In which Bryan Hitch starts his run proper on the Justice League and tells a story which is big on spectacle, but short on detail. Does that matter? Let’s find out.
I just might be in love with Tony Daniel’s artwork. Issue 1 of the Justice League opens with a glorious splash page of Wonder Woman diving downwards through the air while flak and missiles explode all around her. It is magnificent and I would quite like it to be a framed poster on my wall. Turn over the page and we’re treated to a double page spread of Diana landing, wielding her lightning bolt against a bunch of Russian soldiers and tanks. Once again, it is impressive stuff with bodies and hardware being tossed around like toys in a show of strength that rather belies her declaration that she is “on a mission of peace”.
This, I think, is the first slight problem with the issue. In these pages and the ones that follow, Diana attacks the Russians in devastating fashion, but, aside from a general lecture about peace and the various things to which human beings devote themselves that prevents it (including “border disputes”), there is no clear context for her actions. Is this a reference to the current crisis in the Crimea and Ukraine or something else? We only see the Russians, not who they’re fighting or, for that matter, any civilians that might be caught in the crossfire. If Diana thinks that attacking random Russian battle groups is the way to bring peace to man’s world, she might want to take a few lessons in politics first. In a sense it doesn’t matter, but fiction tends to be more successful when it is grounded in a believable world. When a huge earthquake shakes the area (wherever it is), a Russian soldier accuses Wonder Woman of having “killed [them] all”, rather implying that, when she tossed a bunch of tanks up in the air a few pages earlier, somehow none of the tank crew were killed in the process. The story’s too busy moving to care about such issues, but the dialogue raises them anyway, leading to a slightly jarring reading experience.
The focus shifts to Beijing (oh, so now you’re going to tell us where we are, Mr Hitch) where the two Green Lanterns, Jessica and Simon are doing their best to keep the city from collapsing, shoring up buildings with green… stuff. Then it’s off to New York, where Cyborg stops a subway train from crashing into some cars that have fallen through earthquake-generated gaps in the tunnel roof to land on the tracks below. This is all pretty good, actually. We get a clear idea of how widespread the earthquake problem is and we get to see the League members in full-on hero mode, saving lives and, to some extent, property. One of the best sequences, though, is Flash’s intervention in San Francisco in which his speed is emphasised by the simple but very effective image of a falling bottle of water. This is all engaging enough – in a visual as well as emotional way. After all, if the idea of specially powered superbeings putting their lives on the line to save people doesn’t grab you by the heartstrings, why are you reading superhero comics to begin with?
But, we’re already halfway through the comic and we’re not really progressing that much, particularly when we move to Atlantis to see Aquaman trying to deal with the earthquake (seaquake?) that’s taking place there. It’s only when we shift back to the two GLs who are now trying their best to save Hong Kong from a huge tidal wave, that things begin to get more interesting. Some of the civilians seem possessed by a strange power (complete with glowing red eyes) and, chanting something about “stolen light” and “our light” they somehow siphon off the Green Lanterns’ emerald energy. We see Jessica and Simon falling towards the sea and then we’re back with Wonder Woman and things get… weirder.
Again, the idea of things being “stolen” comes into play as the Russian soldiers (most of whom are, I’m going to assume, dead) lurch forward, eyes glowing, talking about “stolen power”. The same is true of Flash in San Diego; this time it’s stolen speed.
Then things get weirder still, when it turns out that a giant alien bio-mechanical missile has landed in Gotham City and begins to release hundreds of smaller creatures that seem intent on attacking the populace. While Batman is typically efficient, the story doesn’t hang around too long, as we move back to Atlantis where, once again, people are being possessed and talking about “stolen words” this time. What does any of it mean?
At this point, we don’t know and, in a sense, we don’t need to know. This is the first issue, after all. When we move back to Eastern Europe (finally!) and find Wonder Woman trying to tackle a horde of (possibly) undead soldiers who are moving through the air like a shoal of fatigues-wearing fish, we find out (because the aforementioned soldiers are helpfully telling us) that something called ‘The Awakening’ has started and that something called ‘The Kindred’ is coming. There’s also a reference to Diana’s ongoing search for her true origins as one of them calls her a “pretender god”. All intriguing stuff, but, while Daniel’s artwork portrays Diana beautifully, her speech essentially consists of the kind of posturing that, without some clear context, sounds quite hollow. “The Kindred? Well hear me now, Kindred. I have friends. And we’re coming for you.” Apart from the fact that that’s the second time in a few short pages that we’ve heard a member of the JL refer to the other members as “friends” (awww), the dialogue is mostly remarkable for its macho stupidity. While it’s understandable for Diana to react to the Kindred (whatever they are) as if they’re hostile, there’s still so much mystery here that it seems foolish for her to leap to conclusions like this. As a way to end the issue it works well enough, I suppose, but it leaves more questions than it answers and also leaves a slightly unsettling feeling in this reader’s mind at any rate. There are some pretty big assumptions being made here, and, as we all know, if you assume you just make an ‘ass’ out of ‘u’ and ‘me’. (Yeah, one of the worst sales managers I’ve ever encountered taught me that a long time ago. Never mind, eh?)
As a spectacle, Justice League issue 1 delivers. Tony Daniel’s artwork is impressively kinetic and his character work is phenomenal. As a story, the issue is a little more difficult to assess. While the feeling of worldwide catastrophe is successfully conveyed, by having the JL essentially deal with issues on their own, the story goes round in circles a little as Hitch tries to give each hero his or her time in the spotlight. Consequently, we’re actually not that far along by the time we get to the end of the issue. Numerous concepts have been introduced – the Kindred, the invading bug-missile, the earthquakes – but there’s no clear indication of how they’re connected to each other. Perhaps things will get better in future issues. This one, though, is a spectacular introduction to the series, which, despite some high concept stuff, falls short of being genuinely engaging.
Roll on, issue 2.