REVIEW: Violent, Profane "Deadpool" Shouldn't Work, But Really F---ing Does
Welcome to Store Tour, ROBOT 6’s weekly exploration of comics shops, and the people who run them. Each Sunday we feature a different store, and also get to know the person behind the register.
This week’s store is Carol and John’s Comic Book Shop, located in Kamm’s Plaza, 17462 Lorain Ave. in Cleveland, Ohio. We spoke with store president John Dudas.
Winter finally caught up with the Memphis suburbs over the past couple of weeks, bringing nasty bouts with freezing rain and (currently) a little snow. Digging out from under the ice has been more tedious than anything else, but the persistent cold kept us all housebound for a little while. Of course, compared to folks in other parts of the country, we are very lucky.
Still, the mere idea of days at home with nothing else to do made me want to search the DC archives on comiXology for decent binge-reading material. Everything from the New 52 forward is available there, so the following recommendations are for older series. I’ve tried to stay away from the bigger names, and go instead for stories and series which might make the time indoors a little more tolerable. They’re also organized according to Convergence eras, so even if you’re not coping with the cold, you can still look forward to April and May.
The sprawling intertitle crossover “Doomed” wrapped up this week with the release of Superman: Doomed #2. It’s a 40-page installment produced by writers Greg Pak and Charles Soule and artists Ken Lashley, Szymon Kudranski, Cory Smith, Dave Bullock, Jack Herbert, Ian Churchill, Aaron Kuder Vicente Cifuentes, and Norm Rapmund (assisted ably by colorist Wil Quintana and letterer Taylor Esposito). However, it’s getting some attention due to the final page.
Yes, “Doomed” began as a sequel to an as-yet-unseen event — the New 52 version of the monster’s first deadly battle with Superman — but it’s ended, like many a crossover before it, as a tease for the next big thing. Moreover, it’s joined by the only Futures End special one-shot without its own series (yet); namely, Futures End: Booster Gold.
Accordingly, today’s all about how everything might start to make sense, and how it doesn’t quite make sense for DC to go that way.
SPOILERS FOLLOW for the finale of “Doomed” and for Booster Gold.
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.
Every week, hard as it may be to believe, I try honestly to offer something I think might interest the larger group of DC Domics superhero readers. However, this week I am invoking a personal privilege. For one thing, with Halloween on a Wednesday (when I usually end up writing these essays), the holiday will more than likely take priority.
The main reason, though, is that today is my birthday, and as you might have guessed from the headline, this year is my 43rd birthday. Therefore, this week I have pulled together an especially memorable DC story and/or issue from each of those years, 1969 through 2012. (Note: They may not always line up with the actual year, but just for simplicity’s sake, all dates are cover dates.) These aren’t necessarily the best or most noteworthy stories of their particular years, but they’ve stuck with me. Besides, while I’ve read a lot of comics from a lot of sources, for whatever reason DC has been the constant. Maybe when I’m 50 I’ll have something more comprehensive.
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Hello and welcome to What Are You Reading? Today our guest is Mark Sable, the writer and co-creator of Image’s Graveyard of Empires with Paul Azaceta and the upcoming Duplicate from Kickstart Comics with Andy MacDonald. You can find his work and thoughts at marksable.com and contact him @marksable on the Twitter.
To see what Mark and the Robot 6 crew have been reading, click below …
This is going to be another “we liked it the old way” type of post. I take no particular pleasure in these, because there are only so many ways to rail against change, especially changes involving decades-old characters and concepts.
Nevertheless, the latest charges of Crimes Against Tradition are against the new Earth 2 and “Shazam!” features. The original Earth-Two came to represent generations of superheroes active since the late 1930s, but the current one is apparently “five years of supers, give or take”; and the new don’t-say-the-M-word “Shazam” is apparently also something called the Third Sinner. So yes, DC, I try to be open-minded, I will give these things reasonable chances to win me over, and no one has destroyed my treasured old comics — but wow, you don’t make it easy.
Therefore, today I want to look at why the old versions might still matter, but just as importantly why they still matter to fogeys like me.
Before Wednesday morning’s big news, I was all ready to write about the wish-fulfillment aspects of DC’s reprint program. Maybe next week.
Now, though, we’ve got Before Watchmen*, seven miniseries and a one-shot in the Seven Soldiers mode, and no doubt collection-ready. Please pardon my cynicism, but with all due respect to the impressive roster of professionals involved, this could have easily been subtitled We’re Back For More Cash.
To be clear, I understand DC wanting to make money off its intellectual property. A while ago I argued that one purpose of the current Shade miniseries is to fill another slot on bookshelves next to the rest of James Robinson’s Starman collections. Starman was one of the rare series where one writer introduced a character (Jack Knight) and took him through a series of adventures, until that character reached the natural endpoint of his life’s particular phase. Neil Gaiman’s Sandman preceded it, and Garth Ennis’ Hitman followed. (Working with writers David Goyer and Geoff Johns, Robinson tied Starman into the JSA revival as well.)
Writer James Robinson tweets that low sales might cut short his twelve-issue Shade miniseries. That would be a shame, because the first two issues of The Shade are tremendously entertaining, great-looking superhero comics. Robinson has returned to the character he revitalized, bringing with him the artistic talents of Cully Hamner and a bevy of high-profile guests like Darwyn Cooke, Frazer Irving, Javier Pulido, and Jill Thompson. The Beat’s Todd Allen has written a supportive post, noting along the way that certain New-52 titles which are selling below The Shade #1’s level (30,648 issues estimated sold to retailers) might also face the axe.
