For Great Justice – Review Of Vibe #1

Vibe #1 drops into stores today and, if you’re like many of my LCS’s core demographic, you responded with a polite, “That’s nice”, blinked nonchalantly, and then went looking for Hellblazer #300 because you are a SERIOUS PERSON, GODDAMMIT and that the LAST REAL JOHN CONSTANTINE ISSUE before DC further neuters him and…went on to some post traumatic whimpering before finally pulling yourself together to look through the spoils of this week’s stack. Turns out, once you put your wailing and gnashing of teeth over the the Constantine thing aside and read Geoff Johns and Andrew Kreisburg’s Vibe, it’s actually pretty good.

If you are like many casual, or perhaps not even so casual, comics readers, unless you were a fan of Justice League Detroit in the 80s your only real brush with Vibe was in cameos on the television show Justice League Unlimited and on Cartoon Network’s DC Nation shorts. Behold:

Yeah, you’d take that character seriously too. And, you wouldn’t be alone in your opinion. The original Vibe was killed off by J. M. DeMatteis to try and cap the end of the JLD era and George Pérez disliked Vibe so much that he refused to draw anything more than Vibe’s legs falling off a panel in the mega crossover JLA/Avengers – and Pérez knows a thing or two about teen superheroes.

So, why does this new iteration of Vibe work?

Warning – Ahead there be spoilers!

And You Sir, Are No… Comedian #5 Review

Editor’s Note: And one last review of the comics of 2/13/2013 before the comic stores open with the new books…

I had sworn to myself that I was gonna stop reviewing Comedian by writer Brian Azzarello and artist J. G. Jones, because after just two issues I knew it wasn’t working for me, and even that damnation with faint disappointment was only possible when the book wasn’t actively pissing me off.

From the beginning, Azzarello has made Comedian a story where Watchmen continuity is optional on a good day, where consistency of character with any prior depiction of Edward Blake was problematic, and where Azzarello seemed less interested in telling a story about The Comedian than he did in telling a story about shit that happened in the 1960s where The Comedian happened to be. Sure, The Comedian was an active part of the story, but it wasn’t so much about him; imagine Mad Men if Don Draper was selling anti-Kennedy ads to Donald Segretti, or if he was running a pro-segregation focus group with James Earl Ray as a member: all of Mad Men‘s elements are there, but it ain’t really a story about a conflicted advertising executive anymore, is it?

That tendency continues in Comedian #5, which, as per this book’s norm, is less a story about The Comedian than it is a story about Vietnam and My Lai, where The Comedian just happens to be. Which, again, I’ve learned to expect from this comic book, and which is something that I didn’t think needed further reviewing. However, Azzarello added one thing to this books that boiled my blood. It’s not much – just two words – but to my mind, it put a stamp on the book stating Azzarello’s intentions toward the book, and it’s a check that the series just doesn’t cash. And while there’s a possibility that I’m wrong, and that those two words might just be a simple Easter Egg to observant readers or maybe a nod to placing Comedian into a Wold Newton-style shared universe, it blew me out of the book as effectively as would have seeing Blake throwing the meat to Trudy Campbell. Or even Pete Campbell.

A Better Bullet To The Head: Suicide Squad #17 Review

Am I the only one having fun here, boys?

– Harley Quinn

That’s the first line of Suicide Squad #17, and it’s pretty much a complete review in and of itself.

This is not the smartest comic you will read this week. It is not the finest attempt at visual narrative aspiring toward classic literature that you are ever going to see. It doesn’t have the most intricate plot – hell, it doesn’t have much plot, period. And with the exception of two panels for Harley and some backstory for Yo-Yo, the closest thing this comic has to character development is the establishment that Harley’ll let you suck her toes if you kill someone for her. So if you’re looking for some kind of high-falutin’ example of comics as the entertainment of choice for the discerning sophisticate, this is not the book for you.

However, if you are looking for non-stop, balls-out violent and gory super villain action, with entertaining repartee and a few damn good jokes? Suicide Squad #17 is about the best three bucks you can spend this week.

