Strong Talks Merging "Super-Cute" with "Super-Psycho" for "Arkham Knight's" Harley Quinn
Video Games, Comic Books, TV, Film
Amazing X-Men, Vol. 1: The Quest For Nightcrawler (Marvel): Writer Jason Aaron transitions quite seamlessly from his 42-issue (or eight-trade paperback) run on Wolverine & The X-Men to this new series, which maintained the same setting and much of the same cast, only a switch of focus. Rather than the student body of the Jean Grey School For Higher Learning, the stars of this series are the superhero teaching staff, with a few additions not seen in Wolverine & The X-Men (Firestar coming in to replace Kitty Pryde, who was spirited away from the cast by Brian Michael Bendis to appear in his X-Men books, plus Northstar and the guy whose name is in the subtitle and is front and center on the cover).
Aaron’s main partner for this first volume is penciler Ed McGuinness (inked by Dexter Vines and colored by Marte Gracia), an artist whose big, muscular, cartoony style fits perfectly with the slightly zany tone of the story, and Aaron’s X-Men comics in general. Cameron Stewart draws the sixth issue in this collection, a sort of epilogue in which most of the other characters you would want to see reunite with Nightcrawler do so.
Although we might reasonably expect a solid dose of black-caped entertainment in each installment of the weekly Batman Eternal, its brain trust has called the first three issues its “pilot episode” — that is, an arc that sets up the premise and introducing key characters and concepts. Therefore, today we’ll take a look at the pilot, plus a few notes on this week’s Issue 4.
Of course, the phrase “pilot episode” comes from television, and Batman Eternal so far feels very much like a TV show. Specifically, it has the feel of a TV show with a season or two under its belt. I say that both because Eternal starts off trading on previous Bat-history and bringing older characters into the New 52 status quo, and because it plunges right into the thick of things, assuming its readers know the basic Batman setup. There are no gratuitous operatic displays of Batman soaring over the skyline, cape billowing in the wind. For that matter, not counting a couple of standard Batman intimidation scenes, and a narrow escape for a returning character (all in Issue 3), the pilot’s big action sequences are confined to the first issue.
What fills out these three issues otherwise is a lot of conversation, devoted mainly to laying out who will be doing what. Cops talk about office and city politics. Batman exposits with Gordon, Alfred and Catwoman. Alfred checks in with the extended Bat-clan.* Reporters discuss the latest big story. Criminals (super and otherwise) plan for what’s coming. To a certain extent this is a function of the overarching plot, and the end of Issue 3 suggests things are going south quickly — but whatever those developments are, Batman Eternal would rather leave them off-screen in favor of people talking about them. To his credit, artist Jason Fabok finds ways to make these discussions visually interesting, mostly by playing with shadows and camera angles. Still, not to spoil Issue 3, but if this were a TV pilot, it’d probably show the carnage and use the dialogue as voice-overs.
That said, Eternal’s first arc is neither dull nor anticlimactic. Overall, the series’ premise is well-suited to its format, and the first three issues are generally successful at establishing that premise. They’re not perfect, but collectively they build to a pretty dire situation that, at this point, seems to justify recruiting all the Bat-people for the better part of a year. Eternal pretty clearly runs with the notion of Gotham City — or, at least, an id-fueled notion of what Gotham should be — “attacking” Batman. Current head Bat-guru Scott Snyder used that to inform the “Court of Owls” storyline. Here, though, that notion on a larger scale allows Eternal to justify its scope and length.
I have to imagine there were almost as many forehead-slaps as high-fives in the room at the meeting where someone suggested DC Comics devote their next weekly comic to the Batman franchise. There had to be as many people thinking, “Why didn’t I think of that?” as there were people saying, “Good thinking!”
“More Batman” has rarely been a bad business decision for the publisher, and not only is the franchise carrying more than its fair share of the 52-ish books that make up the DCU line, the Scott Snyder/Greg Capullo flagship title continues to perform at crazy-high numbers. So why not produce another Batman book, and rather than sticking it in a corner of the franchise, far from the main book, the one that seems to “count” the most, why not tie it closely to Snyder’s book? And hey, why not ship the thing weekly? Again, high fives!
I really love weekly comics, although the format has some pretty unique pressures, which we’ve seen play out various ways as DC has tried different routes over and over to get to weekly comics, with no two efforts—52, Countdown, Trinity, Wednesday Comics, and the bi-weeklies Brightest Day and Justice League: Generation Lost—really being produced in quite the same way.
