contain only a handful of additional main-line superhero titles. These include the second Multiversity issue (with the awesomely alliterative subtitle Society of Super-Heroes: Conquerors of the Counter-World), the final issue of Superman Unchained, four issues each of Futures End and Batman Eternal, and the first Teen Titans: Earth One hardcover.
Therefore, this month’s solicitation roundup might get a little weird.
Continue Reading »
As with many Jack Kirby creations, we could spend a long time on the Forever People. I’m not a Kirby scholar, although naturally I’ve tried to learn more about what the King wanted his characters to be. In that respect, the end of the original Forever People series was somewhat ironic: Kirby closed out Forever People Vol. 1 #11 (October-November 1972) with the group stranded on the distant planet Adon, far away both from Earth and from the ongoing conflict between New Genesis and Apokolips. Indeed, “stranded on Adon” was still their status when the big Who’s Who encyclopedia came out in 1985-86.
Not surprisingly, since then DC has revived the Peeps (if I may call them that) a handful of times. The latest is this week’s Infinity Man and the Forever People, which switches things up a little by giving top billing to the mysterious being who can trade places with his young allies. When DC announced that Dan DiDio and Keith Giffen were writing and drawing, I was skeptical, but willing to give it a chance.
In fact, it’s not a bad first issue. It introduces most of the cast (except for one headliner), it lays out a good bit of the New 52’s New Genesis setup, and while it occasionally seems a bit “edgy for its own sake,” generally it keeps to the spirit of the original. One character even says “without [Kirby], none of this would be possible.” That’s pretty on the nose, but appreciated.
Regardless, the new Forever People has a lot to live up to.
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As discussed here last week, the final page of Forever Evil promised a particular kind of big event as its follow-up. However, the just-concluded miniseries also inflicted more immediate consequences on the Justice League; it’s those I’ll be talking about today.
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I previously mentioned that the New-52 relaunch/reboot didn’t really add a new “structural” feature to the superhero line, in the way that “Flash of Two Worlds” established the Multiverse or Crisis on Infinite Earths facilitated all those legacy heroes. At the time I didn’t really mention the addition (or re-integration) of the WildStorm and Vertigo characters, but I still don’t think that’s as big a deal as the Multiverse or the generational timeline. The difference is that Flashpoint brought in characters mostly to the present-day DC Universe, whereas COIE and (to a lesser extent) the original Multiverse both dealt regularly with larger spans of time. In the latter cases, the superheroes first emerged in the runup to World War II, and those adventures ended up informing their modern-day counterparts. While the New 52 had books like Demon Knights and All Star Western that were set even further in the past, they could only influence the main superhero line obliquely.
A big part of me still thinks Forever Evil would have worked a lot better as one of those late-1990s done-in-five-weeks events. I did enjoy the final issue, but it was because lots of things actually happened, and it made me wonder why they couldn’t have occurred a bit more quickly.
Still, the last-page reveal warmed my withered nerd heart. It’s the sort of thing that cries out for a boatload of analysis based on a set of comics published when I was in high school. Could be a stretch, but I’ll risk it.
SPOILERS FOLLOW, therefore, for Forever Evil #7 and probably some other stories you have already read.