Plans Within Plans: Batman #17 Review

In the history of Batman and The Joker, there are only a couple of iconic story endings that I can think of. There’s the end of the third issue of Frank Miller’s The Dark Knight Returns, where Batman pursues Joker with the intent to kill him, finds himself unable to pull the trigger, and Joker takes one final shot at Batman by killing himself to frame Batman for his murder. And there’s the end of Alan Moore’s The Killing Joke, where Joker and Batman share a laugh when Batman finally understands how connected he is to Joker… and really, that’s about it. Sure, you’ve got Jim Starlin’s Death in The Family, but I really don’t remember how that actually ends; all I remember is Joker swinging the crowbar and Batman carrying Robin’s body. And yeah, there’s the Steve Englehart and Marshall Rogers Joker Fish story, but all that easily comes to mind on that one is Joker with the fish.

When it comes to endings, there aren’t a whole hell of a lot that you can really point to as classic. Most Joker stories wind up one of a couple or three ways: Batman stops Joker in the middle of whatever his plan is in the nick of time and slaps him into Arkham, Batman stops Joker in the middle of whatever his plan is in the nick of time and Joker escapes, or Batman stops Joker in the middle of whatever his plan is in the nick of time and Joker appears to die and disappear. Some combination of these endings have been popping up in Batman / Joker stories literally since the first one, and none of them are particularly memorable… particularly since there are rarely any lasting consequences to the story. That’s part of why The Dark Knight Returns and The Killing Joke stand out – as, for the most part, standalone stories, the ending is, you know, the ending. In the regular monthly comics however, it’s hard to have one of these conclusions stand out since the events of the story are never permanent; hell, the most “permanent” Joker effects have been the killing of Jason Todd and the crippling of Barbara Gordon, and both of those have since been retconned.

All of which is a long way to go to start talking about Batman #17, and the conclusion of Scott Snyder’s Death of The Family crossover. In some ways, this ending isn’t really particularly special, in the sense that the actual mechanics of it are as familiar as color superhero comics to anyone who’s been reading them for longer than a month. However, Snyder does one thing that some of the best Batman stories do: create a lasting set of consequences for Batman as a result of Joker’s actions. But Snyder also does something that normally doesn’t happen in a Batman / Joker story, and it’s something that not only confirms something that most of us who have been reading these stories for years have always suspected, but it creates a situation in the Batman / Joker dynamic that I don’t recall ever having seen before… and while it is all doomed to be reconned and forgotten, right now, it makes it one of the best conclusions to a Joker story in recent memory.

Action Packed And Wacky – Review Of The Fearless Defenders #1

The Fearless Defenders, written by Cullen Bunn with art by Will Sliney, wants to pack a lot of cinematic punch into its 23 pages. Fast moving, the action takes the reader quickly through character establishing scenes on the cliffs of Asgard, a smuggling vessel in the North Atlantic, and an archeological dig set in the middle of a national forest, barely pausing for breath along the way. The protagonists are introduced in large point font with witty subtitling in a style reminiscent of a 70s action flick. They battle air pirates, zombie vikings and their own feelings for one another, tossing off witty lines with an ample amount of ass kicking.

So, this should be a slam dunk, right?

Beware the siren song of judgement and spoilers, after the jump!

You’ve Gotta Keep The Devil Way Down In The Hole: Red Team #1 Review

When it comes to comic books by Garth Ennis, sometimes it feels like a coin toss as to which writer you’re gonna get: the writer with a laser focus on the behaviors and traditions of regimented subcultures, or the writer who’s over the top, balls out nuts. When it comes to Garth Ennis, it seems like it’s either heavily researched war comics, or sci-fi western pilgrims with a rifle and a hard-on for Jesus. Battlefields versus Crossed. Max Punisher or Marvel Knights Punisher.

When Ennis goes serious, he goes serious; his war comics – even the ones where he goes more toward the fucked up, like Stitched, a story about some soldiers stranded in Afghanistan being hunted by zombies – feel like he spent some serious time hanging out with soldiers, learning a lot about tactics, weapons, and their relationships and ways of talking. Now, I’ll grant that I’ve never spent any time around people with a serious military background, but those stories feel like Ennis spent some time with real people who have really done the things that he’s writing about.