I’m somewhat skeptical of this rumor, despite Robinson’s insider knowledge, for reasons having to do with the 2009-10 miniseries The Great Ten.
Three recent bits of DC news are running together in my mind. Cumulatively they may amount to nothing — housekeeping details and/or fallout from the New-52 relaunch — but individually they seem significant, because they may well speak to the proverbial “reset button” which DC claims does not exist. Put simply, I think that reset button exists, I think it affects all of the New-52 books, and I expect it to be revealed within the next year or two. Whether it gets pushed, and/or how much resetting occurs, is another matter.
While it may be overprotective to put a SPOILER WARNING so early in the post, I realize some of you may want to discover these things as they are actually published.
I don’t blame you — I was trying to avoid the Wonder Woman thing, but that’s what I get for reading convention coverage. (And yes, I have seen the recent news about a certain Flash character.)
Anyway, SPOILERS for potential DC milestones big and small….
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a “Splurge” item.
If I had $15, I’d first grab hold of my favorite of DC’s New 52, Batwoman #2 (DC, $2.99). J.H. Williams III has successfully kept up to the immense expectations he accumulated following his run with Greg Rucka, and the artwork seems to benefit even more by J.H.’s input into the story as co-writer. Next I’d dig down for two of my regular pulls, Northlanders #45 (DC/Vertigo, $2.99) and Uncanny X-Force #16 (Marvel, $3.99). For my final pick, I’d have to miss a bunch of other titles for the chance to get the CBLDF Liberty Annual 2011 #4 (Image, $4.99). I love the anthology format, and having that plus the good cause plus the a-list talent makes it a must get; seriously, can you imagine one comic book containing new work by Frank Quitely, Williams, Mark Waid, J. Michael Straczynski, Matt Wagner AND Craig Thompson? BELIEVE IT!
Sometimes it’s been hard for me to process the New 52 as anything but an amorphous mass of, well, Newness. In this respect, DC’s October solicitations are helping to define that mass, with details like the five-year timeframe and Superman’s work boots.
Still, despite the promise of widespread change — and the somewhat-irrational implication that those who aren’t curious now will be left behind later — it’s been fairly easy for me almost to ignore the solicits, and just buy the books when they come out. After all, presumably DC is after new (or returning) readers who don’t follow the solicits and aren’t attuned to the spoilers.
Besides, the October solicits also include some attractive reprints; so let’s get right to it, shall we?
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[A quick note before we go too much farther: I started writing this post before DC’s big announcement about its September-and-beyond plans. In fact, I wanted this particular post to be about something other than Flashpoint and/or line-wide reboots — so depending on your perspective, I picked exactly the right week, or exactly the wrong week, to draw that line. In any case, it’s probably not hard to tell, from the past few weeks’ worth of posts, where I stand on current events.
[So there you go. On with the business at hand.]
Since it’s pretty much summer, and time to think about catching up on reading, let’s revisit DC’s list of “30 Essential Graphic Novels” — “best-selling titles that you must read[, ]whether you are just beginning to discover graphic novels or you are an established fan looking to expand your collection.”
The list is almost four years old, and has had a few minor updates. (Pride Of Baghdad replaced The Quitter, and Crayon Shinchan replaced Sword Of The Dark Ones.) For the most part, though, it’s the same compilation — heavy on the Batman and the Jeph Loeb, a decent amount of Alan Moore (but no Swamp Thing), a couple of Sandman books and Hellblazer, but no Wonder Woman, no Joe Kubert, and no Jack Kirby. While there are at least a couple of representatives from each of DC’s imprints, there aren’t many hints at the real scope of DC’s diverse publishing history.
[Last week I started a look back at DC’s ongoing series in a post-Crisis environment of annual line-wide events. Thanks as always to Mike’s Amazing World Of DC Comics for its invaluable data.]
The second half of the 1980s was, to put it mildly, a transitional period for DC. Beginning with the watershed Crisis On Infinite Earths, most high-profile titles were relaunched, book by book — not just to take characters like Superman and Batman “back to basics,” but to open them up to new creative possibilities. Building on Crisis’ success, the publisher also tried to launch new titles from line-wide events. By the early ‘90s, however, the speculator market was imposing its own will on the superhero books. …
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Last week’s big reorganization project is finished (for now) — but by reintroducing me to Peter David and Esteban Maroto’s The Atlantis Chronicles, it has already paid off.
The Atlantis Chronicles was a seven-issue 1990 miniseries designed to give Aquaman a more “classically mythic” backstory. Like the Old Testament or your average Shakespearean tragedy, it is full of intrigue, violence, sinister motives, and secret affairs. Along the way it traces the history of twin cities Poseidonis and Tritonis from their sinking to Aquaman’s birth, explaining such things as marine mental telepathy, why the Tritonistas are mer-people, and when the Idyllists broke off into their own community. It was all in service to a PAD-written Aquaman regular series which ended up being delayed for a few years; and which, when it finally did appear, produced the cranky, hook-handed Aquaman of the ‘90s. Re-reading The Atlantis Chronicles reminded me that some noteworthy plot elements — including an involuntary amputation — foreshadowed similar events in the later series. Some characters from TAC also reappeared in David’s Aquaman, further connecting the two.
I enjoyed The Atlantis Chronicles on its own merits, but I couldn’t help but think how it would have been treated better in today’s marketplace. That, in turn, got me thinking about the roles various “historical” DC miniseries played (and might still play) in the building of their legends.
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