The most obvious pressure is that getting these things to ship on time like clockwork often means sub-par art, so as much as I was personally looking forward to Batman Eternal, I was frightened as much as disappointed to see the art starting out bad; this was, after all, the issue that should be the best looking.
While DC Comics sacrificed some bragging rights in 2011 when it rebooted its superhero line, even the never-before-renumbered Action Comics and Detective Comics, one consequence of relaunching TEC was that it was only a matter of time — 26 months, to be exact — before the company got around to publishing a new Detective Comics #27. And that the second Detective Comics #27 would see release during the 75th year of Batman’s career, well, all the better.
The first Detective Comics #27, published in 1939, was, of course, the first appearance of Batman. The anthology’s cover was surrendered to an arresting image of a spooky man in tights, wearing a bat-mask and sporting huge bat-like wings, scooping up a gangster in a headlock while swinging in front of the yellow field above a city skyline. “Starting this issue,” the cover trumpted, “The Amazing and Unique Adventures of The Batman.” Inside, Bob Kane and Bill Finger’s pulp- and film-inspired detective hero cracked the “The Case of the Chemical Syndicate,” and the amazing and unique adventures begun therein have yet to cease.
DC has honored that milestone in various ways over the years, with notable celebrations including Michael Uslan and Peter Snejbjerg’s 2003 Elseworlds one-shot Batman: Detective No. 27, and 1991’s Detective Comics #627, in which the Alan Grant/Norm Breyfogle and Marv Wolfman/Jim Aparo creative teams did their own takes on “The Case of the Chemical Syndicate,” and both the original story and a 30th-anniversary version by Mike Friedrich and Bob Brown were reprinted.
This week brings Detective Comics (Vol. 2) #27, and another opportunity to celebrate that original issue, and Batman’s 75th anniversary, which DC does in a 90-page, prestige-format special issue — essentially a trade paperback with some ads in it — featuring contributions from the writers of all four of the main Batman books of the moment and about as strong a list of contributing artists as a reader could hope for.
A Centaur’s Life, Vol. 1 (Seven Seas): Easily the weirdest comic I read this month, Kei Murayama’s manga is about an alternate world where everything is the exact same as it is in ours, save for the fact that there are multiple races like centaurs, angel folk, goat folk, cat folk, dragon people and so on. Oh, and while human beings apparently still exist, the only one glimpsed is a medieval knight seen in flashback, having enslaved a centaur is some bizarre armor/restraining device in order to ride him.
What makes the manga so weird, however, is that there doesn’t seem to be any reason, at least not in this first volume, for why our heroine Himeno is a centaur, and why her classmates are all various fantasy races living out an otherwise completely mundane existence.
Himeno is a sweet, shy, pretty and popular Japanese schoolgirl (who is also a centaur). She’s afraid of boys, likes hanging out with her friends, and love sweets, although she worries about getting fat. The stories are mostly of the frivolous high-school comedy sort that could easily have been told with human characters.
In the first story, Himeno is self-conscious about her genitals, which she’s never looked at, as she’s afraid they might resemble those of a cow the kids once saw on a field trip (unlike some centaurs, the ones in this comic keep their horse parts covered in elaborate pants that appear difficult to put on and take off). In another, her class puts on a play, and she’s cast as the female lead, while her best friend — a girl with bat wings, a spade-shaped tail and pointy ears — is the male lead. In another, she’s suspected of doing some modeling work, in violation of school policy regarding part-time jobs.
If the DC Comics New 52 reboot hadn’t happened, Detective Comics would have reached its 900th issue this month. That wasn’t lost on DC, which celebrated the milestone this week with the release of an 80-page, $7.99 anniversary issue. The issue sports the New 52 debut of an old favorite, and a tribute to the number 900 in a story that ties into the larger ‘Emperor Penguin’ arc running through the comic. It also features back-up tales starring Bane, Man-Bat and the Gotham City Police Department, as well as a gallery of art by various artists.
So does this oversized issue do justice to its 900-issue legacy? Here are a few opinions from around the web …
Hello and welcome to What Are You Reading? This week we’re joined by music video director and comic book writer Alex de Campi, whose works include Smoke, Kat & Mouse, Valentine and the in-production Ashes.
To see at Alex and the Robot 6 crew have been reading, click below.
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