Ennis’s latest series, Red Team, similarly feels heavily researched. However, it feels like it was researched by way of some things I have spent a lot of time around… those things being The Shield, The Wire, and Homicide: Life On The Street. In short: Red Team feels more like Ennis’s take on some of the better American cop shows (by way of Dirty Harry’s Magnum Force) than it feels like an authentic police story.

But with that said, I like all those shows. So does Red Team stand up to them?

The Captain Kirk Slam: Iron Man #6 Review

Editor’s Note: My old man had a philosophy: peace means having a bigger spoiler than the other guy.

If I had to hazard a guess, writing Iron Man has to be an interesting and somewhat difficult task for Kieron Gillen. He’s following an Eisner-winning run by writer Matt Fraction on Invincible Iron Man, and not only is he taking the peak seat writing a character who is now mired in the popular culture not only as the star of his own movies, but the star of The Avengers and, if reports are correct, soon to be part of the Guardians of The Galaxy movie. So imagine not only that heavy responsibility that Gillen must feel, but throw on top of it that he is working with artist Greg Land, which means that no matter what Gillen wants to write for Tony Stark, he needs to make sure he includes a coterie of hot chicks for Land to lightbox.

Well, Gillen tries to rise to the task in Iron Man #6, the first part of the three-part arc The Godkiller. First, Land picks up the story gauntlet thrown down by Fraction at the conclusion of Invincible Iron Man, where Fraction set up Stark as preparing to spend an extended period of time in deep space. Gillen picks up story elements from last year’s Avengers Vs. X-Men to put Stark at odds with an entire spacegoing civilization, in a way that could easily put Iron Man into contact with the Guardians before all is said and done. And I can almost see Gillen finishing the first draft of his script and leaning back in his his seat with satisfaction… only to see a handwritten note pinned to his wall reading, “DON’T FORGET THE SPACE BITCHES!” and then sighing, cracking his knuckles and leaning forward to perform draft two.

I say that Gillen “tries” to rise to the task, because while Iron Man #6 lays the groundwork for a high-tension story putting Iron Man into direct conflict with an entire spacefaring civilization… but it is, in fact, all groundwork. This is a somewhat talky, exposition-laden issue with precious little action, instead focusing on explaining the civilization to set the groundwork for future conflict, and on Stark’s daddy issues and senses of aging and mortality. It is mostly foreplay with very little climax.

And, as with most good foreplay, there are hot chicks. So at least Land has something to do.

The Cycle Of Abuse – Review Of Hit-Girl #5

[Ed. note – Attention any vigilantes whose crime fetish is knocking out rampant spoiler bombs: I have a taser, a panic room, and a crate of whiskey. Do your worst.]
I have to admit that, although I was a big fan of Mark Millar’s Wanted, when the original Kick-Ass dropped back dropped back in 2008, I didn’t scramble to read it. In fact, it took renting the movie version, or possibly stumbling across it on cable, I don’t know – I drink, what can I say, and Chloë Moretz’s star turn as Hit-Girl, to really draw me in. Sure, the put upon nerd who turns vigilante thing had been done to death, but the little girl who just wanted to please her dad to the point of psychosis? That was new. That wasn’t a sulky teenager with a vainglorious mom like Silk Spectre, involved in the family business because it was expected. This was a young child who’d developed an amazing – and terrifying – skill set. Hit-Girl worshiped her father and he seemed to love the hell out of her right back, with both parties oblivious – in this story about serving justice to criminals – that dad was a perpetrator of systematic, pervasive child abuse.

Don’t believe me? Read Hit-Girl #5.

Eight Angry Men: New Avengers #3 Review

It’s hard to believe that it’s only been a month since Jonathan Hickman debuted his Marvel Now reboot of New Avengers, to generally good reviews, and, well, this one:

Christ, he thinks he’s making movies. That’s why I wasn’t completely satisfied by Avengers #1, and was actually kinda pissed off by New Avengers #1: they’re not really stories.

Yeah, it didn’t do a hell of a lot for me. Hickman started New Avengers in a way that felt like a movie trailer: a tease of a terrible, world-shattering apocalypse to occur at some point in the future, with a final assembly of heroes to combat this purely theoretical threat in heroic establishing shots with explanatory and expository slogans, followed by a team shot… all without a hell of a lot actually, you know, happening. All it was missing was some deep baritone growling, “In a world…” and an immediately-following commercial for Doritos. It was such a blatant setup for story versus actual story that it actually made me kind of angry.

That, however, was a month ago. This week, we have New Avengers #3, and the Illuminati is actually in a position to face the terrible, world-shattering apocalypse. So now that it’s here, how was it? Well, the downside is that the actual confrontation is, on the scale of action sequences, less the last ten minutes of the Avengers movie and closer to the last time I was shitfaced and tried to get the TV remote to jump to my hand using telekenisis. The good news is that, despite the somewhat anticlimactic action sequence, it features a hell of a lot of damn fine character work. And while there isn’t a lot of action, there is plenty of conflict. Some damned entertaining conflict, as a matter of fact.

Resignation: Minutemen #6 Review

“Such sad music. The saddest thing I can imagine…

Ironically, I’d spent the last week editing my book for the sake of my old friends…I gave everyone what they wanted: a sunny remembrance. I realized that carrying all that horror inside me was a small price to pay…

The book was a smash and because it was the only real accounting of our careers, it became the truth…

…’It’ll never be like it was when it was new, but there’s still plenty of life in this old baby.'”

-Hollis Mason, Minutemen #6

Sometimes I wonder what it must be like to work at DC Comics in 2013.

There you are, at one of the inarguable pinnacles of the comic book industry. You’re working for one of the Big Two, making the best page rates available in the American comics industry, working on some of the highest profile books there are. You never have to buy your own drinks at any comic convention in the civilized world, and thousands upon thousands of aspiring creators envy you your day-to-day existence… and yet it is, where the rubber hits the road, a job. You have a boss, and you call him and he or she tells you what you are going to be working on, and you have a choice: you either do it, regardless of how inane or Sisyphean your assigned task is… or you don’t, and hope that you can keep working in your little niche without being singled out and fired.

Put on top of that the particular an individual realities of DC Comics today: you work for a company that, less than 18 months ago, blew up the underpinnings of all their books in the interest of saving them, despite being only a year or so out of Blackest Night, which put more asses in DC Comics’s panels at San Diego Comic-Con than I’d ever seen before. And since that demolition, the company has busily spent its time examining every element of those new books under a microscope, reportedly making last-minute changes and nitpicks every step of the way, causing several high-profile creators to defect to Marvel. Management has mandated new directions and has then apparently fired people when the new directions are seemingly not the right new directions, with boss-favorite creators being given the assignments in the aftermath… and all of it under the daily direction of Bob Harras, the Editor In Chief who was Marvel’s Editor In Chief during the late 1990s. So you’re working under the sure and steady hand of a man committed to raising sales at any cost – and if that cost is cancelling a book, revamping any character, or demanding a crossover, character rape or supporting character murder, so be it… all while in the back of your head, you’re hearing things like, “Clooonnnneeeee Sagaaa…. Chrooooommmiummmm covvverrrrss…”

Now let’s imagine you are one of the creators assigned to the Before Watchmen project: a project that almost no one in comics fandom wanted, if they weren’t actively opposed to it. A project that, by its very existence, implied a comic publisher that was willing to actively and enthusiastically fuck over one of its (former) A-List creators in the interest of making a little money right fucking now, long term consequences be damned. And let’s say you are asked to work on one of these Before Watchmen books while employed by a company where you can see your fellow creators being fired by email, or having their books yanked to make an opening so that one of the Golden Boys can write a book starring fucking Vibe: what do you do?

Well, if you’re Darwyn Cooke, you write a final issue of Minutemen where the narrator makes a terrible mistake, writes the truth about it as best he can while allowing himself to be bullied into severely editing himself for the good of the people around him, and makes the decision to walk away from the whole mess, so that the people foolish enough to follow him can have their chance at things.

I might be – hell, I probably am – reading too much into Minutemen #6, but as a comic book? It could make one hell of a resignation letter.